Archive for the ‘Post by Sadanand Kamath’ Category
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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6292 | Post No. : | 19477 | Movie Count : |
5138 |
In the late 1960s and early 1970s, there were some Hindi films which were labelled as ‘parallel cinema’, ‘new wave cinema’ or ‘art cinema’ when they were released. The films included ‘Bhuvan Shome’ (1969) by Mrinal Sen, ‘Uski Roti’ (1969) by Mani Kaul, ‘Saara Aakaash’ (1969) by Basu Chatterjee, ‘Maya Darpan’ (1972) by Kumar Sahni, ‘Garam Hawa’ (1974) by M S Sathyu and ‘Ankur’ (1974) by Shyam Benegal. Among these films, there was a film titled ’27 Down’ (1973) about which I had a faint memory. Few days back, the name of this film came back to my mind when I read an article with a curiosity-creating caption, ‘A class IV employee, his only film won two National Awards, died at 35……. Who was Awtar Kaul?’ in The Economic Times, September 22, 2025. He was none other than the director of ’27 Down’ (1973).
Subsequently, I read two more articles about Awtar Kaul – one in ‘Chinar Shade’ by Avtar Mota and another in ‘The Wire’ by his nephew, Vinod Kaul. Surprisingly all these articles appeared during 2024-25.
Incidentally, ’27 Down’ (1974) was screened at the International Film Festival of India (IFFI) in Goa in 2024 to commemorate 50 years of the film’s release. Perhaps these articles appeared around that time as tributes to Awtar Kaul on 50th year of his passing away on July 20, 1974.
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Mere angnaa mehndi ka boota
Posted on: October 6, 2025
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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6289 | Post No. : | 19467 |
‘Mehndi’ (1983) was produced by Dinesh Kumar and was directed by Asit Sen. The cast included Vinod Mehra, Ranjeeta, Raj Babbar, Tamanna, Raj Bothara, Madan Puri, Usha Kiran, Seema Deo, Meena T, Mohan Choti, Birbal etc. Bindiya Goswami and Sh akti Kapoor made their special appearances in the film. This was Asit Sen’s last Hindi film as a director.
There are confusion galore about two Asit Sen’s works in Hindi films on the internet. Suffice to say here that Asit Sen, the director of the film under discussion did not act in any Hindi film. He directed his first Hindi film ‘Mamta’ (1966) while Asit Sen, the comedian/character actor has also directed only two Hindi films, ‘Parivaar’ (1956) and ‘Apraadh Kaun’ (1957). Hence, there is a clear demarcation of their work as director in terms of the timeframe. Unfortunately, Asit Sen, the director is hardly remembered today who had directed some Hindi classic films such as ‘Mamta’ (1966), ‘Anokhi Raat’ (1968), ‘Khaamoshi’ (1969), ‘Safar’ (1970), ‘Annadaata’ (1972) and some Bengali films. Even if he is remembered, he is often mistaken with Asit Sen, the comedian. For example, an article in ‘The Hindu’ which appeared on April 02, 2010, under ‘Blast From The Past’, calls Asit Sen, the director of ‘Mamta’ (1966) as ‘a disciple of Bimal Roy’. Surely the writer has confused with Asit Sen, the comedian who had worked with Bimal Roy as his assistant director for his films of 1950s.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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6287 | Post No. : | 19459 | Movie Count : |
5136 |
‘The Gold Medal’ (1984) was produced by Sham Behl under his banner, Time Films and was directed by Ravi Nagaich. The cast included Jeetendra and Raakhi in the lead roles supported by Shatrughan Sinha, Premnath, Bindu, Faryal, Jaishree T, David, K N Singh, Raja Pranjpe, Sundar, Janakidas, Keshav Rana, Jagdish Raj, Gulshan Bawra. Brahm Bhardwaj, Prabhu Dayal, Madhumati etc. Dharmendra made a ‘priceless’ appearance in the film as an union leader. The film belongs the genre of ‘James Bond’ type of spy thriller in the Indian setting.
The film seems to be in the making for a long time. It is said that the film was planned sometime in the second half of 1960s with Rajendra Kumar and Saira Banu in the lead roles. Incidentally, film’s producer, Sham Behl (elder brother of producer, Ramesh Behl) is the brother-in-law of Rajendra Kumar. Later, the lead pair was changed to Jeetendra and Raakhi and shooting of the film commenced in 1969.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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6285 | Post No. : | 19452 |
‘Manzilein Aur Bhee Hain’ (1974) was produced by Johny Bakshi and was directed by Mahesh Bhatt who also wrote the story. The dialogues were written by the veteran theatre personality, Satyadev Dube. The cast included Kabir Bedi and Prema Narayan in the lead roles supported by Gulshan Arora, Purnima, Sudhir, Mac Mohan, Mukesh Bhatt, Shah Durrani, Kirti Kumar, Viju Khote, Ranvir Raj, Uma Dutt etc. Both Johny Bakshi and Mahesh Bhatt made their debuts as producer and director, respectively. Both had known each other while working for Raj Khosla as Assistant Director/Production Controller.
