Madhumati (1958)

One of the Hit Bollywood pair Dilip Kumar and Vyjantimala starrer 'Madhumati' was holding the record of maximum Filmfare Awards - nine total, for 37 years. It was nominated for 12 awards, including best actor and best actress but got for 9 in all and surprisingly not for Best Actress and Best Actor. It also grabbed the Silver Lotus being the Best Feature Film in Hindi. The film was also selected as the Indian entry for the Best Foreign Language Film at the 31st Academy Awards, but was not accepted as a nominee.

Cast :- Dilip Kumar, Vyjantimala, Pran, Johny Walker
Directed By :- Bimal Roy

ScreenPlay :- Ritwik Ghatak
Dialouges :- Rajinder Singh Bedi
Music :- Salil Choudhary
Editing :- Hrishikesh Mukherjee
Prodcued By :- Bimal Roy

The film starts with a stormy night. Devendra (Dilip Kumar), an engineer, is driving down a hill road with his friend, to fetch his wife and child from the railway station. A landslide blocks their path and the friends take shelter in an old mansion just off the road. Devendra finds the house uncannily familiar. In the large front room he finds an old portrait which he recognizes. His friend and the old caretaker join him, and Devendra, amidst flashes of memory from another life.

He sits down to tell his story while the storm rages outside. Anand (Dilip Kumar) had come to Shyamnagar Timber Estate as its new manager. An artist in his spare time, he roamed the hills and forests with his sketching pad and fell in love with Madhumati (Vyjayanthimala), a tribal girl whose songs have haunted him from a distance.

Soon Anand meets his employer, Ugranarayan (Pran), a ruthless and arrogant man. Anand refuses to bend down to him like the others, and incurs his wrath. Anand also has enemies among his staff who have been fudging the accounts till his arrival. Sent away on an errand suddenly, he returns to find that Madhumati has disappeared. Anand learns from Charandas how Madhumati had been taken to Ugranarayan in his absence. He confronts Ugranarayan whose men beat him unconscious. Anand's life is saved, but his mind wanders.

One day in the forest he meets a girl who looks exactly like Madhumati. She says she is Madhavi (Vyjayanthimala again), but Anand refuses to believe her, and is beaten up by her companions when he tries to plead with her. Madhavi finds a sketch of Madhumati in the forest and realizes he was speaking the truth. She takes the sketch to the rest house where Anand now stays, and learns his story from Charandas. Meanwhile Anand is haunted by the spirit of Madhumati who tells him that Ugranarayan is her killer.

Seeing Madhavi at a dance recital where she dresses as a tribal girl, he appeals to her to pose as Madhumati and appear before Ugranarayan and help him get a confession out of him. She agrees.
 Returning to Ugranarayan's palace, Anand begs permission to do a portrait of him. Next evening with a storm brewing outside, Anand portrays Ugranarayan. At the stroke of eight, Ugranarayan sees Madhumati in front of him. Shaken, and goaded by Madhumati, he confesses the truth. The police who have been waiting outside the room now come and take him away. Anand suddenly realizes that the questions the false Madhumati asked were on matters unknown to him. How did Madhavi know where Madhumati was buried? The girl just smiles, and moves towards the stairs. Madhavi dressed as Madhumati rushes into the room. She is late, for the car failed on the way. Anand realizes that Madhumati herself had come and runs up to the terrace where her ghost beckons him. She had fallen from the same terrace trying to escape Ugranarayan. Anand follows her falling to his death.

Devendra's story is over. "But," he says "Finally I could get Madhumati as my wife, in this life as Radha." Just then news comes that the train in which his wife was travelling has met with an accident. The road has been cleared, and the two friends rush to the station. From one of the coaches, Devendra's wife Radha (Vyjayanthimala yet again) comes out unhurt with her baby...

Bimalda's Madhumati is nothing but a fulltoo hindi movie filled up with all the bollywood filmi masala, love story of a shehari babu and beautiful Gaon ki chori, a greedy zamindar villain, Johny walker's Comedy and revenge and reincarnation. Despite of all these factors, the director has groomed it so well to keep the audience haunting and while touching its hearts.
Its a movie in which you will find a hero - just like to be... and a nature lover, fairy like heroine who is a part of nature and understands it very well, gifted with a magnetic charisma for people and nature, gifted with an enthralling beauty... there is a villain to hate from the bottom of the heart... there are beautiful folklore surroundings with a zamindar's haveli... and also there is a nuisance of comedy - still tolerable one..

Vyjayantimala completely bowls over by her performance.. all the three characters played by a single heroine are completely different. Dilip Kumar's Hatcha Ekka - to portray a hero who is emotionally tortured and is looking for his love - he has his mastery in such kind of roles - and has given his excellent here. How can we go without mentioning Pran.. after all his portrayal of the villain to hate from the every nerve in body...nas nas se nafrat hogi us villain se...hehehe

Bimalda has used every small detail carefully and tactically to make a beautiful movie.. let it be the small nature details with Madhumati reads in her daily life, the birds being her friends warn her  every time, or the swinging chandeliers in Haveli or Madhumati just running to a closed window in haveli.. Weather to show the naturist heroine and suspense of what happened to her.. light and shadow play at the end to show the horrified villain.. Salute to the great director and his great supporting team..Hrishida again as an editor here, Ritwik Ghatak for the Story and the screenplay, Rajinder Singh Bedi for the Dialogues... these three have appeared again in this movie and again in this blog.. and of course the great musician...

