Padosan ki malish

After so long had this yesterday at padosan ke bacche ki bday party..

Three years have passed since I completed my Top 100 Bollywood Movie Soundtrack review series but with so many impeccable movie albums full of iconic songs, talented singers, brilliant lyricists and master composers in Bollywood's history shortlisting 100 top albums was never going to be enough. So here are some more soundtracks with songs that have touched hearts and souls of fans across generations and eras. I start this series with perhaps one of the most soulful albums from the magical collaboration of Pancham Da, Gulzar Saab and the Nightingale of Bollywood Lata Didi - Ghar.
Ghar is a small movie with an extremely large heart and the soul of an angel which was written by a small time theater and film actor named Dinesh Thakur, about the often tabooed and exploited subject of rape. However instead of the traditional revenge drama approach which was adopted by most movies made on the subject, Dinesh wrote a story where he wanted to show how such a traumatic event shatters the victim, their friends and family and literally take the audience to accompany these characters on a journey of pain and healing. Such an alien treatment of the topic had to be told with utter sensitivity and care which was beautifully captained by the movie’s completely unknown director Manek Chatterjee and its beautiful soundtrack.
The role of the movie’s songs cannot be underestimated as they make the audience fully integrate with the characters of the movie’s lead couple of Vinod Mehra and Rekha. The movie’s brilliantly composed songs gently brings the audience closer and closer to the simple life and characters of the couple with their daily troubles, joys and struggles. So when Rekha’s character is kidnapped and molested, the audience is in shock and completely devastated. The highs and heart of the movies songs make the audience empathize intensely with the pain, shame and anger that Rekha and Vinod Mehra's characters go through. However Manek Chatterjee’s sensitive hand guides us through it all as we also start to heal and eventually find a light at the end of this extremely dark tunnel.
Side A begins with a undeniable masterpiece as Pancham Da fuses Bhupinder’s beautiful strings and a single note from a church organ in the background before the orchestra comes in with rhythm guitar, tabla and Lata Mangeshkar’s immortal voice singing some of the finest words penned by maestro of poems Gulzaar Saab “Tere Bina Jiya Jaaye Na”. Lyrics of such level are rarely written, “Jab Bhi Mere Khyalon Mein Tu Aaye, Mere Badan Se Khushboo Aaye, Mehke Badan Mein Raha Jaaye Naa” as a smiling Rekha conveys more sensuality with her eyes and facial expression alone than most actresses can convey in their lifetime with oohs and aahs and miles of bare skin. Can there be a better start to the album as the fans are completely mesmerized by the song’s words, melody, vocals and visuals. How can any artist follow up such an exquisite song with any other song……
But Pancham somehow manages to effortlessly transition to “Aaj Kal Paao Zamin Par Nahin Padte Mere” and keeps the movie’s tone, the song’s melody and the audience’s spirit high up in the sky so that our feet in fact dont touch the ground at all. This is another Gulzar masterpiece with the angelic vocals of Lata Mangeshkar that make the fall from this heavenly position in the first half of the movie down to the ground extremely hard.
Side A is peak Lata Mangeshkar and hence Kishore Da starts side B equally strongly as he croons “Phir Wohi Raat Hai Khwaab Ki” to showcase the gentleness and love of Vinod Mehra’s character as he tries the impossible task to find a new norm and calm in all the chaos for his wife and himself. He pleads to his teary eyed wife "Kaanch Ke Khwaab Hain Aankhon Mein Chubh Jayenge, Palko Mein Lena Inhe Aankhon Mein Ruk Jayenge” as he closes her eyes, caresses her to sleep and helps her by just being there by her side. Just brilliant.
This song is followed by the romantic peak of the movie “Aap Ki Aankhon Mein Kuch Mehke Hue Se Raaz Hai" which brings Kishore Da and Lata Didi together for an epic romantic duet. This is the first song in the movie and makes the audience just fall in love with the two love birds as they start their marital life. This song is pure love. Side B ends with the peppy “Botal Se Ik Baat Chali Hai” when the couple celebrate finding their first house with their friends and family. Pancham brings in Mohammed Rafi and Asha Bhosle for the celebration and they are good but can’t compare with the 4 infectiously melodious ballads that have blessed the soundtrack of the movie. If not for this comparatively average song, the album would be absolutely perfection.
If you are wondering why you never heard about Manek Chatterjee if he directed such an underrated gem, then the answer is a pretty sad one. Manek died while shooting the movie and it looked like his vision of bringing Thakur's story to life would remain unfulfilled. That is when the lyricist of the movie and director of Mere Apne, which was Thakur's debut feature as an actor stepped in, picked up the movie and took it across the finish line. You will never see his name acknowledged anywhere as the movie's co-director, neither will you ever hear anyone talk about it. Which parts did Gulzar direct and which ones were Manek Chatterjee's is a question which will never get (and doesn't need) an answer. The movie will always remain Manek Chatterjee's heartfelt tale of true love and affection and a real lesson about love and life for everyone in society.
R.D. Burman and Gulzar at the peak of their powers created such magical songs with the iconic voices of Lata Mangeshkar and Kishore Kumar that "Tere Bina Jiya Jaaye Na", "Aaj Kal Paaon Zamin Par Nahin Padte", "Aap Ki Aankhon Mein Kuch" and "Phir Wohi Raat Hai Khwab Ki" are a masterclass on how to write, compose and sing romantic songs. The lyrics, music and voices infuse the first half of the movie with such tremendous amount of love that the audience actually empathize and experience the pain that the lead characters go through in the second half. Ghar is a great example of how songs not only can brilliantly progress the movie’s narrative but augment the level of emotions that the audience experience during the movie. Almost Perfect 9/10.
Links to all my soundtrack reviews
1. Top 100 Bollywood Soundtracks Review - Safar
2. Top 100 Bollywood Soundtracks Review - Pakeezah
3. Top 100 Bollywood Soundtracks Review - Amar Prem
4. Top 100 Bollywood Soundtracks Review - Hum Dono
5. Top 100 Bollywood Soundtracks Review - Dosti
6. Top 100 Bollywood Soundtracks Review - Karz
7. Top 100 Bollywood Soundtracks Review - Aashiqui 2
8. Top 100 Bollywood Soundtracks Review - Chitchor
9. Top 100 Bollywood Soundtracks Review - Saajan
10. Top 100 Bollywood Soundtracks Review - Dil Chahta Hai
11. Top 100 Bollywood Soundtracks Review - Khamoshi
12. Top 100 Bollywood Soundtracks Review - Anari
13. Top 100 Bollywood Soundtracks Review - Namak Halal
14. Top 100 Bollywood Soundtracks Review - Qurbani
15. Top 100 Bollywood Soundtracks Review - Guide
16. Top 100 Bollywood Soundtracks Review - Anand
17. Top 100 Bollywood Soundtracks Review - QSQT
18. Top 100 Bollywood Soundtracks Review - Abhimaan
19. Top Bollywood Soundtracks Review - 1942 A Love Story
20. Top Bollywood Soundtracks Review - Rangeela
21/22. Top Bollywood Soundtracks Review - Chupke Chupke and Mili
23. Top Bollywood Soundtracks Review - Jis Desh Mein Ganga Behti Hai
24/25. Top Bollywood Soundtracks Review - Saath Saath and Arth
26. Top Bollywood Soundtracks Review - Hum Dil De Chuke Sanam
27/28. Top Bollywood Soundtracks Review - Rajnigandha and Chotti Si Baat
29. Top Bollywood Soundtracks Review - Refugee
30. Top Bollywood Soundtracks Review - Aradhana
31/32. Top Bollywood Soundtracks Review - Bees Saal Baad and Woh Kaun Thi
33. Top Bollywood Soundtracks Review - Dil To Pagal Hai
34. Top Bollywood Soundtracks Review - Lagaan
35. Top Bollywood Soundtracks Review - Veer-Zaara
36. Top Bollywood Soundtracks Review - Jewel Thief
37. Top Bollywood Soundtracks Review - Upkar
38/39. Top Bollywood Soundtracks Review - Aandhi and Mausam
40. Top Bollywood Soundtracks Review - Queen
41/42/43. Top Bollywood Soundtracks Review - Julie, Khatta Meetha and Baton Baton Mein
44. Top Bollywood Soundtracks Review - C.I.D.
45. Top Bollywood Soundtracks Review - Rock On!!
46. Top Bollywood Soundtracks Review - Hum Kisise Kum Nahin
47. Top Bollywood Soundtracks Review - Masoom
48. Top Bollywood Soundtracks Review - DDLJ
49. Top Bollywood Soundtracks Review - Hare Rama Hare Krishna
50. Top Bollywood Soundtracks Review - Satyam Shivam Sundaram
51. Top Bollywood Soundtracks Review - Umrao Jaan
52. Top Bollywood Soundtracks Review - Mughal-E-Azam
53. Top Bollywood Soundtracks Review - Kabhi Kabhie
54/55. Top Bollywood Soundtracks Review - Disco Dancer and Sharaabi
56/57. Top Bollywood Soundtracks Review - Tere Ghar Ke Samne and Johny Mera Naam
58. Top Bollywood Soundtracks Review - Roja
59. Top Bollywood Soundtracks Review - Bobby
60. Top Bollywood Soundtracks Review - Saagar
61. Top Bollywood Soundtracks Review - Aashiqui
62. Top Bollywood Soundtracks Review - Teesri Manzil
63. Top Bollywood Soundtracks Review - Naya Daur
64. Top Bollywood Soundtracks Review - Silsila
65. Top Bollywood Soundtracks Review - Madhumati
66. Top Bollywood Soundtracks Review - Pyaasa
67. Top Bollywood Soundtracks Review - Sangam
68. Top Bollywood Soundtracks Review - Maachis
69. Top Bollywood Soundtracks Review - Gupt
70. Top Bollywood Soundtracks Review - Kati Patang
71. Top Bollywood Soundtracks Review - Mera Saaya
72. Top Bollywood Soundtracks Review - Padosan
73. Top Bollywood Soundtracks Review - Yaadon Ki Baaraat
74. Top Bollywood Soundtracks Review - Maine Pyar Kiya
75. Top Bollywood Soundtracks Review - Teesri Kasam
76. Top Bollywood Soundtracks Review - Chandni
77. Top Bollywood Soundtracks Review - Hamraaz
78. Top Bollywood Soundtracks Review - Hero No. 1
79. Top Bollywood Soundtracks Review - Sargam
80. Top Bollywood Soundtracks Review - Chalti Ka Naam Gaadi
81. Top Bollywood Soundtracks Review - Milan
82. Top Bollywood Soundtracks Review - Aap Ki Kasam
83. Top Bollywood Soundtracks Review - Janbaaz
84. Top Bollywood Soundtracks Review - Jab Jab Phool Khile
85. Top Bollywood Soundtracks Review - Mera Naam Joker
86. Top Bollywood Soundtracks Review - Amar Akbar Anthony
87. Top Bollywood Soundtracks Review - Hum Aapke Hai Koun..!
88. Top Bollywood Soundtracks Review - Albela
89. Top Bollywood Soundtracks Review - Baiju Bawra
90. Top Bollywood Soundtracks Review - Junglee
91. Top Bollywood Soundtracks Review - Don
92. Top Bollywood Soundtracks Review - Love Story
93. Top Bollywood Soundtracks Review - Sholay
94. Top Bollywood Soundtracks Review - Dil Se
95. Top Bollywood Soundtracks Review - Kabhi Khushi Kabhie Gham
96. Top Bollywood Soundtracks Review - Purab Aur Paschim
97. Top Bollywood Soundtracks Review - Hero
98. Top Bollywood Soundtracks Review - Brahmachari
99. Top Bollywood Soundtracks Review - Gangs of Wasseypur
100. Top Bollywood Soundtracks Review - Shree 420
https://preview.redd.it/j3gl9y557j6c1.png?width=1792&format=png&auto=webp&s=41873e949fd4c3d3fa2314824b2ebfbf5bc97cb7

