Murad's Music Hub 2011 December - Murad's Music Hub

Archive for December, 2011

Salil Chowdhury

Saturday, December 31st, 2011

Salil Chowdhury

Salil Chowdhury (Bengali: সলিল চৌধুরী, Hindi: सलिल चौधरी, Malayalam: സലില്‍ ചൗധരി) was an Indian music composer. He mainly composed for Bengali, Hindi, and Malayalam films. He was also a poet and a playwright. He is affectionately called Salilda by all his admirers.

His musical genius was widely recognized and acknowledged in the Indian film industry. He was an accomplished arranger and was proficient in several musical instruments, including flute, the piano, and the esraj. He was also widely acclaimed and admired for his inspirational and original poetry.

Early influences

Salil’s childhood was spent in the tea gardens of Assam. From an early age he listened to the Western Classical collection of his father. His father was reputed to stage plays with coolies and other low-paid workers of the tea-gardens. He graduated from Bangabasi College, an affiliate of the University of Calcutta in Kolkata and it was during this period of time that his political ideas were formulated quickly along with a considerable maturity in his musical ideas. He was a man with excellent talent.

In 1944, a young Salil came to Calcutta for his graduate studies. He joined the IPTA (Indian Peoples Theater Association) the cultural wing of the Communist Party of India. He started writing songs and setting tunes for them. The IPTA theatrical outfit travelled through the villages and the cities bringing these songs to the common man. Songs like Bicharpati, Runner and Abak prithibi became extremely popular with the general population at the time.

Songs like Gaayer bodhu, which he composed at the age of 20, brought about a new wave of Bengali music. Almost every notable singer at the time from West Bengal had sung at least one of his songs. A few examples are Hemanta Mukherjee, Shyamal Mitra, Manabendra Mukherjee, Pratima Banerjee, etc. His family was original from Village Baharu.


His first Bengali film “Paribortan” (translation: Transformation) was released in 1949. “Mahabharati” released in 1994 was the last of his 41 Bengali films.

Salil da’s debut in the Hindi Film Industry came in 1953 as the Music Director for Do Bigha Zamin by Bimal Roy. The film was the cinematic version of Salil Chowdhury’s short story named “Ricksawala”. It also took his career to new heights when it became the first film to win theFilmfare Best Movie Award and won the international Prize at the Cannes Film Festival.

Main article: Do Bigha Zamin

After about 20 years in Bengali and Hindi films, Salil da entered Malayalam films in 1964 with Chemmeen. Almost all of his Malayalam songs became popular irrespective of the performance of the films they were made for.

He went on to compose for over 75 Hindi films, over 40 Bengali films, around 26 Malayalam films, and several Marathi, Tamil, Telugu, Kannada, Gujarati, Oriya and Assamese films.

Salil da’s music showed an equally rich blend of Western and Indian classical music.

Some of his straight adaptations of Western Classical Music include

  • Itana na mujhse tu pyar badha” from Chhaya – based on Mozart’s Symphony No. 40
  • Raaton ke saaye ghane” from Annadata – based on works by Chopin

Salil Chowdhury was married to Smt. Sabita Chowdhury. He has two daughters and two sons.

Salilda’s daughter, Antara Chowdhury is currently a performing artist in her own right. She recently sang for Sudhir Mishra’s hit Khoya Khoya Chand in a duet with Sonu Nigam. Antara has many forthcoming projects intended to preserve the legacy of her father and bridge the gaps between old and new generations. A new album entitled Generations: Volume 1 produced by her brother, Bobby Chowdhury with compositions by Salil Chowdhury and Sanjoy Chowdhury is slated to be released Spring 2008. Hindi and Bengali singles from the album have been released on the iTunes Music Store worldwide. These include in Hindi, “kyon beheke hain / stranger” and “chale ayona / so far away” with lyrics by Yogesh and music by Sanjoy and in Bengali, “esho boshona / sit beside me” and “dur ojanate / far away” with lyrics by Salil Chowdhury and Tarun respectively and music by Sanjoy.

Salil’s music was a unique blending of the Eastern and the Western music traditions. He had once said: ‘I want to create a style which shall transcend borders – a genre which is emphatic and polished, but never predictable’. He dabbled in a lot of things and it was his ambition to achieve greatness in everything he did. But at times, his confusion was fairly evident – ‘I do not know what to opt for: poetry, story writing, orchestration or composing for films. I just try to be creative with what fits the moment and my temperament’ he once told a journalist.

Salil’s love for Western classical music started when he was a young boy growing up in an Assam tea garden where his father worked as a doctor. His father inherited a large number of western classical records and a gramophone from a departing Irish doctor. While Salil listened to Mozart, Beethoven, Tchaikovsky, Chopin, etc. everyday, his daily life was surrounded by the sound of the forest, chirping of the birds, sound of the flute and the local folk-music. This left a lasting impression in young Salil. He became an excellent self-taught flute player and his favourite composer was Mozart. His compositions often used folk melodies or melodies based on Indian classical ragas but the orchestration was very much western in its construction. He developed a unique style which was immediately identifiable


Chaudhvin Ka Chand 1960

Monday, December 26th, 2011

Chaudhvin Ka Chand 

Chaudhvin Ka Chand (Hindi: चौदवीं का चाँद, Urdu: چودھویص کا چاند) is a 1960 Hindi feature film directed by Mohammed Sadiq. A production of Guru Dutt, the film centers on a love triangle between Guru Dutt, Rehman and Waheeda Rehman, and features music by Ravi. Farida Jalal is a guest appearance in the film, her debut. After a disastrous box-office performance of Kaagaz Ke Phool, this was a highly commercially successful and comeback movie for Guru Dutt. The movie saved Guru Dutt’s home production studio from ruins.