Madhumati recognised as classic, also has a high class music score by Salil Choudhary and a melody queen Lata Mangeshkar's voice and Mukesh and Rafi too.... Special mention to Aaja re Pardesi - one of top ten evergreen songs by Lata.. Rafi's Suhana safar aur ye mausam hasin and Toote hooye khwabon ne.... Zulami sang aankh ladhi... Ghadi ghadi mora dil dhadake... chadh gayo papi bichchua... Dil tadap tadap ke kah raha hai... Jangale mein mor nacha...
Uffff. did i mention almost all the songs?? All are amazing, couldn't write a single one :)


There were movies inspired from this plot - Karz, NeelKamal, Janam Janam, Tum mere ho and Om Shanti Om... but I think Madhumati still keeps the crown of being the best one.

Madhumati - Watch Online here :-

Dastak (1970)

Mai ri main kase kahoon...
Baiyya na dharo Balma...
Hum hain mataye koocha...
The Magic of Madan Mohan getting materialised in Lataji's voice in all these songs.. considered among the Best Hindi Classics.. and these gems comes from movie Dastak
Cast :- Sanjeev Kumar Rehana Sultan Shakeela Bano Bhopali Anwar Hussain Manmohan Krishna Niranjan Sharma Kamal Kapoor Jagdev Yash Kumar Dev Kishan
Directed by :- Rajinder Singh Bedi
Produced by :- Rajinder Singh Bedi
Written by & Screenplay :- again Rajinder Singh Bedi.
Awards:-
1971 National Film Award for Best Actor - Sanjeev Kumar
1971 National Film Award for Best Actress - Rehana Sultan
1971 National Film Award for Best Music Direction - Madan Mohan,
1972 Filmfare Best Cinematographer Award -(B&W) - Kamal Bose
1972 Filmfare Best Editing Award - Hrishikesh Mukherjee

When I started looking for the song Baiyya na dharo, I came across this rare type of a movie, which is much ahead of generations even today. You can say it is a social drama or an eye-opener or women problems oriented movie.. whatever it is, its definitely a worth WATCH.

Finest Urdu Fiction writer, Rajinder Singh Bedi, wrote a play 'Naql-e-Makani' aired on All India Radio in 1944. He later decided to make a film on the same subject so became a producer and director himself. This movie is depicting the way human mind works facing the circumstances in daily life and how society's nauseous habits drives one's life crazy, making him loose the control on himself. Hamid (Sanjeev Kumar) is trapped with his wife Salma (Rehana Sultana) in this.

Hamid and Salma rents a house unwillingly in society's red light area. Shortage of housing in Bombay is still an important issue and is well emphasized in the movie with its urban environment. The initial scenes in the flat again emphasize the couple's difficulty in adjusting a place including Hamid's ironic (as it turns out) expression of gratitude to the paanwala for helping them find the flat. Paanwala (Anwar Hussain) helps out Hamid to find this flat as his intention is to earn money seeing his wife, to earn money from it.

The housing shortage also works to keep Hamid and Salma in the flat, even after they learn the identity of its previous tenant. That house was an abode of a famous courtesan Shamshad Begum before and even after she left the place, it still carries that identity stamp in it. The newly married couple is happily looking towards the new blossoming romantic life and the neighbors start intruding in their life. The Courtesan's past customers keep on knocking the doors, they might not be aware of her shifting, and keep on offering Hamid for his wife considering Salma as a new courtesan and Hamid as her Patron. Though Hamid is clarifying their relation, they dont believe it. Even neighbours enjoy it as an entertainment as they want to be in the same doubt about Hamid and Salma's relation.

More importantly, the film emphasizes Salma‘s boredom and anxiety in remaining alone in the flat day after day as Hamid goes to his office. Although it is perhaps unrealistic that she is never shown even going to the bazaar for groceries, may be due to the surrounding areas Hamid had not allowed her. She is as effectively caged up as the maina bird she and Hamid keep as a pet. Lonely and bored. she dresses up, plays solitaire, plays her tambura and sings to herself and finally imagines herself running freely on the beach in a dream. She is passionate about singing and music, which also she has to give up since the neighbours hearing it relates her to the previous courtesan.
sequence. Although she finds life in the village a welcome breath of fresh air, we can sense upon her return to the flat in Bombay, that she is returning to her former imprisonment.

It turns more nasty, when the naighboring lads starts watching her if she is changing her clothes or if she is having bath. She tells Hamid to find a new flat but Hamid ignores her as he knows the housing shortage in Bombay. Seeing the situation getting more and more troublesome, Hamid tries to look for new house. His office scenes are shown here depicting his character and principles. Hamid is an honest man who has never taken any bribe though he is not rich. The christian typist respects and loves him for this. While looking for a new house, when the builder asks for more advance in black, he sense that his honesty is worthless and the incidences make him take a decision to accept bribes.