Three years have passed since I completed my Top 100 Bollywood Movie Soundtrack review series but with so many impeccable movie albums full of iconic songs, talented singers, brilliant lyricists and master composers in Bollywood's history shortlisting 100 top albums was never going to be enough. So here are some more soundtracks with songs that have touched hearts and souls of fans across generations and eras. I start this series with perhaps one of the most soulful albums from the magical collaboration of Pancham Da, Gulzar Saab and the Nightingale of Bollywood Lata Didi - Ghar.
Ghar is a small movie with an extremely large heart and the soul of an angel which was written by a small time theater and film actor named Dinesh Thakur, about the often tabooed and exploited subject of rape. However instead of the traditional revenge drama approach which was adopted by most movies made on the subject, Dinesh wrote a story where he wanted to show how such a traumatic event shatters the victim, their friends and family and literally take the audience to accompany these characters on a journey of pain and healing. Such an alien treatment of the topic had to be told with utter sensitivity and care which was beautifully captained by the movie’s completely unknown director Manek Chatterjee and its beautiful soundtrack.
The role of the movie’s songs cannot be underestimated as they make the audience fully integrate with the characters of the movie’s lead couple of Vinod Mehra and Rekha. The movie’s brilliantly composed songs gently brings the audience closer and closer to the simple life and characters of the couple with their daily troubles, joys and struggles. So when Rekha’s character is kidnapped and molested, the audience is in shock and completely devastated. The highs and heart of the movies songs make the audience empathize intensely with the pain, shame and anger that Rekha and Vinod Mehra's characters go through. However Manek Chatterjee’s sensitive hand guides us through it all as we also start to heal and eventually find a light at the end of this extremely dark tunnel.
Side A begins with a undeniable masterpiece as Pancham Da fuses Bhupinder’s beautiful strings and a single note from a church organ in the background before the orchestra comes in with rhythm guitar, tabla and Lata Mangeshkar’s immortal voice singing some of the finest words penned by maestro of poems Gulzaar Saab “Tere Bina Jiya Jaaye Na”. Lyrics of such level are rarely written, “Jab Bhi Mere Khyalon Mein Tu Aaye, Mere Badan Se Khushboo Aaye, Mehke Badan Mein Raha Jaaye Naa” as a smiling Rekha conveys more sensuality with her eyes and facial expression alone than most actresses can convey in their lifetime with oohs and aahs and miles of bare skin. Can there be a better start to the album as the fans are completely mesmerized by the song’s words, melody, vocals and visuals. How can any artist follow up such an exquisite song with any other song……
But Pancham somehow manages to effortlessly transition to “Aaj Kal Paao Zamin Par Nahin Padte Mere” and keeps the movie’s tone, the song’s melody and the audience’s spirit high up in the sky so that our feet in fact dont touch the ground at all. This is another Gulzar masterpiece with the angelic vocals of Lata Mangeshkar that make the fall from this heavenly position in the first half of the movie down to the ground extremely hard.
Side A is peak Lata Mangeshkar and hence Kishore Da starts side B equally strongly as he croons “Phir Wohi Raat Hai Khwaab Ki” to showcase the gentleness and love of Vinod Mehra’s character as he tries the impossible task to find a new norm and calm in all the chaos for his wife and himself. He pleads to his teary eyed wife "Kaanch Ke Khwaab Hain Aankhon Mein Chubh Jayenge, Palko Mein Lena Inhe Aankhon Mein Ruk Jayenge” as he closes her eyes, caresses her to sleep and helps her by just being there by her side. Just brilliant.
This song is followed by the romantic peak of the movie “Aap Ki Aankhon Mein Kuch Mehke Hue Se Raaz Hai" which brings Kishore Da and Lata Didi together for an epic romantic duet. This is the first song in the movie and makes the audience just fall in love with the two love birds as they start their marital life. This song is pure love. Side B ends with the peppy “Botal Se Ik Baat Chali Hai” when the couple celebrate finding their first house with their friends and family. Pancham brings in Mohammed Rafi and Asha Bhosle for the celebration and they are good but can’t compare with the 4 infectiously melodious ballads that have blessed the soundtrack of the movie. If not for this comparatively average song, the album would be absolutely perfection.
If you are wondering why you never heard about Manek Chatterjee if he directed such an underrated gem, then the answer is a pretty sad one. Manek died while shooting the movie and it looked like his vision of bringing Thakur's story to life would remain unfulfilled. That is when the lyricist of the movie and director of Mere Apne, which was Thakur's debut feature as an actor stepped in, picked up the movie and took it across the finish line. You will never see his name acknowledged anywhere as the movie's co-director, neither will you ever hear anyone talk about it. Which parts did Gulzar direct and which ones were Manek Chatterjee's is a question which will never get (and doesn't need) an answer. The movie will always remain Manek Chatterjee's heartfelt tale of true love and affection and a real lesson about love and life for everyone in society.
R.D. Burman and Gulzar at the peak of their powers created such magical songs with the iconic voices of Lata Mangeshkar and Kishore Kumar that "Tere Bina Jiya Jaaye Na", "Aaj Kal Paaon Zamin Par Nahin Padte", "Aap Ki Aankhon Mein Kuch" and "Phir Wohi Raat Hai Khwab Ki" are a masterclass on how to write, compose and sing romantic songs. The lyrics, music and voices infuse the first half of the movie with such tremendous amount of love that the audience actually empathize and experience the pain that the lead characters go through in the second half. Ghar is a great example of how songs not only can brilliantly progress the movie’s narrative but augment the level of emotions that the audience experience during the movie. Almost Perfect 9/10.
https://preview.redd.it/zhwldxba6j6c1.png?width=1792&format=png&auto=webp&s=b32bc1d75c11886123109d812b773bf4f7a1e1f2
Links to all my soundtrack reviews
1. Top 100 Bollywood Soundtracks Review - Safar
2. Top 100 Bollywood Soundtracks Review - Pakeezah
3. Top 100 Bollywood Soundtracks Review - Amar Prem
4. Top 100 Bollywood Soundtracks Review - Hum Dono
5. Top 100 Bollywood Soundtracks Review - Dosti
6. Top 100 Bollywood Soundtracks Review - Karz
7. Top 100 Bollywood Soundtracks Review - Aashiqui 2
8. Top 100 Bollywood Soundtracks Review - Chitchor
9. Top 100 Bollywood Soundtracks Review - Saajan
10. Top 100 Bollywood Soundtracks Review - Dil Chahta Hai
11. Top 100 Bollywood Soundtracks Review - Khamoshi
12. Top 100 Bollywood Soundtracks Review - Anari
13. Top 100 Bollywood Soundtracks Review - Namak Halal
14. Top 100 Bollywood Soundtracks Review - Qurbani
15. Top 100 Bollywood Soundtracks Review - Guide
16. Top 100 Bollywood Soundtracks Review - Anand
17. Top 100 Bollywood Soundtracks Review - QSQT
18. Top 100 Bollywood Soundtracks Review - Abhimaan
19. Top Bollywood Soundtracks Review - 1942 A Love Story
20. Top Bollywood Soundtracks Review - Rangeela
21/22. Top Bollywood Soundtracks Review - Chupke Chupke and Mili
23. Top Bollywood Soundtracks Review - Jis Desh Mein Ganga Behti Hai
24/25. Top Bollywood Soundtracks Review - Saath Saath and Arth
26. Top Bollywood Soundtracks Review - Hum Dil De Chuke Sanam
27/28. Top Bollywood Soundtracks Review - Rajnigandha and Chotti Si Baat
29. Top Bollywood Soundtracks Review - Refugee
30. Top Bollywood Soundtracks Review - Aradhana
31/32. Top Bollywood Soundtracks Review - Bees Saal Baad and Woh Kaun Thi
33. Top Bollywood Soundtracks Review - Dil To Pagal Hai
34. Top Bollywood Soundtracks Review - Lagaan
35. Top Bollywood Soundtracks Review - Veer-Zaara
36. Top Bollywood Soundtracks Review - Jewel Thief
37. Top Bollywood Soundtracks Review - Upkar
38/39. Top Bollywood Soundtracks Review - Aandhi and Mausam
40. Top Bollywood Soundtracks Review - Queen
41/42/43. Top Bollywood Soundtracks Review - Julie, Khatta Meetha and Baton Baton Mein
44. Top Bollywood Soundtracks Review - C.I.D.
45. Top Bollywood Soundtracks Review - Rock On!!
46. Top Bollywood Soundtracks Review - Hum Kisise Kum Nahin
47. Top Bollywood Soundtracks Review - Masoom
48. Top Bollywood Soundtracks Review - DDLJ
49. Top Bollywood Soundtracks Review - Hare Rama Hare Krishna
50. Top Bollywood Soundtracks Review - Satyam Shivam Sundaram
51. Top Bollywood Soundtracks Review - Umrao Jaan
52. Top Bollywood Soundtracks Review - Mughal-E-Azam
53. Top Bollywood Soundtracks Review - Kabhi Kabhie
54/55. Top Bollywood Soundtracks Review - Disco Dancer and Sharaabi
56/57. Top Bollywood Soundtracks Review - Tere Ghar Ke Samne and Johny Mera Naam
58. Top Bollywood Soundtracks Review - Roja
59. Top Bollywood Soundtracks Review - Bobby
60. Top Bollywood Soundtracks Review - Saagar
61. Top Bollywood Soundtracks Review - Aashiqui
62. Top Bollywood Soundtracks Review - Teesri Manzil
63. Top Bollywood Soundtracks Review - Naya Daur
64. Top Bollywood Soundtracks Review - Silsila
65. Top Bollywood Soundtracks Review - Madhumati
66. Top Bollywood Soundtracks Review - Pyaasa
67. Top Bollywood Soundtracks Review - Sangam
68. Top Bollywood Soundtracks Review - Maachis
69. Top Bollywood Soundtracks Review - Gupt
70. Top Bollywood Soundtracks Review - Kati Patang
71. Top Bollywood Soundtracks Review - Mera Saaya
72. Top Bollywood Soundtracks Review - Padosan
73. Top Bollywood Soundtracks Review - Yaadon Ki Baaraat
74. Top Bollywood Soundtracks Review - Maine Pyar Kiya
75. Top Bollywood Soundtracks Review - Teesri Kasam
76. Top Bollywood Soundtracks Review - Chandni
77. Top Bollywood Soundtracks Review - Hamraaz
78. Top Bollywood Soundtracks Review - Hero No. 1
79. Top Bollywood Soundtracks Review - Sargam
80. Top Bollywood Soundtracks Review - Chalti Ka Naam Gaadi
81. Top Bollywood Soundtracks Review - Milan
82. Top Bollywood Soundtracks Review - Aap Ki Kasam
83. Top Bollywood Soundtracks Review - Janbaaz
84. Top Bollywood Soundtracks Review - Jab Jab Phool Khile
85. Top Bollywood Soundtracks Review - Mera Naam Joker
86. Top Bollywood Soundtracks Review - Amar Akbar Anthony
87. Top Bollywood Soundtracks Review - Hum Aapke Hai Koun..!
88. Top Bollywood Soundtracks Review - Albela
89. Top Bollywood Soundtracks Review - Baiju Bawra
90. Top Bollywood Soundtracks Review - Junglee
91. Top Bollywood Soundtracks Review - Don
92. Top Bollywood Soundtracks Review - Love Story
93. Top Bollywood Soundtracks Review - Sholay
94. Top Bollywood Soundtracks Review - Dil Se
95. Top Bollywood Soundtracks Review - Kabhi Khushi Kabhie Gham
96. Top Bollywood Soundtracks Review - Purab Aur Paschim
97. Top Bollywood Soundtracks Review - Hero
98. Top Bollywood Soundtracks Review - Brahmachari
99. Top Bollywood Soundtracks Review - Gangs of Wasseypur
100. Top Bollywood Soundtracks Review - Shree 420