The setting is the city of Lucknow in northern India, where Islamic culture flourished. Two of the three best friends who live in this city have fallen in love with the same woman named Jameela unknowingly. Aslam (Guru Dutt) and Nawab (Rehman) are the two friends caught in this love triangle with Jameela (Waheeda Rehman). An integral part of any Guru Dutt film, comic relief was provided by Johnny Walker who plays Mirza Masaraddik Shaiza.

The Music of the film was by the critically acclaimed composer Ravi, and the lyrics by his all time favourite Shakeel Badayuni.

Chaudhvin ka Chand

(Moon of the 14th Day, i.e. Full Moon)

(1960) Hindi, 169 minutes

Produced by Guru Dutt for Guru Dutt Films. Directed by Mohammed Sadiq. Screenplay by Saghir Ushmani, from his story “Jhalak” (“A Glimpse”). Dialog by Tabish Sultanpuri. Music by Ravi Lyrics by Shakeel Badayuni. Cinematography by Nariman Irani.

Starring: Waheeda Rehman, Guru Dutt, Rehman, Minoo Mumtaz, Johnny Walker.

The exquisitely produced Muslim social Chaudhvin ka Chand seems relatively neglected within the pantheon of Guru Dutt’s late films. Perhaps because it appeared between the now-undisputed masterpieces Kaagaz ke Phool (1959) and Sahib Bibi aur Ghulam (1962), the former the last film Guru Dutt is officially credited with directing, and the latter the final film he produced, Chaudhvin ka Chand shines less brightly in its setting, surrounded by striking gems. Nevertheless, the film was (following the box-office disaster of Kaagaz ke Phool) Guru Dutt’s biggest box-office hit, and his first to play in an international film festival (Moscow, 1962, which Guru Dutt attended). But even Guru Dutt’s greatest champion, Nasreen Munni Kabir, describes Chaudhvin ka Chand as “most conventional in story and in treatment” in her seminal Guru Dutt: A Life in Cinema (Oxford, 1996). However, the film is in many ways a remarkable work that deserves critical rediscovery and reevaluation.


There remains some speculation surrounding the production circumstances of the film, though Kabir’s critical biography clears up most of the facts: though the critical and commercial failure of Kaagaz ke Phool may have prevented Guru Dutt from signing his name to another film, he seems to have chosen M. Sadiq to direct this film because he simply felt that a Muslim subject demanded a Muslim director, though Dutt supervised the picturization of the film’s songs, employing color cinematography for the first time. (Dutt’s offer to Sadiq was also a generous way to help the commercially unsuccessful director improve his career and finances.) The project also perhaps derived from Guru Dutt’s desire to make a film based upon a qawwali story, as the director adored the Sufi musical form. In any case, while behind the scenes a number of new names were assembled for this production, the film’s cast again gathered many of the performers who had become closely associated with Guru Dutt’s increasingly tragic vision of the world.

As the Encyclopedia of Indian Cinema notes, the film “pivots around the Islamic practice of purdah, which forbids women to show their face to men outside their immediate family.” In fact, the film richly expands and complicates this basis in a cultural practice by constructing an extended study in vision and veiling, treated in both comic and tragic variations that structure the film’s plot of misidentifications and misunderstandings as well as its rich stylistic pattern of blocked and obscured views. Recent film critics invested in the power and erotics of the gaze would do well to discover this veritable treatise on the subject of focused looks and momentary glimpses, which intersects the essential looking of cinema itself with the specific visual conventions of Muslim India.

The film initiates its focus immediately, when we meet a nawab, Pyare Miyan (Rehman) and his comic friend Shaida (Johnny Walker) on the streets of Lucknow. Though Shaida is chastised for peering at women, his more sophisticated friend is thunderstruck by his glimpse of the face of Jamila (Waheeda Rehman) when she lifts her veil. Our own view of the striking face of one of Indian cinema’s most beautiful stars has the effect of immediately implicating us in the film’s moral tensions: we have paid for our right to gaze freely upon the faces of cinema’s stars, yet this undeniably erotic look – and others the camera will offer us – occurs within the dramatic and cultural context which forbids such invasive views. And while the film is obviously set in a world that supports male privilege, it often complicates matters by regularly shifting its point of view between men and women. In the first elaborate musical number, as the nawab peeks at the women gathered in his home for his sister’s wedding party, the women recognize his presence and watch their watcher. As he hides – blind beneath a sheet – in his room, Jamila and a friend comically dissect his painted portrait which “watches” over the room. Thus begins the film’s rich and varied play with screens, veils, curtains, performances, and disguises, together rendering all of the film a constant circulation between clear-eyed vision and (often preferable, or more alluring) distorted views.

