Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Archive for the ‘Mukesh-Lata duet’ Category


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

‘Poonam Ki Raat’ (1965) – a film that is rich in wonderful songs. The lyrics from the pen of Shailendra and the lilting tunes from the baton of Salil Chaudhry, have made almost all songs of this film as wonderful gems. Three songs from the film are already represented here – the soulful and pensive rendering of “Dil Tadpe Tadpaaye” by Rafi Saab, the fabulous, ritzy dance number “Ta Dhim Tana Dhim. . .” that only Asha Bhosle can do, and the haunting sounds of “Saathi Re. . . Tujh Bin Jiyaa Udaas Re” in the voice of Lata Mangeshkar. So now it is the turn of a romantic duet to follow. And this song here is one wonderful melodious creation, with voices of Mukesh and Lata Mangeshkar.
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“Sasuraal”(1961) was a Prasad Production movie. It was directed by T Prakash Rao. The movie had Rajendra Kumar, B. Saroja Devi, Shobha Khote, Leela Misra, Anwar Hussain, Randhir, Mehmood, Jayshree Gadkar, Dhumal, Misra, Ratnamala, Wasti, Lalita Pawar, Bipin Gupta etc in it.
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“Aplam Chaplam” (1961) is a movie about which very little is known. Fortunately we can count on our beloved inhouse encyclopaedia Mr Arunkumar Deshmukh to provide us all the details about such obscure movies. Here is what he has to say about “Aplam Chaplam” (1961):-
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Though “Hamaari Yaad Aayegi” (1961) is today mainly remembered for its iconic title song sung by Mubarak Begam, the other songs from this movie are arguably in the same league, even if they became oivershadowed by the Mubarak Begam song.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

I had heard popular songs from ‘Kismet’ (1943) in my childhood. But it took another two decades for me to know that Anil Biswas composed those immortal songs. It was during one of the sittings in my friend’s house sometime in early 70s when I listened for the first time a song from ‘Taraana’ ( 1951)- seene me sulagte hain armaan that I came to know of him as music director. Subsequently,I heard many of his songs from films of 40s and 50s and I started liking those songs. It took me another four decades to know about Anil Biswas’s detailed profile and filmography by which time I realised that he was an institution by himself.
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With the success of “Chor Machaaye Shor” (1974), Shashi Kapoor had become a much sought after actor.Shashi Kapoor decided to make hay while the sun shone and he signed up each and every offer that came his way. Shashi Kapoor signed up so many movies that he did not have dates to give for his various producers for shooting. Normally actors give “dates” in units of “shifts” for shooting, where one shift consists of six hours (I may be incorrect about the duration of a shift. I request our knowledgeable readers to throw more light on a “shift”). But Shashi Kapoor began to give time in hours for shooting, much to the chagrin of his producers, including Raj Kapoor, his own brother.
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