The year in review - 1993

• The top movie at the box office - Aankhen topped the box office and catapulted the golden partnership of David Dhawan and Govinda into the stratosphere with a long list of blockbusters and superhits over the next decade
• Other notable top grossing releases - Subhash Ghai’s Khalnayak, Yash Chopra’s Darr, Abbas-Mastan’s Baazigar and Rajkumar Santoshi’s Damini sizzled at the box office
• Notable flops of the year - Vikram and Mukesh Bhatt’s Jaanam, a remake of Raj Kapoor’s Bobby with Rahul Roy and Pooja Bhatt bombed at the box office as did Ketan Mehta’s controversial Madam Bouvary adaptation Maya Memsaab and Yash Chopra’s mega starrer Parampara. Kshatriya was another big budget multistarrer to bomb at the box office effectively ending Bollywood’s trend of big budget multistarrer blockbusters of the 70s and 80s. However the biggest box office disaster was the troubled Shekhar Kapur abandoned project Roop Ki Rani Choron Ka Raja which was completed by Satish Kaushik.
• Underrated gems - Kalpana Lajmi’s Rudaali was an unexpected parallel cinema movie that achieved critical and mainstream commercial success. Priyadarshan’s Gardish which was a Hindi remake of Kireedam also achieved critical and mainstream success
• Top actor of the year - Shah Rukh Khan began his reign at the box office in 1993 with Baazigar, Darr, King Uncle and Maya Membsaab. Sunny Deol receives a special mention, Filmfare and National Awards for his towering performance in Damini
• Top actress of the year - Juhi Chawla topped the box office with Blockbusters Darr, Hum Hain Rahi Pyaar Ke and Lootere along with hit movies Aaina and Shatranj which marked the final appearance of Divya Bharti in a movie.
• Top debut of the year - Saif Ali Khan had a wobbly debut year with a mix of below average and flop movies like Aashiq Awaara, Imtihaan and Parampara before finding luck and success in his buddy movies with Akshay Kumar a year later. Venkatesh actually made a successful Bollywood Debut with the hit movie Anari
• Top director of the year - Mahesh Bhatt bombarded the Audiences with 6 movies in 1993 most of which did pretty well at the box office. Gumraah and Hum Hain Rahi Pyaar Ke were top 10 blockbusters, Sir was a hit movie, Phir Teri Kahani Yaad Aayi received great acclaim as a TV movie while Gunaah and Tadipaar did average business. Mahesh Bhatt was also blessed with another daughter who would go on to become on of Bollywood’s top actresses in the next millennium.
• Top soundtrack of the year - The soundtrack for Khalnayak and Baazigar battled for top honors but the real winner of the year was the soundtrack for Roja whose Hindi soundtrack made A.R. Rahman a household name in the Hindi belt
• Other Notable soundtracks of the year - Hum Hain Rahi Pyaar Ke, Aankhen, Phir Teri Kahaani Yaad Aayi all churned out hit songs
• Top song of the year - The most controversial and hot song of the year was Choli Ke Peeche Kya Hai
• Other Notable songs of the year - Yeh Kaali Kaali Aankhen, Ae Mere Humsafar, Jade Teri Nazar, Ghunghat Ki Aad Se, Tere Dar Par Sanam Chale Aaye were the top hits of the year
• Filmfare Award winners - Baazigar, Hum Hain Rahi Pyaar Ke and Damini shared the top honors with 3-4 awards a piece. SRK won his first best actor for Baazigar while Hum Hain Rahi Pyaar Ke won best film and actress awards while Damini won best director, story and supporting actor awards. Dilip Kumar and Lata Mangeshkar were honored with lifetime achievement awards
• National Award winners - Darr won the National award for wholesome entertainment. Rudaali won 3 and Hum Hain Rahi Pyaar Ke won 2 National awards. Patang won for Best Hindi film and Paresh Rawal won a national award for his performance in Sir and Sunny Deol won for Damini. Maya Mehsaab also won for a special jury award
• Dadasaheb Phalke Award - Majrooh Sultanpuri was honored for his decades of amazing poetry and lyrics
• In Memoriam - The sad and controversial demise of 19 year old Divya Bharti still haunts fans and Bollywood. Legendary actor Utpal Dutt also passed away in 1993
• Notable Mentions of the year - 1993 saw the last movies of Rajendra Kumar (Phool), Sanjeev Kumar (Professor Ki Padosan which was released 8 years after his death) and Divya Bharti (Shatranj). Sanjay Dutt was arrested and sent to prison in 1993 in the aftermath of the Bombay serial Bombings. Mehul Kumar’s Tirangaa featured fiery performances from Nana Patekar and Raaj Kumar. Even though Raaj Kumar made a couple of more movies before his death a few years later, however Tirangaa was his final noteworthy performance. Mithun’s Dream Factory launched in 1993 with 7 profitable movies made on miniscule budgets in his Ooty hotel and nearby locations. Dalaal broke into the Top 10 highest grossing movies from the first batch of Mithun’s Dream Factory productions.

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Bollywood Retrospective - 1953
Bollywood Retrospective - 1960
Bollywood Retrospective - 1965
Bollywood Retrospective - 1972
Bollywood Retrospective - 1975
Bollywood Retrospective - 1982
Bollywood Retrospective - 1988
Bollywood Retrospective - 1997
Bollywood Retrospective - 2000
Bollywood Retrospective - 2007
Bollywood Retrospective - 2013
Bollywood Retrospective - 2022

बच्चों की मालिश कैसे करें? यह सवाल बहुत छोटी है परन्तु छोटे शिशु के लिए बहुत महत्वपूर्ण है बच्चों को मसाज (Malish) करने से पुरे दिन की थकावट दूर हो जाती है और बच्चा अच्छी नींद में सो सकता है
जिस तरह बच्चे को माँ की दूध की आवश्यकता होती है उसी प्रकार नवजात शिशुओं को तेल मालिश की जरुरत होती है बच्चों की मालिश (Bachcho Ki Malish) करने से मजबूत शारीर होने के साथ-साथ माँ के साथ बच्चे का लगाव बढ़ता है तेल मालिश करने के बहाने माँ अपने बच्चों से बहुत दुलार-प्यार कर सकती है
https://preview.redd.it/yldx81946gu81.jpg?width=970&format=pjpg&auto=webp&s=eb4744623061ee32d3c397e9d6514f1d3f7f14a9

नवजात शिशु की मालिश क्या होता है?

सरसों तेल या अन्य मेडिसिन तेल से घर के सदस्य या माँ द्वारा बच्चों को मालिश (मसाज) किया जाता है तेल (oil) मालिश करने से बच्चों में शरीरिक विकास होता है तेल मालिश करके माँ अपने बच्चों के साथ बहुत बड़ा कर्तव्य का पालन करती है
तेल मालिश के फायदे इन हिंदी जानने के लिए वेबसाइटहिंदी.कॉम का पूरा पोस्ट पढना होगा आज के समय में लोग Google पर तरह-तरह के तेल व नुस्खे ढूँढना चाहते है जैसे:- डाबर लाल तेल बच्चों को कब लगाना चाहिए, नवजात शिशु की मालिश के लिए तेल, गर्मियों में बच्चों को कौन सा तेल लगाना चाहिए, मजबूत हड्डियों के लिए सबसे अच्छा बच्चा तेल की मालिश. नवजात शिशु की लोई, मालिश करने की विधि इत्यादि
https://ayurvedickenuskhe.blogspot.com/2022/04/bachcho-ki-malish.html

India's musical gems Lata Mangeshkar and Asha Bhosle sang more than 50 songs together in Hindi movies. There are 10 of my favorite duets from the two sisters:

• Mann Kyo Behnka Ke Behka Aadhi Raat Mein from Utsav
• Main Chali Main Chali from Padosan
• Pyar Zindagi Hai from Muqaddar Ka Sikandar
• Kya Hua Yeh Kya Hua from Jis Desh Mein Ganga Behti Hai
• Mittua from Shaan
• Saare Shaher Mein Ek Haseen Hai from Alibaba Aur 40 Chor
• Chhap Tilak from Main Tulsi Tere Aangan Ki
• Humre Gaon Koi Aayega from Professor
• Ruk Jaao Naa Jee from Chalti Ka Naam Gaadi
• Aankhon Aankhon Mein from Janwar

It is worth mentioning the amazing Duniya Mein Hum Aaye Hai To Jeena Hi Padega from Mother India featured 3 Mangeshkar sisters when Lata, Meena and Usha Mangeshkar collaborated. Lata, Lata, Asha and Usha also sang together 5-6 Hindi songs.
https://preview.redd.it/uisqzzy8kmj81.jpg?width=1000&format=pjpg&auto=webp&s=d30f5b0ed44e8002ea371923261f99ec8b137cdb

India's musical gems Lata Mangeshkar and Asha Bhosle sang more than 50 songs together in Hindi movies. There are 10 of my favorite duets from the two sisters:

• Mann Kyo Behnka Ke Behka Aadhi Raat Mein from Utsav
• Main Chali Main Chali from Padosan
• Pyar Zindagi Hai from Muqaddar Ka Sikandar
• Kya Hua Yeh Kya Hua from Jis Desh Mein Ganga Behti Hai
• Mittua from Shaan
• Saare Shaher Mein Ek Haseen Hai from Alibaba Aur 40 Chor
• Chhap Tilak from Main Tulsi Tere Aangan Ki
• Humre Gaon Koi Aayega from Professor
• Ruk Jaao Naa Jee from Chalti Ka Naam Gaadi
• Aankhon Aankhon Mein from Janwar

It is worth mentioning the amazing Duniya Mein Hum Aaye Hai To Jeena Hi Padega from Mother India featured 3 Mangeshkar sisters when Lata, Meena and Usha Mangeshkar collaborated. Lata, Lata, Asha and Usha also sang together 5-6 Hindi songs.
https://preview.redd.it/9i2zzt4xjmj81.jpg?width=1000&format=pjpg&auto=webp&s=99c8fe275da5cc162bc9eff5254823473a442cff