The unfolding of the plot moves from the misidentifications of Shakesperian comedy to the misunderstandings of well-intentioned people that result in tragedy. The nawab’s ailing mother is anxious to see her son married, and has arranged his marriage; still seeking his briefly glimpsed Beatrice, he asks his poor friend Aslam (Guru Dutt) to marry the girl his mother has secured – who is of course Jamila. The film will then trace the series of errors and obligations that complicate this situation and results in the three friends understanding the prices they have paid attempting to insure one another’s happiness. The film’s long-delayed revelation, when the nawab finally realizes that the woman he desires is his best friend’s wife, is a brilliant sequence that shifts our attention between visual perspectives (as well as external and internal voices) that are intricately composed through reflections in mirrors. The scene summarizes the film’s catalog of visual structures as well as the moral consequences that they generate.

If the extended misunderstandings seem implausible (despite their grounding in a social system that isolates men and women from casual contact), the emotions that link the characters to one another and motivate their attempts to perform extreme sacrifices feel plausible and real. Although Jamila is central to the plot, the film concentrates on the obligations of male friendship (dosti), one of the great topics of popular Indian cinema but rarely given the depth and sincerity of this example: as in Sahib Bibi Aur Ghulam this film’s ostensible “happy ending” for a couple is outweighed by the painful cost of such joy. (One continually senses that the three friends at the center of the film are playing out their off-screen, longtime affection as well: Johnny Walker’s comic role is especially tempered by moments of convincing affection for his suffering friends.) Friendship forces these fellows to take action by acting: attempting to play the part of the wayward husband that will allow the wife he adores to divorce him and marry his best friend, Aslam’s joyless visits to a brothel make him resemble Devdas, the great Indian romantic anti-hero (Guru Dutt fans will recall that the ill-fated film being made in the ill-fated Kaagaz ke Phool is a remake of Devdas, a story of self-destruction that Guru Dutt’s own life seemed to sadly replay.) Shaida, on the other hand, approaches his roles – and costume changes – with great relish, disguising himself as a elderly holy man to photograph women in the bazaar, and finally donning the uniform and self-important mannerisms of a police inspector.

As in all Guru Dutt films, the song sequences are notable highlights, featuring the voices of perhaps Hindi cinema’s three greatest playback singers, Lata Mangeshkar, Asha Bhosle, and Mohammad Rafi, the latter shifting effortlessly between Guru Dutt’s heartfelt and Johnny Walker’s comic songs. Two numbers are given special treatment by being filmed in color (see note below), and Guru Dutt’s tendency to advance his story through songs, with the rhythm of music and editing in collaboration, is as strong as ever. For example, the first major number, Sharma Ke Ye Kyon … (“Why do these women adjust their veils?”) cuts between the nawab and women peering at one another while the lyrics comment upon this action (and the tradition of purdah), all within a tightly organized interchange of sound and image. If this film doesn’t finally achieve the overall impact of an earlier masterpiece like Pyaasa, the technical skills that made Guru Dutt one of the masters of Hindi cinema’s golden age, and unsurpassed in the art of song picturization, are still on display in this penultimate work.

[Chaudhvin ka Chand is available on DVD from both Yash Raj Films and Eros/B4U. The image quality of both versions is generally very good, through both include some rough spots and choppy transitions. The subtitles on both copies are fairly straightforward but necessarily fail to capture the rich texture of the original Hindi-Urdu dialog, though the Eros copy may be somewhat more accurate (it at least correctly identifies the final swallowed object as a diamond, not the “poison” that the Yash Raj copy provides.) However, the Eros DVD does not subtitle the film’s songs, and its subtitles tend to slip off of the bottom of the screen. A more significant difference between the copies is that the Yash Raj DVD includes only the title song in color, whereas the Eros DVD includes both the title song and the brothel number “Kabhi Raazi Mohabbat” in color . (The Encyclopedia of Indian Cinema claims that these two color sequences appear in “later release prints … although designed for b&w,” a rather confusing claim since the sequences were clearly filmed in color.) The Yash Raj DVD, like all of the company’s Guru Dutt Collection titles, also includes Nasreen Munni Kabir’s illuminating documentary “In Search of Guru Dutt.” Guru Dutt fans may be fated to owning both versions, since each provides something the other lacks.]

Dev Anand obituary -Popular Bollywood matinee idol, producer and film-maker

Wednesday, December 7th, 2011

Dev Anand obituary -Popular Bollywood matinee idol, producer and film-maker

Dev Anand in Guide, 1965, directed by his brother, Vijay.

Dev Anand in Guide, 1965, directed by his brother, Vijay.

The Indian actor, producer and film-maker Dev Anand, who has died aged 88, was the first and longest serving matinee idol of Bollywood cinema. The pinnacle of his career came with Guide (1965), a film based on RK Narayan’s novel, in which Dev played the male lead opposite the classical Indian dancer turned actor Waheeda Rehman. Dev’s talented younger brother Vijay directed it. During the golden age of Indian cinema, in the 1950s and 1960s, Dev, along with Raj Kapoor and Dilip Kumar, formed the trio of stars who dominated the silver screen. Dev’s urbanity and quirky mannerisms made him especially popular among the young and women.

He was born in undivided India at Gurdaspur, in the Punjab region. His father, Pishorimal Anand, was a leading lawyer. After graduating from the prestigious Government College, in Lahore, Dev tried and failed to enter the Royal Indian Navy. He finally decided to follow his older brother Chetan’s footsteps to join Bombay’s film world.