The comparison of the houswife and prostitute is still implicit here. Salma's accidental encounter with the actual Shamshad Bai emphasizes the difference between the women.




Salma and Hamid cant enjoy the after marriage life due to continuous disturbances caused by the customers of Shamshad Begum. Every night brings a new guest and a new fight. They both decide that they will spend their nights on outside roaming on the streets and beaches of Bombay. Though they could not enjoy the physical romance, they try to steal the moments of togetherness by this. But again, this doesnt continue, due to the society. Hamid is thoroughly interrogated by the police officer confirming their relation. Goons tries to kidnap Salma and beats Hamid.. After these experiences they both are again locked inb their prison.

All the circumstances, makes it difficult for Hamid to maintain his morality and respectability. He too falls and rapes his wife thinking he should get her first before the surrounding world snatches her from him.

By showing Hamid's attempt to buy a flat, possibly alluding to discrimination in housing towards Muslims. Hamid gives a Hindu name in his initial negotiations with the builder. More importantly, Hamid is shocked when the builder asks him for a down payment partly in black money. Desperately attempting to raise the money, he is told that bribes and black money payments are standard operating procedures in housing construction. when a construction worker dies in an accident on the site as Hamid pleads with the builder to allow him more time to raise the downpayment. Hamid reluctantly decides that he will not live in a house built with another man‘s blood.

One day a rich merchant comes to their house asking for Shamshad begum. As Hamid is explaining to the rich man that Shamshad Bai has moved, Salma invites him into the back room and begins to play song for him. Enraged Hamid picks up a knife, presumably intending to stab her latter the song is over. Before he can do so, Salma hurls her tambura at Maratib Miyan, who has come up to offer paan. As the paanwala and merchant flee, Salma clings herself at Hamid's feet begging his forgiveness saying, "I have fallen." Replying. "I too have fallen." (referring to his attempt to force the
contractor to give him a bribe). Hamid reaffirms his determination to remain in the flat regardless of the difficulties. Thereupon, Selma whispers in his ear that she is pregnant, as the film ends.

Wonderful performances by Sanjeev Kumar and even by Rehana Sultana which got them both the National Award. Caged Salma is beautifully portrayed by Rehana showing her longing for her husband, for her music, for dressing, her sensuality.. ufff...  and opposite we have a very talented actor Sanjeev Kumar who has done the full justice to Hamid, showing comman man's principles which he is ready to set aside for peace of his wife, his villainous nature coming up front when he almost rapes his wife and at last the firmness with which he decides to continue in the same house. Brilliant!! Audience even remembers Anju Mahendru, thought she had a very small role to play. Maratib Miyan Paanwala, was superb too...
Rajinder singh Bedi's directorial debut was considered as hindi classic rather welcoming by common man. And it is Indeed a classic..

Salute to the Music of the movie. Madan Mohan as Musician, Majhrooh Sultanpuri as Lyricist and Lata and Rafi.... What a great combination... all the songs of the movie are soul touching, speacially Baiyaa na dharo and Mai ri.. How could i not mention Hum hain mataye kucha.. and Tumase kahoon ek baat.. speechless... Play the songs, close your eyes and enjoy the karishma...
The music was honored by Indian government, and Madan Mohan got National Award for this movie - may be only such recognition of this type.
Here is the song Mai ri - in Madan Mohan's very own voice...

Madan Mohan ji was known for being maestro for creating music for Ghazals. This song is perhaps the only recorded song in his voice and stands out amongst the best Bollywood songs. I wish many other music directors had recorded songs in their voice. It would have been interesting and a challenge to many singers of the day.

This was planned by Lata ji & song recordists of HMV, when LATA ji was deliberately singing it with some errors, which on repetition annoyed Madan Mohan ji a bit and Lata ji requested MM ji to explain the tune in his own voice. He reluctantly agreed but asked to stop the recording. The Minoo Katrak(song recordist) left, pretending that no recording is on, where as it was on.That is how this great voice of this Great Maestro could ever be recorded. Really magical....

Trivia about Anand (1971)

Hrishikesh Mukherjee began his career in Mumbai as editor and assistant to the legendary Bimal Roy. His first film as director, ‘Musafir’, was a disaster. But actor-filmmaker Raj Kapoor was impressed and when producer L.B. Lachman planned ‘Anari’ with him, he strongly recommended Hrishikesh. The film was a massive hit and cemented the bond of friendship between Raj Kapoor and Hrishikesh Mukherjee. The character of Anand was inspired by Raj Kapoor, who use to call Hrishikesh Mukherjee as "Babu Moshay" (The Great Gentleman). It is believed that Mukherjee wrote the film when once Raj Kapoor was seriously ill and he feared that Raj may die, leaving him friendless. Hrishikesh Mukherjee had penned the story of Anand keeping in mind his close relationship with Raj Kapoor. Kapoor was represented as Anand and Hrishida was Dr. Bhaskar Banerjee.

