Showing posts with label Rajesh Roshan. Show all posts
Showing posts with label Rajesh Roshan. Show all posts
50 Years of Julie: When a rare English song in a Hindi film became young India’s beating heart
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Exactly 50 Years Ago, ‘My Heart Is Beating’ from ‘Julie’ Bossed The Airwaves. Here’s What Made The Track Tick And Why It Continues To Delight
Avijit Ghosh (THE TIMES OF INDIA; April 27, 2025)
In the 1970s, listening to popular music was more public than personal. Home radios tuned in to Radio Ceylon’s 'Aap Hi Ke Geet' every morning. The addictive Binaca Geetmala could be heard in parks on Wednesday nights. And Vividh Bharati’s late night 'Chhaya Geet' was often a nightcap to the ear. Loudspeakers in street corners, small transistors in smaller pan shops, baritone-voiced radios in listeners’ clubs (shrota sanghs) – the sound of music was everywhere.
It was in this bustling ecosystem of shared melody that an unusual song of eager love had young urban India swaying and swooning. Written by a 77-year-old poet, Harindranath Chattopadhyay, composed by a 20-year-old music director with a famous surname, Rajesh Roshan, and vocalized by a debutant teenage singer, Preeti Sagar, ‘My Heart Is Beating’ was a rarity in Hindi cinema: A song written in English. These were the times Hindi film lyrics were synonymous with heady Urdu and lively Hindi. The Queen’s language was still viewed by some as a hangover of the colonial past and a privilege of the elite.
But the song brimming with lilt and moxie broke through the language barrier. Post-pubescent teens in public schools and city colleges felt the song spoke to them as a generation. “The number was even played at weddings, extremely unusual for an English song those days,” recalls lyricist Amit Khanna. As film director Mahesh Bhatt aptly says, “It was a clutter-breaker.”
A remake of the Malayalam hit ‘Chattakkari’ (1974), the film ‘Julie’ (1975) walked the tricky terrain of inter-religious love between a Christian girl of an Anglo-Indian background and a Hindu Bengali boy. The tiny minority community had dwindled from roughly 3 lakhs in 1951 to 1.73 lakhs by 1971. Celluloid representation of Anglo-Indians was mostly stereotypical. But Julie, despite formulaic in parts, offered a relatively more authentic portrayal of their predicament.
Filmmaker Mahesh Bhatt, whose first wife Lorraine Bright a.k.a Kiran Bhatt was an Anglo-Indian, recalls how she felt joyous at the community being represented in the film. “The leap into that landscape was so refreshing. And that song, because it dared to break out and be what it is, became a representative tune for them,” he said.
Binaca Geetmala records show that ‘My Heart is Beating’ wasn’t ‘Julie’s’ most popular song. “Bhool gaya sab kucch…Julie I love you,” despite raising conservative eyebrows for its public declaration of amour in English, fared way better at No 3 in the annual show of the countdown programme. ‘My Heart Is Beating’ was ranked 19 while ‘Dil Kya Kare’, the unfailing Valentine's Day favourite, stood at 22. ‘Yeh Raatein,’ the film’s most creative track, didn’t make it to the charts.
But the super success of Sagar’s ‘full English’ number signified a larger point: an acknowledgement of India's break from its colonial past and a readiness to embrace the language in a new light. Social scientist Shiv Viswanathan avers that language was secondary to the sentiment in the number. “The song’s simplicity gave it power, beauty and popularity,” he says. The popularity endures. A YouTube video version of My Heart Is Beating has a healthy 8.3 million views.
Even today, 50 years on, the composition feels fresh in its orchestration. String, brass, woodwind -- every section is as perfect as a tuned Steinway. But it’s Sagar’s rendition that’s the song’s elevator. Educated at Bombay’s Queen’s Mary School, her diction is flawless. And her voice both soars and seduces, drawing out the lyrics’ nuance. “Her voice was so us,” says Bhatt. The recording was okay-ed after the second take, remembers Sagar.
The filming too broke conventions. Five family members, including a pre-teen Sridevi in shorts, prance and jive around a dinner table. The composition is imbued with a distinct Western music influence, and in an interview music director Rajesh Roshan said that it was emblematic of Skeeter Davis. “Unki chhap hai usme (Her imprint is there),” he told Radio Nasha Official. The American country singer-songwriter is best remembered for the single, The End of the World (1962), which peaked at No 2 on US Billboard. “I was looking for a voice like hers. Which I found in Preeti,” he said.
Preeti Sagar, daughter of actor Moti Sagar (film: Malhar, 1951), was already singing commercials in a bunch of languages. She initially felt that ‘My Heart is Beating’ would either be filmed in a nightclub, or, played like background music like foreign tracks usually were. “I really didn't know it was going to be picturised on heroine Laxmi-ji,” said Sagar, who was also related to actor Motilal and singer Mukesh.
The magnitude of the song’s popularity surprised her. She recalled going to see the film in Bombay’s Metro, the theatre packed with youngsters. “When the song came, some of them in the back were wondering who sang it and I badly wanted to stand up and say, it’s me,” she recalled.
Then again in Delhi, we were once walking at night in Delhi’s Defence Colony where my uncle lived. “And I could hear the song being played in every house we walked past,” Sagar said. Even the film, made on a frugal budget, became a major box-office success celebrating its silver jubilee in Bombay and listed among the year’s Top 10 box-office winners by Trade Guide.