The film was completed in 1972 but ran into problems with Censor Board for about 15 months. In an interview, Mahesh Bhatt revealed that for Censor Board, the film’s two fugitives’ polyandrous relationship with a woman who is their partner in crime amounted to undermining the institution of marriage. Finally, the film got the Censor Certificate on August 13, 1974, as an ‘Adult’ film with cuts. The film had a limited theatrical released on September 27, 1974. The VCD of the film I watched, has a 2016 Censor Certificate with major cuts to make it fit for public viewing under parental guidance. The theme of the film is that there are alternative paths to becoming a criminal who lives under the constant fear of death.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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6283 | Post No. : | 19447 | Movie Count : |
5135 |
‘Dastoor’ (1991) was produced by Harish Munjal and Prem Chugh and was directed by Anil Mattoo. The cast included debutants Dolly Minhas, Pomy Dev in the lead roles supported by Sharmila Tagaore, Suresh Oberoi, Raza Murad, Alok Nath, Manohar Singh, Johny Lever, Kulbhushan Kharbanda, Dinesh Hingoo, Harish Munjal etc. Amita Nangia made her friendly appearance in the film. I have watched the film for the first time only few days back in one sitting. The film is a murder mystery drama with a fast-paced narratives to keep the audience engrossed while watching the film.
The opening scene of the film gives a feel of watching some of the suspense thriller films of the 1960s like ‘Wo Kaun Thhi’ (1964), ‘Poonam Ki Raat’ (1965) and ‘Mera Saaya’ (1966). A girl in white, without any expression, walks through the forest in a dark night with a background song, her destination being an architecturally impressive palatial mansion in which the owner lives alone. The caretkaer of the dmansion is seen smoking his chillum. After some time, he is seen switching off the lights of the first floor of the mansion. Simultaneously, a man in hat is also walking toward the mansion. An unidentified person has killed the watchman of the mansion by suffocating him. Inside the house is a pet eagle which makes a noise, probably giving a notice that someone has entered inside the mansion. Another man is slowly climbing the stairs with camera focussed only on his legs. Now, inside the mansion, there are four persons in addition to the owner of the house – the caretaker, the girl in white, the man with a hat and a person climbing the stairs in the mansion. All these scenes of movements give an indication to the audience that something is going to happen inside the mansion.
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Mehfil yaaron kee mehfil
Posted on: September 27, 2025
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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6280 | Post No. : | 19438 |
‘Pakhandee’ (1983) was produced by Robert D’Souza and was directed by Samir Ganguly. The cast included Shashi Kapoor, Sanjeev Kumar, Zeenat Aman, Asha Parekh, Ranjeet, Helen, Jagdeep, Asit Sen, Leela Mishra, Anwar Hussain, Kader Khan, N A Ansari, Dinesh Thakur, Sudhir etc. This was Samir Ganguly’s last film as a director.
Samir Ganguly was born in Lucknow in 1936. His father was working in the railway while his mother was a housewife. He was the youngest of the seven children. After the retirement of his father in 1947, Samir was looked after by his brother-in-law (his sister’s husband) in Jaipur who was financially well-off. After his brother-in-law’s retirement, Samir came to Mumbai in 1953 in search of employment during which he stayed with another brother-in-law, Subodh Mukerji who was the younger brother of Filmistan’s boss, Shashadhar Mukerji.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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6277 | Post No. : | 19428 |
‘Faaslaa’ (1974) was produced and directed by Khwaja Ahmed Abbas (K A Abbas) who also wrote the story, screenplay and dialogues. The cast included Shabana Azmi, Raman Khanna (debutant), Komilla Virk, David Abraham, Chand Usmani, Paintal, Yunus Parvez, Ravikant, Helen, Sadhana Khote, Shaukat Kaifi, Dinesh Thakur etc. Jairaj, Nadira, Nitin Sethi and Imtiaz made guest appearances in the film.
K A Abbas was an active member of the left-inspired Indian People’s Theatre Association (IPTA). All his earlier films, whether as a director or writer like ‘Dharti Ke Laal’ (1946), ‘Asawara’ (1951). ‘Shri 420’ (1955), ‘ Shahar Aur Sapna’ (1965), ‘Do Boond Paani’ (1971) and many more, dealt with social injustice and underprivilege classes of the society.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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6276 | Post No. : | 19424 |
In my last article, I have covered the details of the film ‘Jumbish’ (1986) which was produced and directed by Salahuddin Pervez who also wrote the fictional story, screenplay, dialogues and the lyrics. Surprisingly, he was not connected with film industry in any capacity before he ventured into making the film under discussion. Since Jaidev, the music director of the film was one of my favourites, I heard all the seven songs in the film which were all melodious as expected from him. The songs, especially the ghazal and nazm written by Salahuddin Parvez were poetic with unusual metaphors. With his poetic lyrics, the unusual story of the film and the symbolic dialogues he used, I became curious to know about his background. Checking on him on the internet led me to a PDF of his biography on Sahitya Akademy website following his winning the Sahitya Akademy Award in 1991. I found his biography interesting, a gist of which is given below:
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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