Chetan was the eldest of the three Anand brothers and had established himself as an avant-garde film-maker with his debut film Neecha Nagar (Lowly City), one of the first Indian films to gain international recognition – it shared the Grand Prix du Festival International du Film at the first Cannes film festival in 1946.

Chetan helped Dev to join the leftist Indian People’s Theatre Association where he met many leading figures active in theatre and films. Dev was soon offered the lead role in the Prabhat film company’s Hum Ek Hain (We Are One, 1946) directed by PL Santoshi. But the film that made him a star came two years later from the famous Bombay Talkies studio. This was Shahid Lateef’s Ziddi (Stubborn, 1948). Kishore Kumar was introduced as a playback singer in this film for Dev, who became his romantic voice for many later films.

In 1949 Dev and Chetan formed their own Navketan Films. Their first production, Afsar (1950), based on Nikolai Gogol’s novel The Government Inspector, with Dev and the singing star Suraiya in the lead roles, and directed by Chetan, sank without a trace. But soon the company was placed on a firm footing with the blockbuster crime thriller Baazi (The Wager, 1951).

In the 1950s and 1960s Navketan’s Taxi Driver (1954), Nau Do Gyarah (Nine Plus Two Makes Eleven, 1957), Kalapani (Life Sentence, 1958), Kala Bazaar (Black Market, 1960) and Tere Ghar Ke Samne (In Front of Your House, 1963) kept Dev at the forefront of Indian cinema. The high watermark of his career as a film star came with Guide, Jewel Thief (1967), Johny Mera Nam (My Name is Johny, 1970) and Tere Mere Sapne (Our Dreams, 1971), all directed by Vijay.

Dev turned to directing with Prem Pujari (The Worshipper of Love, 1970), a film about the Indo-Pakistani war of 1965. As a film-maker, his greatest successes came with Haré Raama Haré Krishna (Praise Rama, Praise Krishna, 1971), which dealt with the problem of drugs among the young; and Des Pardes (At Home and Abroad, 1978), about illegal immigration in the UK.

Dev also had the distinction of introducing many talents and fresh faces to popular Indian cinema, such as Kalpana Kartik, Zeenat Aman and Tina Munim.

Dev was a true democrat, which was apparent from the way he rallied against the ruling Congress government’s suppression of rights during Indira Gandhi’s Emergency era. He was also secular and broadminded. Though a Hindu by birth, he proposed to Suraiya, a Muslim. After being rejected by her family, he married Kartik, a Catholic.

He heroically defied the ravages that time stamped on his once strikingly handsome physique and distinctive style of delivery. He continued to make films, with himself as the male lead against new young unknowns, until even some of his greatest admirers started to wish he would just call it a day. Yet, he kept going as though nothing had changed. In 2007, his insightful autobiography, Romancing With Life, was published.

Dev is survived by his wife, their son Sunil and daughter Devina.

• Dharam Dev Anand, actor, producer and film-maker, born 26 September 1923; died 4 December 2011, London.

By Lalit Mohan Joshi (the Guardian)


Dev Anand’s mind is deeper than the Indian ocean’

Wednesday, December 7th, 2011

Dev Anand’s mind is deeper than the Indian ocean’

Dev Anand

Dev Anand

Shaikh Ayaz, a gifted artist and journalist, shares his experience of meeting Dev Anand, and getting his painting signed by the legend.

With Dev Anand, there was this unspoken consensus, almost a surreal surety that death wouldn’t touch him.

His life, 88 years of immense artistic pride and deeply-felt commitment towards cinema, was a celebration of life in all its form.

He hated the sedentary life.



“I don’t like wasting time. When I don’t make films, I read, travel and think of new ideas. My mind is deeper than the Indian ocean,” he told me, about a few months ago, at his Khar office where he would receive friends, guests and visitors.

As usual, he was sitting behind that big, wooden desk (familiar to those who knew him), looking more like a newspaper editor than the legendary actor he was. His desk was cluttered and there were papers, scripts and books strewn across his room.

“Don’t go by this mess. My mind is sharp and agile and it’s becoming sharper as I am growing old,” he said.

Mind and intellect was everything to him. He was a solipsist; he talked mostly about himself. “I hate to be in somebody else’s shoes. I am Dev Anand and Dev Anand is original — he doesn’t do remakes, he doesn’t make a story that’s not his. How many actors you know who has played starring roles in film after film for over 60 years?”

He made no bones about the fact that he enjoyed the attention and that he chose this public life because he wanted to be loved and adored.

There was a point when I was dropping into his office every week, but never unannounced. He always answered his phone, because as he told me later, “I like to be in touch with people. I want to know who’s calling and why.”

Most of my conversations with him bordered on life and death and I would often remind him of Raju’s enlightenment scene in Guide. He viewed death as inevitable but looked at life as a gift that should be enjoyed for what it is. Once, I gave him a watercolour painting I had made of Guide and got another signed by him (pictured here).


He felt a particular sense of pride towards Guide (my favourite Dev Anand film; and every time I tried to confirm if it was his favourite, too, he would rattle off, “What about Ziddi, Baazi, Hum Dono, Taxi Driver, C.I.D, Kala Pani, Tere Ghar Ke Samne, Johny Mera Naam, Jewel Thief and Hare Rama Hare Krishna?”).