In the same interview, Roshan also remembered visiting prolific poet and dramatist Harindranath Chattopadhyay’s home in Bandra’s Carter Road and the poet merrily writing the lyrics to the tune. “At one point, the song says, time is fleeting. That’s what stuck with me. The transience of life. Love trapped within the bubble of life which is not eternal. We should hear the song more closely. It is not glib, rather has a certain depth,” says Bhatt.
Which is why a golden jubilee of years later, the song, like our hearts, keeps beating, ‘repeating’ and pleasuring us.
Even if Kaho Naa Pyaar Hai now achieves 1% of what it did back then, it’s a big achievement-Rakesh Roshan
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Madhureeta Mukherjee (BOMBAY TIMES; January 10, 2025)
It’s a landmark year for the Roshans — Kaho Naa Pyaar Hai (KNPH), the film that set the stage for Hrithik Roshan in Hindi cinema and went on to become a smashing hit, re-releases in theatres today, 25 years later, on the actor’s birthday. As the family celebrates Hrithik’s milestone in the industry, they are also proud to present a documentary titled The Roshans, which is coming up soon. Yes, the Roshans are on a roll, and in an interview with us, Rakesh Roshan says, “Even if Kaho Naa Pyaar Hai now achieves 1% of what it did back then, it’s a big achievement.”
Congrats on 25 years of KNPH, a film that proved to be a grand launch for Hrithik. Prior to his debut, Hrithik had assisted you in four of your directorials. What made you feel that he was ready to make his entry as an actor at that point?
When I joined films at 21, I always thought that I had made a mistake by starting out at that age. So, when it came to Hrithik, at the back of my mind, I believed it would be right for him to make his debut at 24-25. I launched him because he was a good actor, not because he is my son. I had seen him in Bhagwan Dada and also in other parts as a child artiste and I realised he had matured as an actor. I was a bit on the edge because some people told me, ‘Yeh dono characters (in KNPH) bhai nahi hai, toh log story kaise believe karenge’. I told them that I always make films where it’s hard to convince people, and my job as a filmmaker is to convince them.
When KNPH released, biggies like Aamir Khan, Shah Rukh Khan, Salman Khan and Anil Kapoor were coming with their films. Didn’t that deter you?
I announced the release date (Jan 14) much earlier. Everyone advised me to change the date, but I thought if I did that, the fear would stay with me forever. It would also mean that I am not confident about my film. If some big filmmakers like Yash Chopra, Sooraj Barjatya and Subhash Ghai were coming with their movies, maybe I would consider not clashing with them. So yes, there were big actors’ releases, but I wasn’t competing with any big filmmaker. My film had two newcomers in the lead, Hrithik and Ameesha Patel, who were very confident, and I was sure about my product, so I went ahead with it, and it paid off.
You made Hrithik a superstar and a superhero. In 2003, when you made Koi Mil Gaya, the concept was fairly alien to a large section of the Indian audience. Then, you successfully created the Krrish universe. These subjects required a vision and most of all a lot of courage, would you agree?
I give credit for that to Lagaan. I watched it in South Africa at the premiere, and I was stunned by it. Then I thought, what should I make with Hrithik? I can’t do the same dance or romance. Everyone around me was strongly against the idea. They told me, ‘What are you doing? You made him such a big star, and now you want to ruin his career?’ While we were making Koi Mil Gaya, Hrithik’s other films that released during that time were not doing well, about eight of his films didn’t work and he was even given the tag, ‘One film wonder’. Hrithik and I both believed in the film, and I thought that we can’t keep making the same films, as we need to show the audience how an actor can transform himself and what he can do. I knew this movie would make people realise what kind of actor he is, and he went all out and proved himself.
You have seen Hrithik closely grow from strength to strength, and this year, he completes 25 years in the film industry. He’s seen highs and lows, but nothing has diminished the sheen of his stardom and star power. What do you attribute this kind of success to?
In one word, it’s his honesty. He’s someone who never takes shortcuts. Even when I’m shooting with him, and I say that the shot is okay, he will say, ‘Let’s do one more take, baba. I will do it better this time.’ He gives his 110% to every shot, and that’s what makes him the actor he is.
Somewhere, do you think you’ve lived your dream through Hrithik?
Not just through Hrithik, I have lived my dream through all my actors. When I write a scene, I visualise how I would enact it if I was playing the role. So, I see myself in every actor I direct.
Times have changed, today, even supporting actors are getting meaty parts, and enjoying their moment in the sun. There is a plethora of opportunities out there for actors. Did you ever think of acting again?
No, never, because as an actor, I went through a lot of trouble, and the fear has stayed with me. That phase gave me sleepless nights, of course, things changed when I became a producer and director. The good part is that I was always at it, I never left it – I did lead roles, character roles, villainous parts. I stayed back, but many actors didn’t. Hence, I am here today. I wasn’t educated, and this (movies) is all I ever knew since childhood.
What has been the biggest learning in your career – as an actor, producer and director?
