29 rows We have posted the Rajesh Khanna hit songs that are romantic, sad, emotional.
. 24 April 1970 ( 1970-04-24)CountryLanguageHindi, EnglishThe Train is a Indian -language starring. The film is recorded as a 'Hit' at Box Office India. Khanna stars as Police Inspector Shyam Kumar, who sets out to solve a series of murders which have all taken place on a. Complicating the situation are his girlfriend Neeta , who has been acting mysteriously ever since she began her new job, and hotel dancer Miss Lily , who tries to seduce the good police inspector, but may find that she loses her heart instead.
This movie was co-produced by and it was who suggested Rajendra to cast Rajesh Khanna in the main lead. This film is counted among the 17 consecutive hit films of Rajesh Khanna between 1969 and 1971, by adding the two-hero films Marayada and Andaz to the 15 consecutive solo hits he gave from 1969 to 1971.It is the remake of the 1967 Malayalam movie starring, which was subsequently remade in 1968 in Kannada as, in Telugu as Circar Express and in Tamil as.The film is famous for the popular song 'Gulabi Aankhen', sung by, which continues to remixed and recreated to this day. All of the above took inspiration from 1940 Hollywood film Midnight Limited. Contents.Cast. as CID Inspector Shyam Kumar.
as Neeta / Geeta. as Lily. as Pyarelal. As Police Commissioner. as Yogi / No.
1. as Shetty. as Neeta's MotherSoundtrack SongSinger(s)Notes'Gulaabi Aankhen Jo Teri Dekhi'Picturized on and in a garden.' O Meri Jaan Main Ne Kaha',Picturized on and Chinu Rajput.' Kis Liye Maine Pyar Kiya'Picturized on'Ne Soniye',Picturized on and'Maine Dil Abhi Diya Nahin'Picturized on'Chhaiyan Re Chhaiyan Re'Picturized onReferences.
Whentalking about old songs, the 40’s and the 50’s could be called very old, thestart of an evolution which has given us Bollywood. As Bollywood matured, newtalent and daring producers took it to new heights. Music still remained aninseparable part of the genre, because in India, music is ingrained in ourculture. It is a part of the blood that flows in our veins.In the 60’s, weexperienced new adventures in both film-making and music. There was also a lotof experimentation to veer away from the stereotyped story line of boy meetsgirl, boy loses girl, boy gets girl back. Satyajit Ray had already startedleading the pack in the 50’s, drawing on some excellent Bengali literature forhis plots. But he was so far ahead of the pack that he was no longer in thepack.
Thedecade that followed brought us many gems. India was growing as an independentnation, developing a new script to re-define its essential nature. Bollywooddid likewise, and found a need to bring new talent into its fold. Of the manythat came, some faded quickly, and some persisted, but one star shone brighterthan the rest towards the end of that decade. Although his first few movies didnot become big hits, a set of circumstances arose which brought Rajesh Khannato the screen and the title of “Superstar” was bestowed on an actor for thefirst time in Bollywood history. Within a very short time, he made a recordnumber of super-hits.The Superstar (1942-2012).
Theone movie which probably launched his Superstar status was Aradhana,made by Shakti Samanta in 1968. Shakti Samanta had already made his name withrecent hits Kashmir Ki Kali and Evening in Paris at the time, and he waslooking to make a “quickie” movie in 1968 to capitalize on his new-found fameand keep his name in the limelight. Little did he know that Destiny wouldreward him in much greater measure than he sought in his modest plans. But suchis the miracle of life. It takes many twists and turns, and keeps you guessing. Thetwists and turns that a story can take when a character is made to give up hisor her identity and continue as someone else can be fascinating. The idea ofmistaken identities, disguises and switched personalities can be foundrepeatedly in plots going back to Shakespeare’s works, but an American authorof crime novels wrote a story in 1948 which seems to have captivated many filmmakers.
Ironically, the author, whose real name was Cornell Woolrich, wrotethis novel under an assumed name, William Irish. The novel was called I Marrieda Dead Man. Youcould say that the making of the movie Aradhana, by Shakti Samanta, wasconnected to the many twists and turns that could be traced back to this novel.Cornell was an accomplished author who produced many novels which were madeinto movies, not only in Hollywood, but also in Japan. Alfred Hitchcock’s RearWindow was based on his short story, It Had to Be Murder (even though AlfredHitchcock and James Stewart did not acknowledge this, it was upheld by theSupreme Court many years after Woolrich died). ShaktiSamanta had been on the jury of Filmfare’s talent hunt, and had spotted one ofthe contestants, Rajesh Khanna. He had also liked him in Nassir Hussein’sproduction of Baharon ke Sapne. Even though Hussein’s movie was not ahit, Rajesh Khanna’s performance had impressed him.
The story of Aradhanarevolved around the female lead, and Rajesh Khanna was proposed for the role ofVandana’s lover in the first part of the story, as the pilot who dies in acrash before the interval. As roles go, this was a relatively minor role because the main character was the female lead, and the pilot dies in the first half. Nevertheless, Rajesh Khanna was excited because of the chance to be associated with a successful producer like Shakti Samanta. He needed the touch of Samanta's genius to breathe life into his career. Sharmilahad already been a hit in two of Samanta’s previous films, Kashmir Ki Kali andEvening in Paris.