Hrishikesh had also dedicated the film to Bombay, as Mumbai was called then. "This is the city that gave me everything,” said Hrishikesh, “I am not a Bengali and have never made a Bengali film. I am a Maharashtrian and will remain one to my dying day.”

The film was originally supposed to star famous Bollywood actors Kishore Kumar and Mehmood in the lead roles. One of the producers of the film, N.C. Sippy, had earlier served as Mehmood's production manager. The character Babu Moshai was to be played by Mehmood.
Hrishikesh was asked to meet Kishore Kumar to discuss the project. However, when Hrishikesh Mukherjee went to Kishore Kumar's house, he was driven away by the gatekeeper due to a misunderstanding. Kishore Kumar (himself a Bengali) had done a stage show organized by another Bengali man, and he was involved in a fight with this man over money matters. He had instructed his gatekeeper to drive away this 'Bengali', if he ever visited the house. When Hrishikesh Mukherjee (also a Bengali) went to Kishore Kumar's house, the gatekeeper drove him away, mistaking him for the 'Bengali' that Kishore Kumar had asked him to drive away. The incident hurt Hrishikesh Mukherjee so much, that he decided not to work with Kishore Kumar. Consequently, Mehmood had to leave the film as well, and new actors (Rajesh Khanna and Amitabh Bachchan) were signed up for the film. Though some says Hrishikesh Mukherjee's first choice for the roles of Anand and Dr Bhaskar Banerjee were Bengali matinée idols Uttam Kumar and Soumitra Chatterjee. But this seems to be unbelievable for a man who never searched in boundaries for talent.

Mehmood advised Amitabh Bachchan to grab a secondary role alongside the then heartthrob Rajesh Khanna in the film, saying, "All you need to do is feed off Khanna, the rest will take care of itself."

Originally, Hrishikesh Mukherjee had envisioned Shashi Kapoor, the brother of Raj Kapoor, for the role of Anand. He wanted Raj Kapoor himself, but he had just recovered from his illness and Mukherjee couldn't bear to see him die on the screen, since he had almost died in real life. In any case, Shashi Kapoor was not eager for the role, so Rajesh Khanna got it - it remains his most memorable role with Aradhana (1969) and Amar Prem (1971), which also brought a Filmfare for him.

Hrishikesh Mukherjee informed his writer Gulzar to open the film in such a way that the audience knows in the first scene itself that Anand (played by Rajesh Khanna) is dead. He did not want the audience to be in a state of suspense till the end and keep guessing whether Anand will survive or not. By doing that Hrishikesh Mukherjee wanted to concentrate on the essence of the film on how Anand wants to live life fullest and make the best of the time he has.

Music is the hallmark of all great Hindi movies and this one has music ranking right up there, on the top. Be it "Kahin Door Jab Din Dhal Jaye" or "Maine Tere Liye Hi Saath Rang" or "Zindagi Kaisi Hai Paheli". Maverick composer Salil Chowdury comes up with an absolutely fantastic score and singers Mukhesh and Manna Dey do complete justice to his tunes. Hrishikesh Mukherjee brought back Salil Choudhury, whose career had reached a cul-de-sac in Bombay due to lack of commercial acceptance, and also a forgotten poet / lyricist, Yogesh. Salil and Yogesh both were wonderful and their careers revived significantly after the film.
The song "Zindagi Kaisi Hai Paheli" was originally proposed as background song for the title. After listening the song, Rajesh Khanna thought that it would be a waste to use such a nice song as background song for title. He suggested Hrishikesh Mukherjee, Director, to create a situation for this song. In those days songs played in background for title, was less played on radio.
He teams up with Gulzar as lyricist and dialogue writer to give us some of the best lines in Hindi cinema and some hauntingly lovely songs. It plays on the heartstrings till date.

Viewed retrospectively, the film seems almost to be an allegory of the cinematic demise of Rajesh Khanna Superstar and his replacement by the (soon to be Angry) Young Man, Amitabh Bachchan, as his sensitive and soulful doctor-cum-diarist. Bachchan’s subdued character—with lanky physique, deep voice, and big, melancholy eyes—is meant to serve as counterpoint to the pudgier Khanna’s manic ebullience, and does, but it also hints at the “darker” heroic personality that was soon to emerge, and that would rule the Hindi screen for more than a decade. Tellingly, when the film was successfully re-released a few years after its first run, Bachchan’s image dominated the poster, ironically relegating leading man Khanna to “supporting” status.




Khanna and Bachchan respectively bagged the Best Actor and Best Supporting Actor Filmfare awards for this movie. Anand also got the Best Film award. Mukherjee, however lost out the Best Director award to his dear friend Raj Kapoor for his magnum opus Mera Naam Joker.

Aashirwad - 1968

Another Great, heart touching and even slight melodramatic Gem by Hrishida. Ashok Kumar won the Silver Lotus Award from National Film Awards as Best Actor for this movie. Ashok Kumar was nominated in two categories for the same role durinf Filmfare Awards 1970, he eventually won Best Actor title.