When he saw the painting, he counselled in that lyrical drawl, “Aiyyyazzz, you must follow your heart. If you want to make movies, make movies. If you want to be a newspaper editor, be a newspaper editor. But I can see that you want to paint. Just do that — paint and write and do these things that you want to do with all your heart.”

He told me that once M F Husain, too, made a quick sketch of him which is now a prized procession at his home. He took my painting and promised to get it framed. I was too small, still am, and here was this legend who respected my love, feelings and creativity and assured me that when I come next, this painting would be put up.

It was a poster of Guide and at the bottom, it was written: Guide: 1965-Forever. Now when I think about it, it would have more appropriate if it was: Dev Anand-Forever.

There Won’t Be Another Dev Anand

Wednesday, December 7th, 2011

There Won’t Be Another Dev Anand

Dev Anand

Dev Anand

Most of the movies Dev Anand is remembered for today ,had been made before I was born. Yet each one of them remains a personal favourite despite the fact that nearly all of them were in black and white, something not easy to digest for people of my generation and those who came after me. I don’t know when and how I fell in love with them. Looking back at them today, I can’t quite put my finger on why I loved the actor who passed away, rather casually, this week.

Was it his debonair looks–often compared to Hollywood’s Gregory Peck–and a silky mop of hair with an Elvis-like puff on the forehead? I don’t really know. But there was something magical about those black and white movies featuring Dev Anand although I never considered myself a fan.

Like many of my friends, I grew up adoring Amitabh Bachchan and later his own source of inspiration, the legendary Dilip Kumar although I came from a conservative family where movies and music were frowned upon. Yet there was nothing like a Dev Anand classic to lift your spirits, especially those soul-stirring melodies from his movies. He was the style icon of many generations.

So it was heart breaking to see the star who once commanded such cult status reduce himself to a caricature of his own self in the last few decades of his life, regularly churning out all those eminently forgettable flicks that few bothered to watch. Most of us including the Bollywood wallahs had come to put up with and indulge the ageless superstar. Nearly all of his contemporaries had long ago either hanged their boots, or simply vanished from both the silver screen and public memory.

Perhaps the pan Indian urban hero that he was, he did not quite know when to go gently into the night with dignity as his contemporary, Dilip Kumar, one of the Big Three –Raj Kapoor being the third part of the triumvirate–who ruled the Bombay cinema for decades, did. The man who couldn’t sit–or stand–still for a moment, literally, simply didn’t know when to stop running. He kept on going and doing what he loved most–making movies invariably with himself in the lead even as the world around him transformed with the audience’s tastes undergoing a sea change. He was 88 at the time of his death and he had just finished working on the last of his productions. At least two others were in the pipeline.

Yet there was something very touching and endearing about his desperate attempts to woo back his audience and somehow win its approval. He was like a school boy forever craving the appreciation of his elders and teachers. Even after six decades in the movie business, he clearly craved recognition and immortality. And we had somehow persuaded ourselves that he was going to be around forever. In a way, he will be. Dev Anand’s work and immense contribution to Indian cinema will live long after he’s gone and forgotten.

For me, he will remain the face of those immortal and heart warming songs by Mohammed Rafi. Watching those gushing tributes to Dev saheb, as everyone called him, on Indian television networks, I am struck by the extraordinary number of all-time chart busters his movies produced and most of them in the voice that I have loved and lived with all my life.

Rafi, the most prolific and enchanting voice of Indian cinema, had been the natural choice of numerous superstars. But when Rafi and Dev Anand came together they created sheer magic. I can’t tell you how often I have turned to the Rafi-Dev Anand combination to beat my perpetual blues.

Din dhal jaye; kya se kya hogaya; khoya khoya chand; dil ka bhanwar; sau saal pahle, abhi na jao chor kar and many, many more shine like diamonds in the dark. No one writes that kind of poetry anymore – it’s all Sheela ki jawani and Munni badnam hui now. And no one sings them like Rafi saheb did, pouring his heart and soul into them, not to mention the magic of masters like Naushad and SD Burman. That age and time will never return–neither will Dev Anand. Rest in Peace Dev saheb, there will be no one like you.

by Aijaz Zaka Syed

Dev Anand

Sunday, December 4th, 2011

Dev Anand

Dharam Dev Anand (Hindi: धर्मदेव आनन्द, Punjabi: ਧਰਮਦੇਵ ਆਨੰਦ) (26 September 1923 – 04 December 2011), better known as Dev Anand (Hindi: देव आनन्द, Punjabi: ਦੇਵ ਆਨੰਦ), was anIndian Hindi Cinema actor, director and film producer. Dev was the second of three brothers who were active in Hindi Cinema. His brothers were Chetan Anand and Vijay Anand. Their sister, Sheel Kanta Kapur, is the mother of renowned Hindi and English film director Shekhar Kapur. The Government of India honoured him with the Padma Bhushan in 2001 and the Dadasaheb Phalke Award in 2002 for his contributions towards Indian cinema.