One big learning in my life has been – If you don’t know how to appreciate others’ work, you can never climb the ladder. Never pull down somebody. Yahan kya hota hai…people try to pull you down and they think by doing that they will rise. But that’s not true, they will only fall. So, whenever I see a good film, I call the actor or director and tell them how much I liked what I saw.
On KNPH’s re-release in theatres, are you reminded of the time when it first hit the big screen? What was your state of mind back then?
I was extremely nervous before the release of KHPH. I wanted the film to do well for Hrithik. I called my friends to the editing room to show them the film, because you never know, if the film didn’t do well, he wouldn’t have other films. Luckily, before the film released, Hrithik was signed by Subhash Ghai, Vidhu Vinod Chopra, Sooraj Barjatya and Karan Johar. Now that it is re-releasing, I am nervous again. This is an emotional moment for Hrithik and me. Even if the film achieves 1% of what it did back then, it’s a big achievement.
The documentary – The Roshans, is dropping on Netflix on January 17, whose brainchild was it?
My friend Shashi Ranjan, who has a lot of knowledge of music and knows a lot about my father’s work, came up with the idea of making a documentary on him. I took it a step further and thought, why not make a documentary on three generations of Roshans (my father, legendary music director Roshan Lal Nagrath, my brother, music composer Rajesh Roshan and me, and then, my son Hrithik). We are alive, and I can talk more about myself than have others talk about me when I’m not there. The documentary is not about what people know about us from the outside, which is all colourful. It’s about our personal struggles and our journey, beyond how we make films, which is beautifully put out there. In our family, all these years, none of us have really pushed ourselves. My father didn’t, Rajesh and I didn’t, and neither did Hrithik. We, Roshans, have always let our work speak for us.
30 years of Karan Arjun: Salman Khan, Shah Rukh Khan are still the biggest superstars-Rakesh Roshan
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Renuka Vyavahare (BOMBAY TIMES; November 17, 2024)
A true-blue Bollywood revenge-reincarnation drama of the 90’s, Karan Arjun’s deeply emotional tale and casting coup made it iconic. Till date, it continues to be the only blockbuster co-starring superstars Shah Rukh and Salman Khan as leads. Slated to re-release in theatres after 30 years, on November 22, filmmaker Rakesh Roshan spoke about his celebrated film, need for its comeback and spilled some precious trivia in a chat with Bombay Times. Excerpts…
Why re-release Karan Arjun after 30 years, a film that has seen huge success already?
Despite the film releasing 30 years ago, both Salman and Shah Rukh are still the biggest superstars. That was a big bonus for me to re-release Karan Arjun. People want to see them together on the big screen in full-fledged roles. Their fans will love it. Kajol is actively doing films, the film’s music and dialogues continue to be a hit. So, I thought, lets re-release this on a bigger scale worldwide in over 2000 screens. I also want to see if the emotions that worked back then, will they work today? Agar picture dobara chalti hai, matlab emotions abhi zinda hai. Nahi chalti hai, toh its symbolic of the change this generation expects. It’s a test for me as a filmmaker.
If you were to make a sequel or a reboot, who would you cast in lead roles?
I won’t remake Karan Arjun or make a sequel but If I were to think of an alternate jodi for the movie today, I would cast Hrithik as Karan and Ranbir Kapoor as Arjun.
It’s not easy to cast two superstars as parallel leads. There’s always that fear of insecurity, rivalry and one upmanship popping in. How did you deal with this pressure as a filmmaker?
Before the shoot commenced, I sat with them together, face to face narrated them the whole story and dialogues with emotions. I told them jo bhi kehna hai, ab boliye, set pe matt boliye. Main jo bhi bolta tha woh karte thay. And I made sure dono characters mein koi unnis bis ka pharak na ho. Dono bis hi thay. Maine kaafi naapa hua tha woh sab. I had been an actor, so I knew yeh musibat aa sakti hai. At scripting level itself I made sure they were equal roles. There was no one upmanship or upper hand.
What made you think of Salman and Shah Rukh for these roles?
Salman’s physique was exceptionally good. None of the actors in those times had that built. He started that fit body trend. Also, I find his eyes arresting. I wanted someone for Karan’s role, joh chup chaap rehta hai par uski aankhen bolti hai. He fit the bill. I had worked with Shah Rukh in King Uncle (1993) and liked him immensely in Fauji so I wanted him to be Arjun. King Uncle (1993) could have been SRK’s debut film but that’s a long story.
What happened there? Why didn’t King Uncle turn out to be his debut film?
I was the first person to sign Shah Rukh, give him the cheque. I asked him to join the film industry. When I signed SRK for King Uncle, Amitabh Bachchan was supposed to play the titular part in that film but for some reason he couldn’t do it, and Jackie Shroff eventually played that role. This caused the delay and in the meanwhile his other films released first which he had signed after King Uncle. If it wasn’t for the delay, King Uncle would have been his debut film. I knew his potential. I liked him the moment I saw him in Fauji (TV serial). I remember seeing him for the first time at a restaurant. He was with Viveck Vaswani. They were eating. I walked upto him and said I really liked him in Fauji. I asked him if he would be interested in movies. He said no (smiles). I left my telephone number with him and said if he changes his mind, he can give me a call. He called the next morning. Then and there I gave him the cheque. I don’t know why he said no the first time. He was a kid then and maybe he thought later that it was a good role and an opportunity to work with Amitabh Bachchan that changed his mind.