Abhas Kumar Ganguly AKA Kishore Kumar was the youngest of the 3 Ganguly brothers. His eldest brother, Ashok Kumar became one of the most influential actors of his era and wanted that his 2 younger brothers Anoop and Kishore also follow in his footsteps. Anoop became an actor but Kishore was always more passionate about singing. As a child Kishore had a shrill voice and loved to sing K.L. Sehgal songs for his eldest brother. One day a young Kishore accidentally cut his foot and cried endlessly for days because of the pain. This prolonged crying cleared up the shrillness in his voice as a new voice started to emerge. Ashok Kumar got Kishore a job in Bombay Talkies singing in the chorus and acting in small roles in movies. Kishore always ran away from acting opportunities and tried to focus as much as possible on singing. He sang his first songs “Marne Ki Duaen Kyon Mangoon” and “Yeh Kaun Aaya Re" for Dev Anand's Ziddi. If u listen to these songs, you will not hear Kishore Kumar's voice and but a great impression of K.L.Saigal who Kishore Da admired and mimicked. Little did he know that a meeting with S.D. Burman was going to change the trajectory of his career and future of Bollywood music forever.
S.D. Burman was literally born a Prince in the Royal Family of Tripura. His heart was always in music and after years of classical training, he started composing music for Bengali movies. Soon Bollywood was calling and S.D. Burman replied with a few critically acclaimed soundtracks in Hindi movies. Unfortunately these initial albums didn’t receive the same amount of commercial success and popularity as other less trained and talented composers in Bollywood. S.D. Burman decided to pack up his bags and head back to Calcutta. Thats when Dadamoni AKA Ashok Kumar offered S.D. Burman his next movie “Mashaal” but the disillusioned Dada Burman tried to handover his work to his assistant “Manna Dey” and leave for good. Dadamoni somehow managed to convince S.D. Burman to stick around in the city of dreams for a bit longer.
On one of his visits to Dadamoni’s house S.D. Burman heard someone singing “Dheere Se Jaana Bagiyan Mein” in the background. That is when Dadamoni introduced Kishore Kumar for the first time to S.D. Burman and on Dada’s request Kishore sang a bit more for the Maestro. Dada Burman said to Kishore “Beta, Apni Aawaz Mein Gaon (Sing in your voice)”. Kishore didn’t understand what Dada meant and replied "Dada this is my voice". Dada Burman told Kishore to come to him when he finds his real voice. Kishore Da pondered on these words for several days before he finally went to meet Dada Burman and one of Bollywood’s most iconic and famous male voice of all time was born. Kishore was always indebted to Dada Burman for pushing him to go on this journey of self discovery and sang any song that the Maestro offered him till the last seconds of Dada's life.
S.D. Burman was known for his genius selection of the right singers for each song based on their style and the song’s mood. Dada Burman used Mohammed Rafi, Hemant Kumar, Talat Mehmood, Mukesh and others to meet each movie's requirement. Very soon he started seeing Kishore as the happy voice of Dev Anand and some of the finest Kishore Kumar songs of the golden era were recorded for Dev's movies like “Paying Guest”, “Guide”, Jewel Thief” and many more. When S.D. Burman’s son started composing his own songs, Kishore Kumar was on his side right from the beginning especially on the iconic breakthrough soundtrack of "Padosan”. This started another amazing collaboration between the Burmans and Kishore Da which continued to their final days. One day at the end of the 60s, Dada Burman introduced Kishore Kumar to a new actor named Rajesh Khanna and said “You will sing for him from today onwards” and another amazing collaboration was born starting with the masterpiece “Aradhana”. A few movies later S.D. Burman created another masterpiece “Abhimaan” where Kishore lent his voice to the next future superstar of Bollywood Amitabh Bachchan.
A few years later, S.D. Burman composed his final soundtrack for "Mili" and after completing the rehearsal for “Badi Sooni Soni Hai Zindagi” with Kishore Kumar, Dada Burman fell into a coma and was rushed to the hospital. He regained consciousness briefly in the hospital and saw Kishore and Pancham by his bedside. Dada told the two “We have to go back to the studio to finish recording the song” to which Kishore replied “Dada, we have finished the recording. This much we have learnt from you. You should rest”. Dada Burman satisfied that he completed the album, happily closed his eyes and departed from this world. Kishore got up, wiped the tears in his eyes and told Pancham "We have to first go back to the studio and complete the recording. I have lied to Dada and cant go back home without finishing the song". The two returned to the studio to record Dada Burman’s last melody. Kishore Kumar’s “Aaye Tum Yaad Mujhe” became the last song on the "Mili" soundtrack as a tribute to immortalize the music of one of the greatest music directors of all time. "Har Pal Mann Mera Mujhse Kehta Hai, Jiski Dhun Mein Tu Khoya Rahta Hai, Bhar De Phulo Se Uska Daaman. Aaye Yum Yaad Mujhe, Gaane Lagi Har Dhadkan". Immortal words and memorable music from one of the greatest collaborations in Indian music.
https://preview.redd.it/hrctxs19sbh81.jpg?width=445&format=pjpg&auto=webp&s=49aff933cd3ccade1eb7f347934871f86a144969