Ashok kumar is the main leading actor in the role of a wealthy Jamindar’s Son-in-law, Shivnath Choudhary who has a concerning and creative heart of commoner. Shivnath also known as Jogi Thakur by villagers likes to mingle with them having no cast and money barrier. He befriends specially with Baiju and learns to play ‘Dholki’ from him. Jogi Thakur loves only two things; one is his 8 year old daughter Neena and the villagers and their folk culture. His wife Leela dislikes this nature of him as she is Thakuraiin for the villagers so she tolerates till they pay her taxes.

Once Shivnath steals money to help villagers to pay their taxes, on knowing this in anger Leela burns the hutments and forbids Shivnath from seeing his daughter ever again. Hurt feelingly Shivnath leaves the house and comes to Mumbai where he meet Mahadev, a poor fellow earning his livelihood by showing images to children. Jogi Thakur meets another girl named Neena and feels happy to sing for her. When she passes away, he comes back to his village and sees Baiju in a lost mind state since his daughter Rukmini has been abducted and held by Leela’s munim Ramdas. Shivnath tracks him, and while trying to rescue Rukmini kills Ramdas in self defense. 

Jogi thakur considers this a great sin and prefers to get punished and imprisoned for 14 years. Now this is the part Hrishida has shown as person with high Morals which is difficult to believe for todays generation. As the time passes, One day handsome young doctor gets newly appointed in the jail’s hospital. Thakur’s daughter has turned into beautiful young girl and sings her father’s poems on radio. She comes to jail to meet doctor, her fiancé.  Jogi Thakur is happy when he comes to know that she is his daughter but tries to hid away from her after knowing her loath for criminals. But she stops him and tries to talk to him. Shivnath comes to know about her marriage and strong desire to take blessings from her father at wedding. A day before wedding Shivnath gets a stroke and is admitted in hospital. He refuses to stay there and rushes towards village. He joins the villagers and beggars served in his daughter’s wedding to bless her.

This last scene is so melodramatic causing the audience shed tears for the father and daughter and definitely moves the person.

Ashok Kumar was outstanding as the loving father. He was thoroughly likable, and his graciousness, humane values and love for children were aptly displayed, as was his yearning to see his daughter and bless her upon marriage. There were some very nice poetry sequences in it written by his character for his daughter while in prison. The way he has sung it seems as if he wrote it himself.

Haridranath Chattopadhyay and Abhi bhattacharya both have got important roles. Harindranath’s Baiju is wonderful performance, his singing, his mannerisms towards Thakurs, love and respect for Jogi Thakur, his mental illness, his caring heart at the end – name the scene and he has mastered every.  

Sanjeev Kumar was also very natural as the doctor of the jail and Ashok Kumar's future son in-law. Sumita Sanyal is as usual. Appearance of Baby Sarika as another Neena is good to see.

Ashok Kumar is probably India’s first Rap singer to sing ‘Railgadi’. I remember watching this song on Chitrahaar, Chhayageet and Rangoli at times and we used to love it so much trying to memorize the song. Still that child in the corner of the heart loves it. Music is by Vasant Desai. Poem like Ek tha Bachpan is also well composed and given the grace by Asha’s voice.

Its a worth watching movie for sure.

Filmfare Awards (Best Actress Category) Facts

In 1963, Meena Kumari was the only nominee, nominated for all three entries (that time there were 3 entries per year), for Aarti, Sahib Bibi Aur Ghulam, and Main Chup Rahungi.




Shabana Azmi, actress with the Most nominations same year, had received four out of the five nominations of best Actress category in 1984 (and evenrually won for Arth).

Actress with Most Awards Nutan, with five wins for Best Actress and one win for Best supporting actress. Nutan has most Best actress wins till this year. Now niece Kajol has caught up with her 5th win this year. Nutan is also the oldest winner - at the age of 42 - of the Filmfare Award for Main Tulsi Tere Aangan Ki. She won it for other films like Seema, Sujata, Bandini,Milan.
She won Best supporting actress award in 1982 for Meri Jung.


After Nutan, there comes Jaya Bhaduri who also has 6 Filmfare awards, 3 Best Actress and 3 Best Supporting Actress.

However, the oldest nominee is Sharmila Tagore who was nominated in 2006 for Viruddh at the age of 60. The youngest nominee and winner of the award is Dimple Kapadia who was nominated when she was as young as 16 years for Bobby in 1974, though this year she shared with Jaya bachchan for Abhimaan.




Actress with Most Nominations for Best Actress category is Madhuri Dixit has 13 nominations to her credit. She has won the award four times alongwith Meena Kumari.




Actress with overall most nominations is Rakhee who was nominated 16 times (8 for Best Actress and 8 for Best Supporting Actress). She is followed by Madhuri Dixit who has 15 nominations overall.




Actress with Most Nominations without ever winning Tabu, Manisha Koirala with some 5 nominations.

Vyjayantimala, Jaya Bachchan, and Shabana Azmi have three wins. Seven actresses have won the award twice; in chronological order, they are Waheeda Rehman, Dimple Kapadia, Rekha, Sridevi,Karisma Kapoor, Aishwarya Rai, Rani Mukerji.