Reincarnation, dramatic transformation, powerful comebacks have been recurring themes in your movies. What drew you to it?
For a common man, these ideas work because he also wants to do something in life. My failure as an actor perhaps drew me closer to ‘zero se hero’ banna theme. People used to say they found me pleasant as an actor, but my acting career never took off. My film Kaamchor (1982) was a hit, Jaya Prada went on to become a huge star, but it did nothing for me. Despite the film’s success, I didn’t get many offers so I thought may be God wants me to do something else. Maybe I was destined to be a filmmaker and Hrithik became a huge star, so I got to live my acting dream through him.
A film standing the test of time is its real success. Looking back, did you feel Karan Arjun would achieve that?
When I was conceptualizing this film, 80-90 per cent of my team didn’t approve of it. It felt like I was swimming against the tide because I believed in it. ‘Sir yeh kya bana rahe ho’ they would ask but when they saw my sincerity and passion, they surrendered to my vision. Reincarnation was a hot theme back then but only in love stories. Ma-bete ka angle wasn’t explored as much. Ek ma Bhagwan se kehti hai ke uskay bete maare gaye aur usko unko lautana padega, her prayers being answered is the theme of Karan Arjun and what made it what it is today.
None of your films would be complete without the music of Rajesh Roshan, your brother. Take us through this relationship.
We belong to a musical family. Music is in our blood. If he made something that I didn’t like, I would openly criticize. Kyunki hum bhai thay, hum jhagda kar sakte thay. I had that freedom. If I worked with others, I couldn’t tell them yeh bakwaas hai. I had to sugarcoat my words, so I preferred working with him. That openness and our warring nature brought out the best in us and benefited the film’s music.
Will we see you donning the director’s hat anytime soon?
We are working on Krrish 4 and we will be announcing it once things are clearer. Also, I will continue naming my films starting with K (smiles).
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As the 1995 smash hit Karan Arjun lines up for re-release, director Rakesh Roshan on the ideal cast for a reboot and how Shah Rukh Khan didn’t buy into the reincarnation plot
Priyanka Sharma (MID-DAY; November 18, 2024)
One’s blockbuster re-releasing in theatres can be a sweet reminder of the long way they’ve come in their career. But filmmaker Rakesh Roshan is still feeling the Friday jitters, ahead of the November 22 release of Karan Arjun (1995). “It’s a test for me and filmmakers to see whether those emotions work with today’s younger generation,” he explains.
Jitters or not, the director agrees that a re-release is the perfect way to celebrate the Salman Khan, Shah Rukh Khan and Rakhee-starrer’s 30th anniversary that is due in January 2025. Very few films since have been able to bring the two Khans together in the same frame. “Shah Rukh and Salman are still the biggest superstars. The film is talked about even today. There are memes of the dialogues, ‘Bhaag Arjun bhaag’, and ‘Mere Karan Arjun aayenge’,” says Roshan, proud of how the film has found a place in pop culture.
One could attribute it to the film’s story that was gripping yet demanded suspension of disbelief—two brothers, essayed by Salman and Shah Rukh, are killed mercilessly by their menacing uncle and take birth again to seek revenge. Will the theme of reincarnation hold today?
Roshan thinks so. “Even if I made this story today, people might have believed it because it’s a fairytale. Make what you think is not possible. The audience knows it’s not possible, but they get immersed in the storytelling.” He further reveals that Shah Rukh didn’t buy into the reincarnation plot. “Though he wasn’t convinced with the plot, he wanted to do it. After the film became a hit, he said, ‘I was absolutely wrong.’ Then, he also made Om Shanti Om [2007],” Roshan laughs.
The director made Karan Arjun with two up-and-coming stars, something that many filmmakers today believe is next to impossible. “Singham Again has five heroes,” Roshan cuts in. In fact, he has a simple mantra that he thinks would convince stars to headline a two-hero film. “If you want to make a two-hero film, you make it balanced. In Karan Arjun, I made sure both the characters had equal meat. I’ve been an actor. So, I knew that if I was offered a film where my role was even slightly weak, I wouldn’t do it.”
So, if he made Karan Arjun today, who would he cast? The director admits that revisiting the movie won’t organically come to him at this stage. “If someone wants to revive the film, I’m up for it. There are many actors who will be magical on screen together. For Karan Arjun, Hrithik [Roshan] and Ranbir Kapoor would be my choices,” he grins.
Hrithik or Rajesh never asked me to consider Pashmina Roshan for Ishq Vishk Rebound-Ramesh Taurani
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Ishq Vishk Rebound maker asserts he chose star kid Pashmina Roshan and three fresh faces on their merit; hopes they become stars like Shahid did after original
Mohar Basu (MID-DAY; May 31, 2024)
Ishq Vishk (2003) gave us not only a fun college rom-com, but also a star in Shahid Kapoor. Almost 21 years on, its reboot Ishq Vishk Rebound is gearing up for release. For producer Ramesh Taurani, the Nipun Dharmadhikari-directed college caper is a means to bring romance back on the big screen. “Action, drama and [films on] the army have taken over. A young love story with good music has gone missing,” he says. Two decades is a long time between an original and its reboot. What took him so long to create the second instalment?