Abhas Kumar Ganguly AKA Kishore Kumar was the youngest of the 3 Ganguly brothers. His eldest brother, Ashok Kumar became one of the most influential actors of his era and wanted that his 2 younger brothers Anoop and Kishore also follow in his footsteps. Anoop became an actor but Kishore was always more passionate about singing. As a child Kishore had a shrill voice and loved to sing K.L. Sehgal songs for his eldest brother. One day a young Kishore accidentally cut his foot and cried endlessly for days because of the pain. This prolonged crying cleared up the shrillness in his voice as a new voice started to emerge. Ashok Kumar got Kishore a job in Bombay Talkies singing in the chorus and acting in small roles in movies. Kishore always ran away from acting opportunities and tried to focus as much as possible on singing. He sang his first songs “Marne Ki Duaen Kyon Mangoon” and “Yeh Kaun Aaya Re" for Dev Anand's Ziddi. If u listen to these songs, you will not hear Kishore Kumar's voice and but a great impression of K.L.Saigal who Kishore Da admired and mimicked. Little did he know that a meeting with S.D. Burman was going to change the trajectory of his career and future of Bollywood music forever.
S.D. Burman was literally born a Prince in the Royal Family of Tripura. His heart was always in music and after years of classical training, he started composing music for Bengali movies. Soon Bollywood was calling and S.D. Burman replied with a few critically acclaimed soundtracks in Hindi movies. Unfortunately these initial albums didn’t receive the same amount of commercial success and popularity as other less trained and talented composers in Bollywood. S.D. Burman decided to pack up his bags and head back to Calcutta. Thats when Dadamoni AKA Ashok Kumar offered S.D. Burman his next movie “Mashaal” but the disillusioned Dada Burman tried to handover his work to his assistant “Manna Dey” and leave for good. Dadamoni somehow managed to convince S.D. Burman to stick around in the city of dreams for a bit longer.
On one of his visits to Dadamoni’s house S.D. Burman heard someone singing “Dheere Se Jaana Bagiyan Mein” in the background. That is when Dadamoni introduced Kishore Kumar for the first time to S.D. Burman and on Dada’s request Kishore sang a bit more for the Maestro. Dada Burman said to Kishore “Beta, Apni Aawaz Mein Gaon (Sing in your voice)”. Kishore didn’t understand what Dada meant and replied "Dada this is my voice". Dada Burman told Kishore to come to him when he finds his real voice. Kishore Da pondered on these words for several days before he finally went to meet Dada Burman and one of Bollywood’s most iconic and famous male voice of all time was born. Kishore was always indebted to Dada Burman for pushing him to go on this journey of self discovery and sang any song that the Maestro offered him till the last seconds of Dada's life.
S.D. Burman was known for his genius selection of the right singers for each song based on their style and the song’s mood. Dada Burman used Mohammed Rafi, Hemant Kumar, Talat Mehmood, Mukesh and others to meet each movie's requirement. Very soon he started seeing Kishore as the happy voice of Dev Anand and some of the finest Kishore Kumar songs of the golden era were recorded for Dev's movies like “Paying Guest”, “Guide”, Jewel Thief” and many more. When S.D. Burman’s son started composing his own songs, Kishore Kumar was on his side right from the beginning especially on the iconic breakthrough soundtrack of "Padosan”. This started another amazing collaboration between the Burmans and Kishore Da which continued to their final days. One day at the end of the 60s, Dada Burman introduced Kishore Kumar to a new actor named Rajesh Khanna and said “You will sing for him from today onwards” and another amazing collaboration was born starting with the masterpiece “Aradhana”. A few movies later S.D. Burman created another masterpiece “Abhimaan” where Kishore lent his voice to the next future superstar of Bollywood Amitabh Bachchan.
A few years later, S.D. Burman composed his final soundtrack for "Mili" and after completing the rehearsal for “Badi Sooni Soni Hai Zindagi” with Kishore Kumar, Dada Burman fell into a coma and was rushed to the hospital. He regained consciousness briefly in the hospital and saw Kishore and Pancham by his bedside. Dada told the two “We have to go back to the studio to finish recording the song” to which Kishore replied “Dada, we have finished the recording. This much we have learnt from you. You should rest”. Dada Burman satisfied that he completed the album, happily closed his eyes and departed from this world. Kishore got up, wiped the tears in his eyes and told Pancham "We have to first go back to the studio and complete the recording. I have lied to Dada and cant go back home without finishing the song". The two returned to the studio to record Dada Burman’s last melody. Kishore Kumar’s “Aaye Tum Yaad Mujhe” became the last song on the "Mili" soundtrack as a tribute to immortalize the music of one of the greatest music directors of all time. "Har Pal Mann Mera Mujhse Kehta Hai, Jiski Dhun Mein Tu Khoya Rahta Hai, Bhar De Phulo Se Uska Daaman. Aaye Yum Yaad Mujhe, Gaane Lagi Har Dhadkan". Immortal words and memorable music from one of the greatest collaborations in Indian music.
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In the history of Indian cinema there are a few milestones which paved the path and future of our Cinema. Some of these moments have been forgotten over time but others still shine bright. Here is a list of the most iconic milestones to treasure in our memory and pay respect to:
First Indian Short Film (1899) - "The Wrestlers" was the first ever motion picture made in India by Harishchandra Sakharam Bhatavdekar AKA Save Dada. Save Dada was among the first Indians to witness the movie pioneer Lumiere Brothers unveiling of a new mode of entertainment and communication on their global tour in Bombay with their first motion picture “La Sortie des ouvriers de l'usine Lumière” (“Workers Leaving the Lumière Factory”). After experiencing this new art form he decided to buy a movie camera and projector and started making short films in India. He is considered India’s first documentary film maker as he started shooting scenes from daily life and important events.
India’s First Full Length Film (1903) - "Ali Baba and Forty Thieves" is considered India’s first ever full length movie of a stage play recorded by Hiralal Sen. Hiralal saw a stage show captured on.film called “The Flower of Persia” in Calcutta and decided to make his own movies. He founded the Royal Bioscope and made more than 40 short films over the next decade. He lost most of his money over the years leading to the eventual closure of Royal Bioscope and unfortunately all his films were lost in a fire in 1917 before his untimely death. Hiralal is also considered India’s first advertising film maker.
India’s First “Feature Film” (1912) - "Shree Pundalik" is in fact the first 22 min feature film shot based on a script and released in India by Dadasaheb Torne. Since it was shot by British cinematographers, processed in London and is considered a recording of a play, it is not recognized as India’s first film by the Government of India despite being released a year before Raja Harishchandra.
First Authentic Indian Film (1913) - "Raja Harishchandra" is the movie we all know as India’s first film. It may have not been the actual “First” Indian film but it is definitely the first truly authentic Indian film made and processed completely locally. The Father of India Cinema, Dadasaheb Phalke got inspired by the film “The life of Christ” in 1911 and travelled to London to learn about film making. On his return he founded the Phalke Films company, imported the required equipment to shoot a short film called "Ankurachi Wadh" (Growth of a Pea Plant). He used this short film to attract investors for his first movie which was shot with a fully male cast playing both male and female characters. Raja Harishchandra was screened as a one and a half hour show which included a dance number, a comedy act and some juggling before the movie was played. After a packed houseful run for its initially planned 1 week run, it was extended for another 2 weeks. As the word of the success of the movie spread across the country, Dadasaheb moved around with the projector, film and equipment to screen it. The film’s original print caught fire during the move from one theater to another on a bullock cart forcing Dadasaheb to reshoot portions of the film and create a shorter version called “Satyavadi Raja Harishchandra” in 1917. It is believed that only the first and last reel of the original movie have survived over the years and the remaining movie is made from the reshot shorter version of the film. The National award winning “Harishchandrachi Factory” made in 2009 brilliantly captures the story of making of Raja Harishchandra. This was the first big milestone which led to creation of an Indian film industry and film making in India.