Dev was born Dharam Dev Anand on (26 September 1923- December 4,2011) in Shakargarh Tehsil of Gurdaspur district (now in Narowal District, Pakistan) in undivided Punjab, British Indiato well-to-do advocate Kishorimal Anand. Dev was the second of three brothers born to Kishorimal Anand. Dev’s younger sister is Sheela Kanta Kapur, who is mother of Shekhar Kapur. His older brother was Chetan Anand and younger one was Vijay Anand. Dev graduated in English literature from the Government College, Lahore, (now in Pakistan). It has been confirmed that Dev Anand has died due to a cardiac arrest in London on the 4th of December 2011 He was every Green Super Star Hero in Indian cinema.


Dev Anand, after graduating in English Literature from the Government College, Lahore, British India left his hometown and came to Bombay in the early 1940s. He began his career in the military censor office at Churchgate, Bombay, for a salary of 200. He joined his older brother Chetan as a member of the Indian People’s Theatre Association (IPTA).

He was soon offered a debut as an actor by Prabhat Talkies to star in their film Hum Ek Hain(1946). While shooting for the film in Pune, Dev struck a friendship with another fellow legendary actor Guru Dutt. They had decided between themselves that if one of the two becomes successful first in film industry then they would help the other to be successful. It was a mutual understanding between them that when Dev Anand produced a film, Guru Dutt would direct it and when Guru Dutt directed a film, Dev Anand would act in it.

In the late forties Dev Anand got a few offers to star opposite singer-actress Suraiya in woman oriented films, as the male lead. Dev Anand considered himself to be lucky to get a chance to star opposite such an established actress and accepted the offers. While shooting these films, he became romantically involved with Suraiya. The two of them were paired in seven films together – Vidya (1948), Jeet (1949), Shair(1949), Afsar (1950), Nili (1950), Do Sitare (1951) and Sanam (1951), which were all successful at the box office. In these films Suraiya was always first billed in credits to imply she was a bigger star than Dev Anand. She fell in love with him during the shooting of the song Kinare kinare chale jayen ge from the film Vidya, where unfortunately during shooting, a boat capsized and Dev Anand saved Suraiya from drowning. The entire affair was conducted in a clandestine manner with friends like Durga Khote and Kamini Kaushal going out of their way to engineer secret rendezvous. On the sets of the film Jeet, Dev Anand finally proposed to Suraiya and gave her a diamond ring worth Rs 3,000. Her maternal grandmother opposed the relationship as they were Muslim and Dev Anand Hindu, and so, Suraiya remained unmarried all her life. They stopped acting together after her grandmother opposed and Do Sitare was the last film of the pair to release. Although Dev had tasted success in the films he starred in with Suraiya, the producers and directors attributed the success of these films to the acting prowess and screen presence of Suraiya. Dev was looking for opportunity to play the main male lead in a film where his acting skills could be displayed as people were skeptic about Dev’s acting abilities.

Dev was offered his first big break by Ashok Kumar. He spotted Dev hanging around in the studios and picked him as the hero for theBombay Talkies production, Ziddi, costarring Kamini Kaushal (1948) which became an instant success. After Ziddi’s success Dev had decided that he would start producing films. So in 1949, Dev turned producer and launched his own company Navketan (which mean newness), which till 2011 has produced 31 films and continues to produce movies even today.

Dev chose Guru Dutt as director for the crime thriller, Baazi (1951). The film starring Dev Anand, Geeta Bali and Kalpana Kartik was a trendsetter regarded as the forerunner of the spate of urban crime films that followed in Bollywood in the 1950s. The film Baazi saw debut ofKalpana Kartik aka Mona Singh as the lead female actress and Guru Dutt as a director. The collaboration was a success at the box office and the pair Dev Anand – Kalpana Kartik were offered many films to star in together. They signed all the film offers and subsequently the movies Aandhiyan, 1954 Film, House No. 44 and Nau Do Gyarah went on to become big hits too. During the making of film Taxi Driver, the couple fell in love and Dev proposed marriage to his heroine Kalpana. In 1954, Taxi Driver was declared a hit and the two decided to marry in a quiet ceremony. The couple had a son, Suneil Anand in 1956. After her marriage Kalpana decided not to pursue her acting career further.

A rapid-fire style of dialogue delivery and a penchant for nodding while speaking became Dev’s style in films like House No. 44Pocket Maar,MunimjiFuntooshC.I.D. and Paying Guest. In the fifties his films were based on mystery genre or light comedy love stories or were films with social relevance like Ek ke baad ek and Funtoosh. His style was lapped up by the audience and was widely imitated. He starred in a string of box office successes for the remainder of the 1950s opposite newcomer Waheeda Rehman in C.I.D. (1956), Solva SaalKala Pani,Kala Bazar and Baat Ek Raat Ki. Waheeda first became a star with C.I.D becoming a hit. In 1955 he also co-starred with Dilip Kumar inInsaniyat. With his acting in Kala Pani (1958), as the son who is willing to go to any lengths to clear his framed father’s name, he won his first Filmfare award for Best Actor for the film. He attempted films of tragic genre occasionally like Pocketmaar (1956), Kala Pani (1958),Bombai Ka Babu (1960) and Sharabi (1964) and tasted success in them. Dev also played a few characters with a negative shade, like inJaal(1952). Apart from his pair with Suraiya and Kalpana Kartik, his pair with Nutan and Waheeda Rehman was popular among the audiences in late 50’s and 60’s. His films Rahee and Aandhiyaan, were screened along with Raj Kapoor’s Awaara. From the early fifties till mid sixties, the trio of Dilip Kumar, Raj Kapoor and Dev Anand ruled the roost.