“It’s a ground rule at my studio—no reboots until the script convinces everyone. This film looks at this generation’s challenges in romance, the fragility of love, quick break-ups, and their behavioural patterns in the time of social media.”
Young love isn’t the only constant in Ishq Vishk Rebound. Like with the original, Taurani hopes to make stars out of leads Rohit Saraf, Pashmina Roshan, Jibraan Khan and Naila Grrewal.
“We wanted newcomers. Rohit Saraf has tasted fame, but this will launch him as a mainstream hero. We had five rounds of auditions and chose them. Pashmina was one of the 15 girls we shortlisted, we had no idea who she was. When we started doing her contracts, we found out she is a Roshan. I had worked extensively with her father Rajesh Roshan, but he never called, asking me to consider her. Neither did Hrithik [Roshan, Pashmina’s cousin], who has a rapport with me. Merit matters more than anything in this industry, whether you’re an outsider or a nepo kid. If you see from the ’80s to now, there are some actors who haven’t [succeeded] despite their lineage. With the original Ishq Vishk, we launched Shahid, Amrita Rao and Shenaz [Treasury]. Shahid is a superstar today! Shenaz was also flooded with offers after the film. We are keen to do more movies with these kids too.”
The producer’s team is currently working on a sequel to Bobby Deol and Preity Zinta’s Soldier (1998). “We’re trying to lock its script. Writing is a key element of our movie-making style. I’ve never gone to an actor without a script. Never have I gone to an actor with a DVD, suggesting a rip-off job.”
Hrithik and Rakesh Roshan's documentary The Roshans to trace the family's seven-decade run in the movie business
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Filmmaker Rakesh and actor-son Hrithik creating a docu that will trace family’s three-generation journey in showbiz, beginning with the late composer Roshan
Upala KBR (MID-DAY; July 27, 2023)
Their passion for cinema has spanned generations. While the late Roshan set foot in the movie industry as a music composer, his younger son Rajesh Roshan followed in his footsteps and elder son Rakesh Roshan took their love for films further with acting and direction. Hrithik Roshan, the third-generation star, took his place in front of the camera, becoming one of Bollywood’s biggest actors. The family’s legacy then is a story worth telling. Which is why actor-director Shashi Ranjan is helming a documentary, titled The Roshans, on their seven-decade run in the movie business.
The documentary will begin in 1948, when Roshan—an accomplished esraj player—came to then-Bombay from Delhi and served as an assistant to composer Khwaja Khurshid Anwar on Singaar (1949). Slowly, he rose to fame as he created evergreen melodies like Zindagi bhar nahin bhulegi, Laaga chunari mein daag, and Jo waada kiya woh nibhana padega.
A source from the creative team reveals, “Few know that Roshan ji’s wife Ira was a singer and composer. Such little-known anecdotes about the family will be unveiled in the documentary as it traces the journey of each Roshan. And who better to talk about it than Rakesh, Rajesh and Hrithik? They have all contributed in different forms to the film industry.”
Success has been their steady friend. Rajesh inherited his father’s musical sensibilities, going on to become a noted composer over the decades. Similarly, Rakesh became one of the leading filmmakers, helming blockbusters in Karan Arjun (1995), Kaho Naa Pyaar Hai (2000), Koi Mil Gaya (2003) and the Krrish franchise. However, the family has seen its fair share of difficulties—from Hrithik’s brain surgery in 2013, to the senior filmmaker’s battle with throat cancer in late 2018. The documentary is expected to shed light on these episodes, showing how the family emerged triumphant from the darkest of days.
We hear The Roshans will be designed along the lines of The Romantics, featuring interviews of their friends, colleagues and family. “Over 40 interviews have been recorded till now. After all interviews are done, the team will begin post-production.”
When mid-day reached out to Rakesh, who is producing the docu with his brother and son, the veteran filmmaker stated, “All I can say is that we are doing a documentary on the Roshans from the year 1948, which begins with my father’s journey, goes through mine and my brother Rajesh’s, and carries on with Hrithik.”
Roshan
Madhuri Dixit has made all my songs look beautiful-Kavita Krishnamurti
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Titas Chowdhury (HINDUSTAN TIMES; April 18, 2022)
Shah Rukh Khan and Madhuri Dixit Nene-starrer Koyla (1997), helmed by filmmaker Rakesh Roshan, clocks 25 years of its release today. Apart from the high-octane drama and action sequences, the song Sanson Ki Mala Pe remains etched in the memories of the audience to this day.
Singer Kavita Krishnamurti, who rendered the track, is thankful to music composer Rajesh Roshan for giving her the opportunity. “It’s definitely one of the nicest songs I’ve sung in my career. It was composed quite beautifully and arranged by Rajesh ji. While recording it, I tried to follow how he sang. He has a very aesthetic and delicate way of singing songs,” she says.
Recalling the experience of recording the song — originally written by Meera Bai, a 16th century poet — at Mumbai’s Mehboob Studios, the 64-year-old singer tells us, “We recorded it with an entire orchestra. We had all the musicians in a big hall; so, it was like singing live. And that’s a fantastic feeling. Dubbing a song can never be the same as singing live with the orchestra.”