But for this story, it was important to have an actress whocould play the role of the young woman in love, and then go on to play the roleof an older woman as the mother of a grown son. Sharmila Tagore had appeared ina bikini in Evening in Paris, and carried the image of a sex kitten for themoviegoers. Aparna Sen was chosen for the role, but she dropped out before themovie could start shooting. Well,somehow the name was changed, and Aradhana was set for shooting. It wascommon for producers in Bollywood to show their productions to their friends inthe industry before releasing them. Surinder Kapoor (father of Anil Kapoor, theactor) had just produced a movie with Shashi Kapoor, titled Ek Shriman EkShrimati. A day before the shooting of Aradhana was to begin, Surinder Kapoorinvited Samanta to view the rushes of his movie, and Samanta was shocked to seethat the climax of that movie was very similar to his own proposed film.Coincidentally, Sachin Bhowmik was the story writer for Kapoor’s film.
The plotthickens! Samantawas relieved at this, and immediately started planning the movie using Rajesh Khanna again, this time with Asha Parekh. The new movie was to be named KatiPatang. Gulshan Nanda also suggested again that Aradhana should bemade with a change of ending, and Rajesh Khanna could play both the father andthe son that appears years later. Samanta was delighted with this suggestion. For Rajesh Khanna, this was an unexpected bonus, as his role now took on a new importance.
(Aha,we closed another loop!). Reallife can often have as much drama as any of Shakespeare’s highly creativecomplicated, twisted plots. I hope you enjoyed the narration of such a reallife story which led to the making of two movies. As a final note, the directorwho made To Each His Own (the forerunner of the Aradhana story) in 1946,Mitchell Leisen, had also made the 1950 movie No Man of Her Own, which wasbased on Cornell Woolrich’s novel, and spawned the story for Kati Patang.Both were released in 1969, just a few months after Cornell Woolrich himselfpassed away. The story behind Aradhana has been made into a movie three times in Hollywood,once in 2001 as a TV show, and once as the movie in Bollywood. ThenMitchell Leisen makes a movie from the second story in 1950. Eighteen yearslater, Shakti Samanta makes the same two movies as Mitchell Leisen, and thestoryline is developed by the same writer, Gulshan Nanda, for both of them.
Justjoin all the dots. Wow!Shakti Samanta must have been very happy that he changed his mind about scrapping this movie. Never mind that the story was not original, his creation was brilliant, and the movie won Best Picture in the Filmfare Awards. Sharmila Tagore won for Best Actress, and Kishore Kumar got the Best Playback Singer award. What a Hat Trick!
Today, we still remember that this movie was a big hit. More so, every song in the movie was a hit.
It is often the case in Bollywood that the songs and the music make the movie. This movie was no exception, even though it had many other things going for it.Afterthe recording of the songs for Aradhana was started under the direction ofSachin Dev Burman, but the much-beloved music director fell seriously ill, andthe rest of the soundtrack was finished by his son, R.D. Burman, who went on tocompose the music for Kati Patang immediately after. Thefirst song we will take up is sung in the background by Kishore Kumar while wewatch the most beautiful love scene in Bollywood memories. The scene happensimmediately after Arun and Vandana have visited a temple where they pray andexchange garlands in front of God, symbolizing their commitment to be lifepartners. They walk in the hills and proclaim to the mountains that they belongtogether. A sudden cloudburst follows, with the rain that is so ubiquitous as ametaphor for romantic desire in Bollywood films.
They must now retreat to acottage in the hills, and Vandana must change out of her wet clothes. Sheemerges from the bath in an alluring orange dress with only one shoulder. Thescene is set for a song. Self-righteouscensors and self-appointed guardians of Indian morals take note.
Carefully.This film was made long before kissing was allowed in Indian movies because youthought kissing was to be kept within the confines of a married couple’sbedroom. Watch carefully as Arun and Vandana show the world, right under youreyes, something much naughtier than a kiss could ever be. The unspoken wordsthat pass through their eyes display the most intimate feelings and thoughtsthat can occur in any bedroom, much louder than a kiss could. Translation:Your beauty is intoxicating, I am madly in loveI am afraid of where it might lead usThe night is exhilarating, the ambiance arousesToday, the whole universe seems to be in ecstasyLet the drunken mood enchant usWhen our eyes look into each otherIt is as though a tempestCrashes a boat against the shoresThe world is trying to stop usIt says, do not get closer,But the heart will not listenAs usual, thank you very much for your support. Please do not forget to share. I hope that the New Year is bringing you a wonderful life and excitement.Venkat-Disclaimer: I was not there to observe and report on all the events and details in my blog above.
The miscellaneous facts come from various sources on the internet. Most of them are mentioned in more than one or two websites, and it would be impossible for me to discover the original owners of the bits. I express my gratitude to all the sources.All of the narrative is in my own words. If you have an exclusive copyright to any of the facts or fiction that I have paraphrased here, you can send me a request to remove them if you like.