First Indian Actress (1914) - Durgabai Kamat was the first female actor in an Indian movie. She played the role of Parvati in Dadasaheb Phalke's “Mohini Bhasmasur” in the era when women were not allowed to act in films or plays. Her Daughter Kamlabai Gokhale was the first female child artist in Indian movies. Durgabai was the great grandmother to the renowned Marathi and Hindi movie actors Vikram (Agneepath/Hum Dil De Chuke Sanam) and Mohan Gokhale (Sparsh/Mirch Masala) who technically become India’s first movie family.
First Indian Actor to play two roles in a movie (1917) - Anna Salunke in Dada Saheb Phalke's “Lanka Dahan". The movie featured trick photography and special effects which delighted the audience. This was the first movie to feature a double role as actor Anna Salunke played the roles of both Ram and Sita as women were generally not allowed to participate in performing arts. The audiences treated the halls where the movie was screened like a temple and took off their shoes in order to see the gods on screen. The movie ran to packed houses and minted money for its producers.
Censor Board Established (1920) - Independent censor boards were created in Bombay, Madras, Calcutta, Lahore and Rangoon under the local police chiefs in 1920. In 1947 these local censor boards were brought under the Bombay Board of Film Censors which eventually became the Central Board of Film Censors in 1952.
First Casualty of Indian Censor Board (1921) - "Bhakta Vidur" was the first unfortunate victim of the newly founded censor boards. It got banned for presenting its main character of Vidur in the style and personality of Mahatma Gandhi and due to several similarities with British India’s political situation.
First Indian Female Director (1926) - Fatma Begum was a stage and film actress who established Fatma films in 1926 and started producing and directing films starting with her debut feature "Bulbul-E-Paristan”. This is considered India’s first fantasy movie full of trick shots and special effects. Unfortunately no print of the movie exists in today’s date. She was the mother of superstars Zubeida, Sultana and Shehzadi. Zubeida starred in India’s first talkie and also married into Royalty like her mother. Fatma was the great grandmother of model Rhea Pillai.
First Indian Talkie (1931) - "Alam Ara" was the next major milestone in Indian movie history as movies transitioned from the silent era to an era where the actors started to talk on screen. The movie was produced and directed by Ardeshir Irani and starred Zubeida (Daughter of Fatma Begum), Master Vithal and a young actor named Prithviraj Kapoor. The movie was shot mostly at night to avoid any sounds from nearby traffic and trains. "De De Khuda Ke Naam Par Pyare” was India’s first film song. The movie and its songs were adored by fans and led to its successful run of 8 weeks all over India. No print of this masterpiece survived over the years and this is considered one of India’s most important lost films.
First Indian Movie to use Artificial Light (1931) - "Apradhi" changed how movies were lighted and made. All movies before “Apradhi” were mostly shot outdoors underneath natural sunlight and any indoor scenes were shot with the help of reflected sunlight using mirrors. P.C. Barua “The original Devdas” went to Paris with an introduction letter from Rabindra Nath Tagore to learn about the latest techniques in film making. He returned to India with state of the art lighting equipment and decided to use them for his first movie in lead role named “Apradhi” directed by Debaki Bose. P.C. Barua also experimented for the first time with make up under artificial light and ended up wasting a lot of recorded footage but successfully emerged with a radically new way of making movies. P.C. Barua started directing movies after "Apradhi" with an assistant and photographer named “Bimal Roy” who would eventually change the landscape of movie making as one of India’s best directors of all time.
India’s First Animated Movie (1931) - "Lafanga Langoor" delighted kids all over India and wowed adults as the first cartoon film made in India. The film was directed by Mohan Dayaram Bhavnani with the help of German photographer Bocho Gutachwager.
First Indian Silver Jubilee Movie (1932) - "Sham Sundar" directed by Bhalji Pendharkar became the biggest hit at the time of its release running for more than 26 weeks. Bhalji Pendharkar started his career with the epic “Bajirao Mastani” before "Shyam Sundar" broke records to become India’s first Silver Jubilee movie. Pendharkar was the half brother of future actor director Master Vinayak (Father of actress Nanda) and cousin to the legendary actor director V. Shantaram.
First Onscreen Kiss in an Indian Movie (1933) - The silent movie "Marthanda Varma" was the first Indian movie to show a kiss on screen. It is the only South Indian silent movie from that era with a surviving print in the National Film Archive of India. However it was Devika Rani’s 4 min long kiss with her husband Himanshu Rai in "Karma" which actually turned heads. She established Bombay Talkies with her husband, infamously eloped with her co-star Najm-ul-Hassan and was eventually convinced by her husband’s associate Sashadhar Mukherjee to return back to her husband and acting. She took control of Bombay Talkies after Rai's death along with Sashadhar Mukherjee and her costar of several movies Ashok Kumar. Mukherjee became the clan head of the famous Mukherjee-Samarth-Ganguly families. His brother in laws were Ashok, Anoop and Kishore Kumar. His children were actors Joy and Deb Mukherjee along with director Shomu who married Tanuja, sister of Nutan from the Samarth family. Mukherjee was the grand father of Kajol and Rani Mukherjee. Devika Rani had a great run of hit movies with Ashok Kumar but will be most remembered for her beauty, the kiss, becoming the first recipient of the prestigious Dadasaheb Phalke Award and for discovering and handpicking a young actor named Dilip Kumar for “Jwar Bhata”.
India’s First Color Movie and Original Soundtrack Record (1933) - V. Shantaram's "Sairandhri" was technically the first Indian color movie. It was a bilingual movie made in Marathi and Hindi based on one of the stories from the Mahabharata starring Master Vinayak. V Shantaram made the movie in color and took it to Germany for processing where unfortunately the processing was messed up by the lab leading to extremely loud and garish colors. As a result the movie was released in black and white and didn’t do well with the audience. The film was also the first to have a gramophone record pressed for the movie’s original soundtrack.
First Indian Movie to receive international recognition (1934) - Debaki Bose’s "Seeta" was awarded a honorary diploma at the Venice Film Festival. The film starred Durga Khote and Prithviraj Kapoor in the roles of Seeta and Ram and was the first Indian movie to receive any International acclaim and recognition.
First Indian Movie with Playback Singing (1935) - "Dhoop Chhaon" changed Indian movie music completely by becoming the first Indian movie to use recorded songs and introduced the concept of playback singing. All songs used to be sung live by the actors in movies before director Nitin Bose and composer Raichand Boral came up with the idea of playback singing. Now anyone could sing the song while the main actors lip synced to the songs during the shooting of the movie. This technique changed the future of Indian cinema and gave birth to playback singers who had no aspirations to act in front of the camera and allowed actors without the skill to sing focus on their primary job of acting. A major game changer.
First Indian Female Composer (1935) - Jaddanbai was a singer, dancer, actress and pioneer of Indian cinema who became the first female composer for the movie “Talash-E-Haq". Her mother Daleepabai who was born in a Hindu family as Dilipa Devi was abducted and groomed into the profession of dancing in Allahabad where she became a well renowned dancer. Jaddanbai would eventually became a music composer starting with her movie “Talash-E-Haq” which also featured her daughter Baby Rani who would grow up to become one of India’s finest actresses, Nargis, Raj Kapoor’s muse, Sunil Dutt’s wife and Sanjay Dutt’s mother. In the same year Saraswati Devi also composed the music for her first movie “Jawani Ki Hawa” and is also recognized as India’s first female composer along with Jaddanbai. Saraswati Devi is best known for composing the songs of "Achyut Kanya” and 2 songs sung originally by Ashok Kumar and then sung again by Kishore Kumar many years later as “Koi Humdum Na Raha” from “Ghunghroo” and the iconic song “Ek Chaturi Naar Kar Ke Shringar” from “Padosan”.