Sanson Ki Mala Pe was one of the earliest songs she sang for Nene. She credits the actor for bringing it to life. “When I saw the picturization, I was amazed. The way Madhuri ji has danced to it, is beautiful. I’ve great respect for her talent and personality. She has made all my songs look beautiful,” says Krishnamurti, who went on to sing chartbusters like Kaahe Chhed Mohe (Devdas; 2002) and Kay Sera Sera (Pukar; 2000) for Nene.
Talking about the popularity the song garnered, the singer, who continues to get requests to sing Sanson Ki Mala Pe at live shows, shares, “To this day, I’ve people coming up to me at airports and expressing their love for the song.”
Movie lyricist Ibrahim Ashq passes away due to Covid
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Bella Jaisinghani (THE TIMES OF INDIA; January 18, 2022)
Mumbai: Poet-lyricist Ibrahim Khan ‘Ashq’, who penned songs in films such as ‘Kaho Naa Pyaar Hai’ and ‘Koi Mil Gaya’, passed away on Sunday due to Coronavirus-related pneumonia. He was 70.
His pen name, Ashq, means tears, but his penmanship brought smiles to music lovers. He was also a familiar name in literary circles for his ghazals and nazms.
Daughter Fazila said, “My father suffered from cough each winter, and we thought this time was no different. It was only when he coughed blood on Saturday that we realised it was serious.”
She added that he was rushed to hospital, where he passed away within hours.
Composer Rajesh Roshan said, “Ibrahim Ashq ji had written quite a few songs for me, most of them became hits. It is sad to know he is no more with us for he was very close to my heart and I shall miss him forever.”
Hrithik Roshan and sons Hrehaan and Hridhaan take lessons in music
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Actor brushes up singing, piano skills; Hrehaan and Hridhaan learning how to play guitar online
Roshmila Bhattacharya (MUMBAI MIRROR; July 2, 2020)
While many wondered how to kill time during the Coronavirus lockdown, Hrithik Roshan has been developing a new skill. Coming from a musical family—his paternal grandfather Roshan was a successful music director between the ’40s and the ’60s, so was his grandmother Ira and now, uncle Rajesh — the actor has been brushing up his singing and learning to play the piano.“Can you believe that I’ve been a music director for 50 years and don’t have a piano at home? I play my tunes on the synthesiser. The piano is a difficult instrument to master and requires regular tuning. But Duggu (Hrithik’s nickname) has always been passionate in everything he does,” his uncle points out.
He informs that Hrithik, along with his sons Hrehaan and Hridhaan, surprised him on his birthday, May 24. “He crooned Kailash Kher’s 'Allah Ke Bande' on a video call. I was impressed, as it’s tough to sing and play the piano in perfect sync. His kids accompanied him on the guitar. I didn’t even know that they had been taking lessons online, but was told that all three adhere to a strict daily routine. They are very disciplined and yet know how to enjoy life,” he shares.
According to a source, despite no formal training in music, Hrithik has made a lot of headway. He gave one public performance during a charity concert for which he practised for seven hours. On his parents’ anniversary, too, he played their favourite songs. With the script of Krrish 4 locked, is there a possibility of Hrithik singing in the film and playing the piano? “To play on screen, you have to be perfect. But Duggu is a perfectionist and maybe he will catch up by then. He’s got an innate talent,” says Rajesh, pointing out that sometimes, he has given them a link line for a song or lyrics.
The composer had previously shared that during Krrish 3, Hrithik walked in on his music session with brother (filmmaker Rakesh Roshan) and lyricist Sameer and hummed in English, “The heart beats every day, so why is it only today that I heard it for the first time”. It inspired Sameer to write “Dil Tu Hi Bata, Kahaan Tha Chhupa, Kyun Aaj Suni, Teri Dhadkan Pehli Baar”. “Together, the three of us create magic and this time will be no different,” Rajesh promises.
I have to thank action director Tony Ching Siu Tung for making Hrithik fly believably-Rakesh Roshan
8:23 AM
Roshmila Bhattacharya (MUMBAI MIRROR; June 23, 2020)
The Jadoo started with Koi… Mil Gaya in 2003. With a mentally challenged boy and his friendship with a blue-tinted alien who arrived six years before James Cameron’s Avatar, Rakesh Roshan rewrote box-office history. And encouraged by the success of this film, he took another leap of faith… Unveiled on June 23, 2006, Krrish took off from where Koi… Mil Gaya had ended, with Rohit and Nisha’s son inheriting his father’s super powers that enable him to scale mountains and fly through the air to streak past a stallion. Seven years later, when working on the post-production of Krrish 3, Rakesh ji confided that his actor-son Hrithik had actually run with the horse for his introduction scene. “It took us a day-and-a-half to shoot. I have to thank Tony (action director Tony Ching Siu Tung) for making Hrithik fly believably,” he smiled. For his son, who had grown up emulating superheroes, the film was a dream come true.