In the sixties, Dev Anand acquired romantic image with films like Manzil and Tere Ghar Ke Samne with Nutan, Kinaare Kinaare with Meena Kumari, Maya with Mala Sinha, Asli-Naqli with Sadhana Shivdasani, Jab Pyar Kisise Hota Hai and Mahal with Asha Parekh and Teen Deviyaan opposite three heroines Kalpana, Simi Garewal and Nanda. In the film Teen Deviyaan, Dev Anand played a playboy.Raj Kapoorthough younger than Dev nand, started gaining weight and this affected his career and even Dilip Kumar’s films started flopping in the late sixties. But Dev Anand,being slim and fit, continued to look much younger even in the late sixties and seventies. He gave many popular films till 1990 as the leading man.

His first colour film, Guide with Waheeda Rehman was based on the novel of the same name by R. K. Narayan. Dev Anand himself was the impetus for making the film version of the book. He met and persuaded Narayan to give his assent to the project. Dev Anand tapped his friends in Hollywood to launch an Indo-US co-production that was shot in Hindi and English simultaneously and was released in 1965. Guide, directed by younger brother Vijay Anand, was an acclaimed movie. Dev played Raju, a voluble guide, who supports Rosy (Waheeda) in her bid for freedom. He is not above thoughtlessly exploiting her for personal gains. Combining style with substance, he gave an affecting performance as a man grappling with his emotions in his passage through love, shame and salvation.

He reunited with Vijay Anand for the movie Jewel Thief, based on thriller genre which featured Vaijayantimala, Tanuja, Anju Mahendru, Faryaland Helen. Their next collaboration, Johny Mera Naam (1970), again a thriller, where Dev was paired opposite Hema Malini was a big hit. It was Johnny Mera Naam which made Hema Malini a big star.

His directorial debut, the espionage drama Prem Pujaari, was a flop but has developed a cult following over the years. He tasted success with his 1971 directorial effort, Hare Rama Hare Krishna which talked about the prevalent hippie culture. His find Zeenat Aman, who played the mini-skirt sporting, pot-smoking Janice, became an overnight sensation. Dev also became known as a filmmaker of trenchantly topical themes. This same year, he starred with Mumtaz in Tere Mere Sapne, an adaptation of A. J. Cronin’s novel, The Citadel. The film was directed by Dev’s brother, Vijay and was also successful.

In the 1970s, Raj Kapoor started playing roles of father in films like Kal Aaj Aur Kal in 1971 and Dharam Karam in 1974 and films with Dilip Kumar as lead hero were failures at box office. Some of the hurriedly made films with Dev Anand as the leading man – three each opposite Hema Malini and Zeenat Aman and Yeh Gulistaan Hamara with Sharmila Tagore became flops and posed a threat to his career as leading man. But he delivered hits again and romanced young heroines Yogita Bali and Rakhee in Banarasi Babu (1973), Hema Malini in Chhupa Rustam(1973) and Amir Ghareeb(1974), Zeenat Aman in Heera Panna(1973), Warrant(1975) and Darling Darling(1977). In 1976, his brother directed a mystery flick named Bullet which though critically acclaimed was not successful at box office.

The presence of his ‘discoveries’ in the 70’s— the Zeenat and later, the Tina Munim in films and his good chemistry with beautiful young stars like Rakhee, Parveen Babi, Hema Malini, Zeenat Aman in various films boosted Dev’s image as the evergreen star even though he was well into his fifties.

Dev Anand has also been politically active. He led a group of film personalities who stood up against the Internal Emergency imposed by the then Prime Minister of India, Indira Gandhi. He actively campaigned against her with his supporters in Indian parliamentary elections in 1977. He also formed a party called the National Party of India, which he later disbanded.

The 1978 hit Des Pardes, directed by Dev Anand was the debut was actress Tina Munim and this film’s success gave him the tag of evergreen hero. He was 55 but he shared very good chemistry with the 20 year old Tina Munim. Dev Anand was offered lead role in Man Pasand by director Basu Chatterjee. Dev Anand’s successful run at the box office continued in the 1980s with Man Pasand, Lootmaar(both opposite Tina Munim), Swami Dada(1982) being both critically acclaimed and box office hits.

Though Dev Anand’s demand as the lead hero had not decreased even in the 1980s, he decided that it was the right time to introduce his son Suneil Anand in films as the hero. He launched his son in the Kramer vs. Kramer inspired Anand Aur Anand (1984), which was produced and directed by Dev Anand himself and had music by R.D.Burman. He expected the film to do well but the film was a box office disaster andSuneil Anand decided to not act in films any more.

But the of films with Dev Anand as the lead hero Hum Naujawan (1985), Lashkar (1989) and Awwal Number(1990), where Dev Anand costarred with Aamir Khan were average grossers and appreciated by critics. He was already sixty year old in 1983 when he acted withPadmini Kolhapuri in Swami Dada but did not look old. In 1989, his directorial venture the critically acclaimed Sachché Ka Bolbala was released but it was a commercial failure.

Since the 1990s except for Awwal Number, rest of the eight films directed by him were box office failures. But Sau Crore (1991) and Censor(2000) were critically acclaimed.