Four actresses have won the award in consecutive years; in chronological order, they are Meena Kumari (1954-55), Jaya Bhaduri (1974-75),Shabana Azmi (1984-85), Rani Mukerji (2005-06).

There has been only one tie in the history of this category. This occurred in 1974 when Jaya Bhaduri and Dimple Kapadia were both given the award.


Only once have siblings been nominated for the Best Actress Award during the same year: Karisma Kapoor for Zuibedaa and Kareena Kapoor for Ashoka in 2002.



Rani Mukerji is the first and only actress to win both these awards in the same year. Two actresses were nominated for both these awards for the same performance: Nutan (for Saudagar in 1974 and for Main Tulsi Tere Aangan Ki in 1979) and Raakhee (for Doosra Aadmi in 1978 for same role nominated in both the categories).

Filmfare Revelations - Part 2

1. Dilip Kumar was the first actor to be honored with 'Filmfare Award For Best Actor', for his performance in ‘Daag’.

2. In 1962 Shammi Kapoor was expecting an award for his performance in Professor but was quite disappointed when he lost it to Ashok Kumar who won it for Rakhee. Shammi Kapoor subsequently received a letter from Ashok Kumar where Dadamuni stated that he knew how one felt to not win an award and added that he felt Kapoor deserved the award. Dadamuni's generous and magnanimous thoughts brought back a smile on Shammi Kapoor's face.


3. In 1968, Sunil Dutt lost the best actor’s statuette (for Milan) to Dilip Kumar who won it for Ram aur Shyam. Later Sunil organized a party for Dilip Kumar soon after the awards function, starting the trend of post-award parties.


4. In 1957, Vyajayantimala didn't accept the award for Devdas in the Best Supporting Actress category because she thought she was the lead actress of the film and not Suchitra Sen.


5. In 1973, Also Pran refused to accept the award in the Best Supporting Actor category for the film Beimaan but his reason was different. He thought that the background score of Pakeezah was much better than the background score of Beimaan. But Shankar-Jaikishen won the award for Beimaan.


6. In the 1981 Filmfare Awards, Kishore Kumar was supposed to sing only 2 songs for the event. But he was so involved in the performance that he sang continuously for almost one hour. Accompanying him on the stage was his brother Ashok Kumar and son Amit Kumar. And later Kishore Kumar instead of singing his award winning song crooned Mohammed Rafi's song.


7. The Doordarshan had an objection with Amitabh Bachchan's performance on the "Jumma Chumma" number on the Filmfare Awards event as the movie Hum had not yet been released by then and the song remained uncensored. The channel threatened to sue Filmfare for this but the matter subsequently dissolved.


8. Vani Ganpathi and Kamal Haasan got married on the day of the 25th Filmfare Awards; they attended the award nite with their garlands still around their necks. That year Vinod Mehra also postponed his honeymoon with wife Meena Broaca to attend the function. Both marriages did not survive.


9. In 1991 Dimple Kapadia gave a special award to husband Rajesh Khanna for completing 26 years in the film industry. In the same year Gulzar gave an award to his ex-wife Rakhee in the Best Supporting Actress category for Ram Lakhan. And while handing over the trophy Gulzar in a very mischievous fashion said to Rakhee "Aji Sunti Ho..."


10. As the Filmfare award function of 1991 came to an end, the entire crowd ran towards Amitabh Bachchan as he stood up near the pool. One of the planks cracked, and Amitabh Bachchan had to do a filmy style rescue operation to save Rakhee from falling.

11. Aamir Khan had actually attended Filmfare Awards during his early days. But then, he felt short-changed when he didn't receive an award for Jo Jeeta Wohi Sikandar in 1992; the award had gone to Anil Kapoor for Beta.

When Shahrukh Khan arrived on the scene, he won the best actor award for Baazigar(1993) and Aamir Khan's performance in Hum Hain Rahee Pyaar Ke(1933) didn't win him an award. The toughest competition between Shahrukh Khan and Aamir Khan was in 1995 when Shahrukh Khan was loved by the nation for Dilwale Dulhaniya Le Jayenge and Aamir Khan's loveable tapori act in Rangeela was praised to the skies. But that time too, Aamir Khan lost to Shahrukh Khan as DDLJ won him the Best Actor Award.

After that Aamir Khan decided it was enough and stopped attending Filmfare Awards and other popular movie awards. Though he says, he has nothing against SRK, Aamir is not happy with the way awards are organized and the winner chosen in these functions. When asked about the selection procedure and authenticity of Indian Film awards, Aamir Khan says, “The fact is that I have no objections to film awards per se. I just feel that if I don't value a particular film award, then I won’t go attending it either. Apart from the national award, I don't see any other award ceremony that I should give value to. My personal experience about these award ceremonies is that I don't trust them. I have no faith in them so I would prefer to stay away.”


12. The 53rd Filmfare Award 2007 was a Taare Zameen Par spectacle with child actor Darsheel zafary bagging the Critics Award for best actor for his portrayal of Ishan Awasthi, an 8 year old battling Dyslexia. He broke the 52 year old tradition of the Filmfare Awards and has become the first child actor to be nominated in the Best Actor category along with biggies like Shahrukh Khan, Abhishek Bachchan, Akshay Kumar and Shahid Kapoor.