However, the bigger challenge was the scene in Singapore, where Hrithik leaps with the fountain spray, 20 floors up. “That shot called for perfect timing. Hrithik sitting on the fountain head had to jump as soon as the jet sprouted. But either the water was slow or Hrithik missed his cue. It took us all day to get that shot,” Rakesh ji recounted, revealing that they’d discarded 50-60 masks before settling for the one Krrish picks up when a fire breaks out in the circus to hide his identity. Then, with his coat flaring like a cape, he walks into the flames to pull off daring rescues.While daredevil action sequences and mind-boggling visual effects are a part of every superhero film, this one being mainstream Bollywood, it was left to Rakesh ji’s brother and Hrithik’s uncle Rajesh Roshan to weave songs into the narrative. The composer admits it wasn’t easy, but because the story had a strong emotional core and his brother has always inspired him while giving him a free hand, he could come up with the romantic “Aao Sunaun Pyaar Ki Ek Kahani” with Shreya Ghoshal and Sonu Niigam. The duo also collaborated on another starry-eyed Hrithik-Priyanka Chopra duet, “Koi Tumsa Nahin”, while Shreya frolicked musically with Udit Narayan to “Chori Chori Chupke Chupke.”
The romance even crossed borders, with Rajesh ji roping in Pakistani singer Rafaqat Ali Khan—son of Nazakat Ali Khan, the nephew of Ustad Salamat Ali Khan and the cousin of Shafaqat Ali Khan—and Alka Yagnik for “Main Hoon Woh Asmaan.” On the surface a happy song, it had deeper emotions simmering beneath, evident in lines like “Paas mere tu ho na agar toh kitna tadapta hai mera dil, main hoon teri nazar, mera intezaar tu, ho kar bhi hum judaa hote judaa nahi”. “The pain of loss makes a song unforgettable,” Rajesh ji asserts.
Kunal Ganjawala’s “Dil Na Diya”, which plays out in the Big Top before the fire breaks out, amidst music, dance and bobbing hearts, also has some profound lines by Javed Akhtar: “Tune chand pe bhi jamaye kadam, dariya mein bhi ghar hai banaya, tere jadoo ne ek rote huye insaan ko hai hasna sikhaya”. The melody continued in Krrish 3 seven years later, pitting the superhero against super villain Kaal, whose henchman, a shape-shifting female mutant, Kaya, loses her heart to Krrish and tries to seduce him with the dreamy, “Dil Tu Hi Bataa”.
“We opted for Alisha Chinai and the little-known Assamese singer, Zubeen Garg, over bigger names and worked on the song continuously for two months. At one point, we got stuck with the lyrics. One day, while Rakesh ji, Sameer (lyricist) and I were brainstorming, Duggu (Hrithik) walked in and came up with the words, ‘The heart always beats, but why is it that I didn’t hear these beats till now.’ He spoke in English, but Sameer ji picked them up and presented us with 'Dil Tu Hi Bata, Kahan Tha Chhupa, Kyun Aaj Suni, Teri Dhadkan Pehli Baar'. The rest is musical history,” Rajesh ji narrates, admitting that he was waiting to see what his brother would do with the song. “When I saw how beautifully he’d picturised it, I had tears in my eyes.”
Seven years have passed since Krrish 3. Rakesh ji has locked the script of Krrish 4. Once the Coronavirus pandemic is behind us, superhero Hrithik will fly again. And Rajesh ji will find more heart-to-heart connections.
Hrithik Roshan is a boy with deep emotions, more suited to love stories-Rakesh Roshan
8:11 AM
Roshmila Bhattacharya (MUMBAI MIRROR; January 14, 2020)
In March 1998, I arrived at Rakesh Roshan’s Santa Cruz office one afternoon for a chat with the producer-director on his next film, Kaho Naa… Pyaar Hai, which marked the debut of his son Hrithik. “You missed him by a few minutes, he just left” he told me regretfully. Looking at the photographs on the walls, I pointed out that Hrithik was still there with us.With his lean six-foot frame, macho stubble and smouldering eyes, he looked like a ’90s Rambo rather than another turn-of-the-century Romeo. Papa, however, pointed out that “Hrithik is a boy with deep emotions, more suited to love stories”. He didn’t want to play around with the rich-boy-falls-in-love-with-poor-girl cliché. “I wanted a hint of mystery,” he reminisced. And one day, a story just came to him. “A story where the hero dies in the first half.”
Back then, Raj Kapoor’s granddaughter and Randhir and Babita’s younger daughter, Kareena Kapoor, was the leading lady. Eventually though, Ameesha Patel went on to play Sonia, Rohit’s girlfriend and Raj’s wife. The change in cast made little difference to the outcome. Kaho Naa… opened on January 14, 2000, to an overwhelming response. It was Hrithik’s film all the way and he went on to not only sweep the best debutant (male) awards, but also beat Amitabh Bachchan and Shah Rukh Khan to the best actor trophy, playing two contrasting characters with ease that came from months of hard work. Interestingly, at one of the award shows, Kareena presented him with the best actor award. When she opened the envelope and saw his name, she quipped, “It’s very obvious…” reinforcing public opinion.
Hrithik had worked with his father as an assistant for five years before he was signed for Shekhar Kapur’s Ta Ra Rum Pum, which was to also feature Preity Zinta. But the film didn’t take off. Then, one day, while he was doing the rounds of producers’ offices with his portfolio, his father dropped a bombshell, casually informing him that he’d be doing his next film. “I was so stunned I quietly walked out of the room. Dad followed, asking, ‘Aren’t you ready? Don’t you want to do the film?’ he had reminisced back then. Hrithik being Hrithik say much. He simply got a photo session done and it was only when his father liked the pictures, did he start prepping for a career in films, going on for voice training, dialogue classes and even learning music.