First Indian Movie with a Female Lead (1935) - Homi Wadia’s "Hunterwali" was a blockbuster action movie with a solo female lead. Fearless Nadia AKA Mary Ann Evans was an Indian stuntwoman and actress of Australian origin who debuted in this movie and won hearts and applause all over India. She married Homi Wadia and became Nadia Wadia. Vishal Bhardwaj’s movie "Rangoon" features Kangana Ranaut in a role inspired by Fearless Nadia.
First Color Movie processed in India (1935) - "Kisan Kanya" became India’s first official color movie to get fully shot, processed and released in India. The movie was based on a novel by Manto, whose life was recently brought to life by Nawazuddin Siddiqui. Film pioneer Ardeshir Irani, the director of India’s first talkie conceived and produced his idea of India’s first color movie with "Kisan Kanya". This was another major milestone in Indian Cinema.
First use of a moving camera in Indian Cinema (1935) - Mehboob Khan was one of Bollywood’s biggest directors of the 30s and 40s who would eventually direct India’s first Oscar nominated movie. He felt constrained by the limitations of the heavy, immobile and difficult to maneuver camera while shooting his movies. So he decided to put a camera on a Thela (Cart) and tie it with rope which the crew used to move the camera. Mehboob Khan could now follow the action instead of all the actors focus and play towards a still camera. When Bollywood insiders heard about this experiment almost everyone flocked to see Mehboob Khan’s experiment in action. Mehboob Khan was successful in achieving the desired results of this moving experiment, however at the cost of some injuries to his music director Anil Biswas who was so focused on the the action while following the cart with his music band that he didn’t see a hole that he fell into, leading to injuries and ending the days work for the crew.
First Golden Jubilee Film (1936) - "Sant Tukaram" directed by Vishnupant Govind Damle and Sheikh Fattelal broke records to become one of India’s first big hit movies. It ran in one theater for more than a year becoming India’s first golden jubilee hit and won several international awards including at the Venice Film Festival.
First Songless Indian Talkie (1937) - J.B.H Wadia did the inconceivable action of making **"Naujawan"**a talkie without any songs. He was the elder brother of Homi Wadia and actually discovered Fearless Nadia who Homi directed and married. He proved that songless serious movies could co-exist in India’s musical talkie world.
India’s First Sequel (1943) - "Hunterwali Ki Beti" became the first sequel of an Indian movie when Fearless Nadia returned in another action packed movie. The movie was directed by Batuk Bhatt AKA Nanabhai Bhatt, the father of Mahesh, Mukesh and Robin Bhatt and patriarch of the Bhatt family which also includes Eemran Hashmi, Milan Luthria, Mohit Suri, Udita Goswami, Suneel Darshan, Dharmesh Darshan, Pooja and Alia Bhatt.
First Indian Movie to Gross Rs 1 Crore (1943) - "Kismet" was India’s first blockbuster produced by Bombay Talkies and featured India’s original superstar Ashok Kumar. "Kismet" was a movie with several firsts in Indian cinema history. Ashok Kumar played the first Anti-hero in film industry, the movie has the first ever depiction of an unmarried pregnant girl, and used the evergreen Bollywood lost and found formula for the first time in Indian movies, it was the first blockbuster, first movie to run for 187 weeks a record which stood for 32 years before a movie named Sholay shattered it in 1975 and it also features the first appearance of Mehmood as a child artist in movies.
First Indian movie to win Palme d’Or (1946) - Chetan Anand’s "Neecha Nagar" became the first Indian movie to win one of the most prestigious awards in the movie world as it received the Palme d’Or at Cannes Film Festival. The tale of social divide based on Gorky’s “The Lower Depths” is the only Indian movie till date to win this award. The movie also marked the debut of actress Kamini Kaushal and Maestro Ravi Shankar as a first time movie music director.
First Indian Musical chartbuster (1949) - Raj Kapoor’s "Barsaat" became the first Hindi movie soundtrack to feature multiple iconic hit songs like “Hawa Mein Udta Jaaye”, “Jiya Beqarar Hai”, "Barsaat Mein Humse Mile”, “Mujhe Kissi Se Pyaar Ho Gaya”, “Patli Kamar Hai”, “Chhod Gaye Baalam” and others. It became the highest grossing movie on release and established RK’s team of jolly artists featuring Nargis, Shankar Jaikishan, Shailendra, Hasrat Jaipuri, Mukesh and Lata Mangeshkar and changed music in Hindi movies forever.
First Indian Movie to receive an Adult Certificate (1950) - "Hanste Aansoo" became the first Indian movie to receive the censor board’s newly introduced “Adult” certificate due to its bold theme for that era. The movie showed a strong willed, intelligent and independent wife played by Madhubala who leaves her illiterate husband after being physically abused by him. The portrayal of a modern woman standing up for her rights was not considered fit for general audience by the censor board. The movie still became a hit at the box office due to Madhubala’s star power and popularity.
First Indian Movie in Technicolor (1953) - Sohrab Modi’s "Jhansi Ki Rani" was the first Indian movie shot in technicolor with the help of several Hollywood technicians including Ernest Haller, the cinematographer of “Gone with the Wind”. The brilliantly shot and beautifully colored spectacle somehow failed to impress at the box office
First Winner of Filmfare Award (1954) - "Do Bigha Zamin" won the inaugural Filmfare award for Best Film and Director and kicked of Bimal Roy’s legendary run of 11 Filmfare Awards in its first decade. "Do Bigha Zamin” kicked off India’s Neo-realistic cinema which gained traction with Roy’s next movies along with another young film maker named Satyajit Ray and Roy’s mentees Hrishikesh Mukherjee and Basu Bhattacharya.
First Winner of National Film Award (1954) - The Marathi movie "Shyamchi Aai" became the first winner of the National Award for Best film AKA The golden Lotus.
First Oscar Nomination for an Indian movie (1957) - Mehboob Khan’s Magum Opus "Mother India” created history in India as it conquered the box office to become the highest grossing movie at the time of release and India’s first Oscar nominated film. Mother India is the movie with which India came closest to winning an Oscar. It lost the Oscar for best foreign film to Fellini’s "Night of Cabiria" by a single vote. Its iconic poster with Nargis was the pride of India for several decades. Javed Akhtar once wrote "All Hindi films come from Mother India”. After all it kicked off the Dacoit Genre, introduced India to morally opposed brothers, a strong female character, a rebellious son, an angry young man and is considered one of the earliest movies to convey the sense of Indian Nationalism and Patriotism. Time magazine, CNN, BBC, British Film Institute have all listed it among the Top 100 movies in world cinema.
India’s First Trilogy (1955-59) - Satyajit Ray’s Apu Trilogy was not only India's but the world’s first trilogy. Apu’s narrative began with the story of a boy in the 1955 masterpiece “Pather Panchali” followed by the story of his teenage year in the 1956 gem “Aparajito” before its masterful conclusion in 1959 in the heartbreaking tale of his adulthood “Apur Sansar”. “The Apu Trilogy” won 3 national awards, 7 awards at Cannes, Berlin and Venice Film Festivals and countless awards across the globe. An achievement no other India director has even been able to replicate.
First Indian Movie shot in Cinemascope (1959) - Guru Dutt’s semi-autobiographical classic "Kaagaz Ke Phool" was a technical and emotional masterpiece, so ahead of its time that it unfortunately ended Guru Dutt’s iconic career as a director. Dutt invested in the movie and pioneered the use of cinemascope for the first time in Indian cinema with license from 20th century fox. The format, the lighting, the camera work, the blocking, the film making techniques used by Dutt for "Kaagaz Ke Phool" are still taught in film school. The British Film Institute, Sights and Sound, CNN all rated “Kaagaz Ke Phool’ among the best Indian movies of all time. Now considered a true masterpiece and one of the greatest movies about film making and life, “Kaagaz Ke Phool” is still screened and applauded at film festivals around the globe more than 60 years later. The commemorative stamp released to honor Guru Dutt prominently features the set and light beam of “Kaagaz Ke Phool” in the background.