13. Kamal Hasan got 18 filmfare awards in various categories.

Filmfare Revelations - Part 1

1. Filmfare Awards were first called Clare Awards, constituted in 1954 after the name of Clare Mendonca (the Times of India film critic who died the year of the first awards, 1954). A dual voting system was developed in 1956.

2. To celebrate the 25th year of the awards the statues were made in Silver.

3. To celebrate the 50th year the statues were made in Gold.

4. Gregory Peck was expected to be the guest of honour at the first ever awards (March 21, 1954 at the Metro theatre, Mumbai). He couldn't make it to the function since his flight from Colombo got delayed. Peck, however, did attend the banquet that followed the award nite.

5. The first awards function was held on 21 March 1954, and only five awards were presented that day– for the best film , the best director, the best actor, the best actress, and the best music director.

6. At the first “Clares” Awards function, Bimal Roy’s ‘Do Bigha Zameen’ won the award for the best film; Bimal Roy went home with the Best Director award. Dilip Kumar was adjudged as the Best Actor (Male) for ‘Daag’, while Meena Kumari won her statuette for Baiju Bawra. Naushad was bestowed with the Best Music-director for his beautiful compositions in the Bharat Bhushan starrer, ‘Baiju Bawra’.

7. The Filmfare Awards for playback singing first started in 1958. In 1956, the song 'Rasik Balma' from the film Chori Chori by Shankar Jaikishan won the Best Song Filmfare Award. Lata refused to sing it live in protest of absence of a Playback Singer category. The category was finally introduced in 1958. Though, separate awards for male & female singers were introduced later on.

8. First Filmfare Award of Best Playback Singer (Male/Female) went to Lata Mangeshkar for the song Aaja re pardesi (Madhumati) in 1958.
From the year 1958 to 1966 no other female singer was able to get the filmfare award. Since she had won the popular Filmfare awards so many times & had always been accussed of monopolising the industry (along with sister Asha), after 1969, she made the unusual gesture of giving up FILMFARE awards in favour of fresh talent. And after decades, in 1995, Lata Mangeshkar accepted the Best Playback Singer award for Hum Aapke Hai Koun! once again on popular demand.


9. In 1975, Yash Chopra's Deewaar swept all the awards except, surprisingly, for the lead actor Amitabh Bachchan. 1975's Best Actor awards went to not so famous Sadhu Meher for his performance in Ankur.

10. One of Filmfare’s mighty losers has been ‘Sholay’, which won only one award in 1975 that too for Best Editing!!!


11. Choreographer B. Sohanlal who was the president of the choreographer's association consistently appealed to the Filmfare to have an award for Best choreography. But his plea was answered only in 1988 when the Best Choreography Award was conceived. And the first choreography award was won by Sohanlal's disciple Saroj Khan for Madhuri’s sizzling "Ek Do Teen..." from Tezaab.


12. Sanjay Leela Bhansali’s ‘Black’ holds the record of winning the maximum number of Filmfare Awards. It won 11 at the 51st Filmfare Awards.

13. Dilip Kumar has been nominated for 19 Filmfare Best Actor Awards in all and he won 8 awards for Best Actor (a record). Shah Rukh Khan has been nominated for 17 times and won 7 times. Amitabh Bachchan has been nominated for 28 Filmfare Best Actor Awards in all (a record) but won 4.

Anuradha (1960)

Cast: Balraj Sahni, Leela Naidu, Abhi Bhattacharya, Nasir Hussain, Hari Shivdasani, Asit Sen, Ashim Kumar, Brahm Bhardwaj, Manav Chitnis

Producer: Hrishikesh Mukherjee
Director: Hrishikesh Mukherjee

Sachin Bhowmick wrote the story of Anuradha which starts showing the post-marital life of Former singer Anuradha and Dr. Nirmal Chaudhari who are staying in a village with daughter Ranu.

Father asks his son, Nirmal, after his mother’s death, to study medicine, become a doctor, and live in a small village to help patients who are unable to travel great distances to see a medical professional. Nirmal follows his father's advice, becomes a doctor, and starts his practice in Nand Gaon.

He meets with Anuradha Roy who is his friend’s sister and a well-known Radio Singer and stage dancer. He gets attracted towards her. Anuradha is quickly taken in by Dr. Nirmal's many romantic advances. He treats her injured ankle, both fall in love, and gets married, without the blessings of Anuradha's wealthy dad, Brijeshwar Prasad Roy. In a series of flashbacks, Anuradha’s past as a successful radio singer is revealed to us. Rejecting her father’s warnings of a difficult life and her suitor Deepak‘s (Abhi Bhattacharya) entreaties, she decides to get married to Nirmal, who has set his mind to work in a village. Both re-locate to Nandgaon where Anuradha gives up her singing and becomes a housewife. She soon gives birth to a daughter, Ranu.Then 10 years later, the marriage loses its colours as Nirmal is absorbed in the welfare of the villagers, quite unmindful of the subtle needs of his wife. Her apologetic dad comes to visit her, and takes Ranu away for a holiday with him. Shortly thereafter, Anuradha's former beau, Deepak, the England-returned man her dad had wanted her to marry, re-enters her life. He witnesses that she is being neglected by her overly busy husband, asks her to return back to singing, and go and live with her dad. At first she refuses and asks him to leave, then relents when she sees that Nirmal has indeed been neglecting her, even on their wedding anniversary. She then informs Deepak she is ready to move out.