Dev Anand has directed 19 films and produced 31 films of which 7 directorial ventures and 18 films respectively were commercially successful at the box office. He wrote the story for 13 of his films. Critics say his directorial ventures have always been ahead of its time. Dev Anand’s films are well known for their hit songs. He is known to have been an active participant in the music sessions of a number of his films. His association with music composers Shankar-Jaikishen, O. P. Nayyar, Kalyanji-Anandji, Sachin Dev Burman and his son Rahul Dev Burman, lyricists Hasrat Jaipuri, Majrooh Sultanpuri, Neeraj, Shailendra, Anand Bakshi, and playback singers Mohammad Rafi and Kishore Kumar produced some very popular songs. S.D Burman, R.D Burman, Rafi and Kishore Kumar were his special friends.

In September 2007, Dev’s own autobiography “Romancing with Life” was released at a birthday party with the Indian Prime Minister Dr. Manmohan Singh. ]In February 2011, his 1961 black and white film Hum Dono was digitised and colourised and released.

Dev Anand is credited with giving actors like Jackie Shroff in Swami Dada, Tabu in Hum Naujawan and Richa Sharma a break into the film industry and encouraging music composer Rajesh Roshan. Amit Khanna started his career with Navketan as executive producer in 1971 and had been secretary to Dev Anand in 70’s. He adds, “The uniqueness of Navketan today is that it’s the only film company in the world still run by the one who started it.”

Ahbi na jao chodkar, Dev saab…so says celebrities as they pay their tribute to Dev Anand

Dev Anand was 88 when he succumbed to a massive cardiac arrest in a London hospital. Ever since the news of his demise broke out, the refrain across his fans and well-wishers was a line from his song from “Hun Dono”, “Abhi na jao chodkar ke dil abhi bhara nahin”.

On his micro blogging site, Anupam Kherwrote: “Dev Saab was Kind, -Passionate, Courageous, Forthright, Charming, Encouraging, Contemporary, Always a leader and a Great Human. Will Miss him. So as a Tribute to Dev Saab let’s only humm his Songs today. Songs which became such an integral part of our lives. Ahbi na jao chodkar….” When Amitabh Bachchan first tweeted about Dev saab, he was still praying that the news wasn’t true. “Just reading news about Dev Saheb .. praying it is not true ! He was such a positive person .. never associated death with him… Had just met Dev Saheb at his premiere recently .. he was weak but full of spirit ..the news papers confirming his passing away ..sad. An era has come to an end .. Dev Anand leaves a void never perhaps to be filled again .. his never give up belief, his joy of life!”

Shabana Azmi, who also reminisced about director Manish Acharya who passed a year ago, wrote: “Dev Saheb robustly lived life on his own terms.he will be missed by millions but will live on thru his movies.I salute his spirit.”

Mahesh Bhatt saluted the memory of the star “left us with the glow of his smile”. “As the new dawn breaks over Mumbai I salute the memory of this star who has left left us with the glow of his smile,” he wrote.

It took a while for the news to sink in for Madhur Bhandarkar even as he wrote: “Shocked to the core, a painful loss, a personal grief, cant believe DEVSAAB is no more ! Still the news is not sinking in,had celebrated his birthday with him,Devsaab was full of energy and life then,just cant believe !”

Director Kunal Kohli, on his part, wrote: “RIP Dev Anand. His spirit, energy, love for life and cinema will live on through his films. Love you Dev Saab.”

Abhishek Bachchan was equally shocked. Wrote the actor, “Never believed I would ever wake up to this news. Very sad! Shocked to read of the passing of Dev Saab. Such a great man and actor. A symbol of positivity.” Actor Divya Dutta has vivid memories of her last meeting of the legend at the premiere of his movie. “T last I met devsaab was at his premiere,sitting nxt to him, n seeing his smiling face,full of zest energy n ethusiasm..memories! Main zindagi ka sath nibhata chala gayam..RIP devsaab! Knowing u wrkin wt u is cherished!my evergreen hero!will miss u sir!” she wrote.

Shah Rukh Khan said in his tweet, “Dev sahib’s sad demise makes me feel that the film industry is incomplete & has lost its magical energy. May Allah bless his soul.”

Arjun Rampal tweeted, “Woke up to the saddest news and an emptiness in the heart, Dev Saab the man who lived every moment to the fullest with greatest energy. RIP.”

Actor Neil Nitin Mukesh said: “Just got the sad news that Dev Anand sahab passed away. I’ve always been a huge fan of his. And grown up watching his dynamic films. RIP.” India’s music fraternity was equally shocked with the news. The legend who left behind countless film hits will be dearly missed, said Shreya Ghosal. “Dev saab’s films being talked abt on d news. What legacy of great films n music! He indeed was a man of excellence and passion for cinema,” the singer wrote.

Composer Ehsaan Noorani, on his part, said, “Another jewel begins his skyward journey …… Dev Saab alvidaa.” Sophie Choudry, on her part, wrote: “Can’t believe Dev saab is no more? A real institution,dreamer,believer & the grtest romantic because he LOVED life. A truly sad say. RIP sir.”

Poonam Pandey too paid her respect to the evergreen star by writing: “Life is like a poker game; it’s not what you’re given, it’s how you use it.- The Gr8 Gambler – “RIP Dev Anand””