First Indian Movie to gross Rs 5 Crore (1960) - K Asif’s Magnum Opus "Mughal-E-Azam" was the first Indian movie to earn INR 5 crore (INR 2,200+ Adjusted for inflation) in history. Its record as India's highest grossing movie of all time hasn’t been broken in the last 6 decades. This Epic production was made for an unheard budget of INR 1 Crore in 1960 which is more than 100 crores adjusted for inflation in today’s date. It grossed more than INR 2,200 crores adjusted for inflation in India alone, a record which no Indian movie has ever come close to even in today’s global market. The day before its advance booking opened, more than 100,000 people showed up at Bombay’s 1,100 capacity Maratha Mandir Cinema to buy tickets. Fans stayed in the queue for days with their families bringing them food daily till they were finally be able to buy the tickets for the movie. The tickets were the most expensive sold till that time and were sold in dockets with photos and trivia of the movie. More than 100 million people decided to walk into cinema halls to watch Bollywood's Magnum Opus, a landmark movie by all standards. "Mughal-E-Azam" is considered a landmark of Cinema and is considered by BBC as one of the most Iconic Indian movies. The British Film Institute polled it in the top 10 Indian movies of all time.
First International Award for an Indian Actor (1960) - Sivaji Ganesan became India’s first actor to win a best actor award at the Afro-Asian Film Festival in Cairo for his tremendous performance in the historical biopic "Veerapandiya Kattabomman”.
First Indian Movie shot outside India (1964) - Raj Kapoor’s "Sangam" took his audience abroad for the first time as he shot several scenes in Switzerland and Paris for the first time. The movie became the second highest grossing blockbuster in India at the time of its release.
First Winner of Dada Saheb Phalke Award (1969) - Devika Rani widely considered the First Lady of Indian cinema became the first recipient of India’s highest award in the field of cinema which is awarded to one iconic Indian artist every year.
First Indian Movie to highlight name of its writers (1973) - Salim-Javed changed the landscape for writers in Indian cinema forever after their runaway success of Zanjeer, the movie which introduced Big B as the Angry Young man to India. Salim-Javed asked Prakash Mehra for a previously unimaginable request to add the writer's names on the movie poster. Mehra agreed but was apologetic when the posters came out without any mention of Salim-Javed. Salim-Javed hired a painter to use a stencil and paint their name on every poster put up across Bombay overnight before the day of the movie’s release. The painter ended up adding “Written by Salim-Javed” all over the posters including Amitabh’s face, Pran’s beard, director’s name etc. It became very obvious to anyone looking at the posters that this was a Salim-Javed movie. Salim-Javed finally got their wish carving the way for writer's, as their names appeared on the movie posters with their next movie "Deewar".
First Indian Movie to run in cinemas for 10 years (1975) - "Sholay" is often considered the greatest Indian movie of all time. Its story, its characters, its songs, its scenes and its dialogues were all so iconic that it created history by becoming the first movie to reach a silver jubilee in more than 100 theaters and also run in a theater for 10 successive years. It was awarded a special Filmfare Award for Best Film of last 50 years and BBC India's Film of the Millennium. Truly pathbreaking.
First Indian to win an Oscar (1982) - Bhanu Athaiya became the first Indian to win an Oscar award for Richard Attenborough’s multiple Oscar winning masterpiece "Gandhi". Her illustrious career was full of amazing costume designing work in classics like "C.I.D.", "Pyaasa", "Kaagaz Ke Phool", "Sahib Bibi Aur Ghulam", "Guide", "Mera Naam Joker", "Satyam Shivam Sundaram", "Karz" and several others. Her triumph at the Oscars was one of the proudest moments for India at the global stage.
First Indian 3D Movie (1984) - "My Dear Kuttichathan" was the first Indian movie made and released in 3D. It was released in Hindi as "Chota Chetan". It became the highest grossing Malayalam movie on release. It led to creation of a few more 3D movies which unfortunately focused more on the technology as a gimmick than the movie's content and story. The 3D craze was short lived. The release of “Avatar" 25 years later eventually brought 3D movies to the forefront.
First winner of Camera d’Or (1988) - Mira Nair’s "Salaam Bombay!" not only became the 2nd Indian movie to get an Oscar Nomination, but also got nominated at BAFTA, the Golden Globes and became India’s first winner of the Camera d’Or at Cannes Film Festival.
First Oscar for an Indian director (1992) - Satyajit Ray’s masterpiece laden career was finally recognized with an honorary Oscar for his work. Such was his dedication to the art that he wrote, composed, produced and directed his final movie from an oxygen tent a few month’s before his body finally gave up. The national award for best movie and director for his final movie was announced 15 days before Ray’s demise. He heard the announcement but wasn’t around for the actual award presentation. Luckily he was able to receive his Oscar and thanked the academy through a video recording before his demise.
**First Indian Movie with Dolby Surround (1994) - Vidhu Vinod Chopra’s "1942: A Love Story" changed how Indian’s experienced sound in a movie theater bringing Dolby Surround to India for the first time. The movie viewing and hearing experience has never been the same. R.D. Burman’s brilliant soundtrack and amazing songs received an appropriate tribute in his final movie.
First Indian Movie to run in cinemas for 24 years (1995) - "Dilwale Dulhania Le Jayenge" broke Sholay’s 10 year run record after running in Maratha Mandir for 1009 consecutive weeks. When Maratha Mandir reopened its doors after the Covid lockdown ended, it was "DDLJ" which was the first movie to be screened after the break. It ran in the UK for more than a year and has been playing in theaters somewhere in the world for more than 24 years. The movie made SRK a superstar and won a National Film award and a record breaking 10 Filmfare awards including Best Film, Director, Actor and Actress.
First Indian Actor to win an award for Best Actress (1996) - Nirmal Pandey became the first and only Indian male actor to win an award for Best Actress at the Festival de Valenciennes for Amol Palekar’s movie “Daayra” about a transvestite. He shared the award with the movie’s female lead Sonali Kulkarni.
First Indian Movie to get Insured (1998) - Subhash Ghai’s "Taal" became the first Indian movie to get insured. Ghai started this trend after the original star of his previous production “Trimurti”, Sanjay Dutt got imprisoned following which changes to the cast, characters and storyline of the movie resulted in one of Bollywood's biggest commercial bomb.
First Indian Musician and Lyricist to win an Oscar (2008) - A.R. Rahman and Gulzar became India’s pride when "Slumdog Millionaire" won Oscars for best original score and song for the modern Bollywood musical prodigy and the veteran poet lyricist.
First Movie to gross more than Rs 100 Crore (2008) - Aamir Khan’s Ghajini became the first Indian movie to blast through the Rs 100 Crore Box office mark.
First Movie to gross more than Rs 200 Crore (2009) - Aamir Khan’s 3 Idiots became the first Indian movie to blast through the Rs 200 Crore Box office mark.
First Movie to gross more than Rs 300 Crore (2014) - Aamir Khan’s PK became the first Indian movie to blast through the Rs 300 Crore Box office mark.
First Movie to gross more than Rs 500 Crore (2015) - Bahubali became the first Indian movie to blast through the Rs 500 Crore Box office mark.
First Movie to gross more than Rs 1,000/2,000 Crore (2016) - Dangal became the first Indian movie to blast through the Rs 1,000 and then the Rs 2,000 Crore Box office mark.
Records are meant to be broken and new ones will keep on getting set as we move ahead but milestones like first movie, first talkie, first movie with playback singing, first color movie and others were vital to the evolution of Indian Cinema. This is a tribute to all the pioneers who contributed to Indian cinema over the last 120+ years and paved the path for the future.
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