That night when Nirmal returns home, Anuradha informs him about her decision to leave him. She stays back to play host to Dr. Trivedi (Nazir Hussein), who praises her to the skies and attributes Nirmal’s success to the dedication and devotion of Anuradha. In a daintily drafted climax, Nirmal’s penitence and Anuradha’s forgiveness lends life to their ruined relationship.
At the end, Anuradha’s endless sacrifices for her husband’s medical career and inherent desire to help the impoverished transforms from something personal into a microcosm of Indian motherhood and female resilience that often goes unacknowledged.

What goes on in the mind of a superstar when she gives up glamour and glory to marry a doctor working in a village? Anuradha has some answers. Hrishikesh Mukherjee raises many points which hold water even in today’s world. In a jocular scene, Ranu (played brilliantly by Baby Ranu) asks her father why her mother became Anuradha Chaudhari from Anuradha Roy and whether she too will have to change her name after her marriage. Anuradha Roy (Leela Naidu) is forced to make a painful sacrifice by choosing to surrender her artistic ambitions as a talented radio artist so that she can support her husband’s idealistic desires. The contribution of women behind the success of men, though an oft-repeated fact, is used as the pillar of this story, which finally dawns on an insensitive Nirmal in the climax. Mukherjee explores with great humanism and intelligence, the high price a woman must pay so that Indian society could continue to progress in an era when rapid educational and medical programs were slowly being implemented by the secularism of a Nehruite government.

Balraj Sahni strikes a dignified composure and looks every bit Nirmal Chaudhari and gets into his role with ease. He looks every inch a dedicated doctor, unmindful of his domestic life.

Abhi Bhattacharya makes an impact but his scenes are by and large too less.

Major attraction is the stunning beauty of Leela Naidu. Though she fumbles a bit with her Hindi dialogues at places, one simply ignores it for she lights up every frame with her luminous being. Leela Naidu was Femina Miss India in 1954, and was featured in the Vogue along with Maharani Gayatri Devi in the list of 'World's Ten Most Beautiful Women' and is remembered for her classical beauty and subtle acting style. She was spotted by Hrishikesh Mukherjee when he saw her photos captured by Kamaladevi Chattopadhyay.

The beauty of Anuradha lies in its silent charm. Anuradha’s distance from her music is expressed through dusty music notes and a veena, lying unused for years. The charm of the movie is accentuated by its music. Many associates suggested Hrishekesh Mukherjee to go for their usual favourite Shankar-Jaikishan for the movie. But Hrishida was sure that the classicism in the story could be brought out only by a classical musician. It is said that initially Ustad Bade Ghulam Ali Khan was approached. But finally, Pandit Ravi Shankar agreed to score the music for this movie. Though Anuradha failed to give chartbusters, the plaintive notes of Jaane kaise sapnon mein, Haay re woh din and Kaise din beete, sung mellifluously by Lata Mangeshkar, fail to fade away. But it is the stupendous background score that enunciates the latent emotions of the characters.

Anuradha won the President’s Gold Medal and was nominated for the Golden Bear at the Berlin Film Festival in 1961. Hrishikesh Mukherjee however failed to make any notable works for the next six years, save the Dev Anand-Sadhna starrer Asli Naqli (1962), till he finally saw a tangible success with Anupama (1966). Deep under the colours and revelry of the Hrishikesh Mukherjee classics of the seventies, Anuradha still shines radiantly like the luminescent face of Leela Naidu.

With Hrishikesh Mukherjee what picture comes in mind is that of boisterous households, kurta-clad men and sari-clad women celebrating their middle-class lives on-screen. Hrishikesh Mukherjee is often referred to as one of the forgotten film directors of Indian cinema. Admittedly, much of his work has been overlooked for reasons largely to do with an indistinct directorial style and the middle class sensibilities of his protagonists. The fact that Hrishikesh Mukherjee was a Bengali film maker and not an Indian one seems to provide one of the clearest explanations for his rejection of becoming accepted and positioned in the context of mainstream cinema. Though he did work with many of the A list film stars, his unpretentious approach to film making was nurtured by his formative years as an editor and assistant director with the talented neo realist director, Bimal Roy. This early experience with realism and the ideological imperative of socialism did leave an influence on Hrishikesh Mukherjee but he chose rather to focus on middle class stories and popular genres. Way back in his inchoate days as a director, Hrishida came up with a silent gem called Anuradha. In the year 1960, the successes of many a good movie remained unheard due to the thunder of K. Asif’s Mughal-e-Azam. Anuradha too celebrated its success under its mighty shadow.