At an award function in 1999, before the release of his film, he had wowed a 5000-plus audience when he had rolled into stage in a snazzy blue sports car and twirled to one of my favourite numbers from the film, “Kyun Chalti Hai Pavan” with the grace of a ballerino. As part of the act, he also joined the velvet-voiced Lucky Ali who was crooning the song live, picked up the mic himself. And even though Aamir Khan in absentia bagged the best actor award that year for Sarfarosh, it was HR who was voted the Hero No. 1 of the evening.
Interestingly, Lucky Ali had never given playback for a film before and only did it because the Roshan brothers were good friends. In fact, Rajesh Roshan had debuted as a composer with Kunwara Baap, directed by Lucky’s father Mehmood, who also acted in the 1974 film. While on firsts, Rajesh Roshan was also the first music director to give Alka Yagnik a break in Basu Chatterjee’s Hamari Bahu Alka. Eighteen years later, she sang the title track of Kaho Naa… Farah Khan, the film’s choreographer, recalled how, while filming “Ek Pal Ka Jeena”, one of her assistants had given Hrithik some really tough moves as a joke. Unfazed, he kept rehearsing till he got them down pat. After seeing the rushes and realising what a super dancer he was, Farah decided to re-shoot portions of the song, giving Hrithik some really difficult steps. He pulled them off too.
It’s been 20 years… Hrithik’s still urging the audience, “Kaho Naa Pyaar Hai”, and the answer to that is still a resounding “Kaha Naa Pyaar Hai.”
Image: Hrithik Roshan hosts early Thanksgiving dinner for Anand Kumar
8:20 AM
Hrithik Roshan was keen that the Patna-based math wiz break bread with his parents, Rakesh and Pinky Roshan, uncle Rajesh and the extended family
Shaheen Parkar (MID-DAY; November 16, 2019)
Thanksgiving Day came a fortnight early for Hrithik Roshan as he invited Super 30 founder and the muse for his runaway hit by the same name, Anand Kumar, to his Juhu home on Thursday. Since he holds the biopic close to his heart, the superstar was keen that the Patna-based math wiz break bread with his parents, Rakesh and Pinky Roshan, uncle Rajesh and the extended family.
"Hrithik would keep telling me that his folks were keen to meet me. But he got busy with his next film [War], and I, with my classes back home. As a result, the dinner plan did not materialise for long," says Kumar. However, with Thanksgiving Day around the corner, the actor thought it was the perfect occasion to catch up with the man who helped him bounce back in the game.
"It felt like I was with my family. I was touched when Rakesh ji served food to me," says Kumar, who was accompanied by brother Pranav for the meal. His most treasured compliment came from the actor's mother Pinky. "She told me that she had seen the film nine times in the theatre."
Hrithik’s cousin Pashmina Roshan to debut next year
7:56 AM
Roshmila Bhattacharya (MUMBAI MIRROR; November 4, 2019)
On January 14, 2000, Hrithik Roshan exploded on the screen in the romantic thriller Kaho Naa… Pyaar Hai, which was directed by his father Rakesh Roshan and featured him in a double role. Two decades on, we will see the advent of another Roshan in showbiz. Buzz is, Pashmina, Hrithik’s uncle composer Rajesh Roshan’s daughter, is in talks with top banners and could be making her Bollywood debut in 2020.
“The new star kid has the face of an 18 year old and the mind of a 40 year old while she will actually turn 24 on November 10,” a source told Mirror. Pashmina, who has an elder sibling Eshaan, will be the third generation of the Roshan family to step into show business, after her music director-grandfather Roshan, her composer-father Rajesh, actor-filmmaker-uncle Rakesh, and actorcousin Hrithik. However, contrary to rumours, she will not be launched by her uncle but will be introduced by an established production house.
“Pashmina has a strong theatre background and has done a six-month course from Barry John’s acting school in Mumbai. She has also trained with theatre-actor Abhishek Pandey, actress-director and recipient of the Sahitya Natak Akademi Award, Nadira Babbar, and American playwright Jeff Goldberg,” informed the source.
In March this year, Pashmina made her stage debut with the Indianised adaptation of the Oscar Wilde play, The Importance Of Being Earnest, produced and directed by Goldberg with whom she has trained for nine months. First among her many cheerleaders was her proud big brother. Calling her the “prettiest Roshan”, Hrithik announced that he couldn’t wait to see her on screen. Pashmina played one of the protagonists, Cecily Cardew. Wilde, in the play, repeatedly mocks Victorian traditions and social customs, marriage and the pursuit of love in particular. A 2002 British-American film based on the play had featured Judi Dench, Rupert Everett and Reese Witherspoon.
For Hrithik, Pashmina is family and a dear younger sister. He celebrates Raksha Bandhan with her. She was there at his father’s birthday last September and at his son Hrehaan’s birthday this May. Says the source, “Hrithik’s really excited and has been personally guiding and mentoring Pashmina.”
Trend of remixes have come to the point where people are now irritated-Amaal Mallik
8:28 AM
Smita Poojary (DNA; August 10, 2019)
After delivering three superhit albums this year — De De Pyaar De, Badla and Kabir Singh, Amaal Mallik has added another feather to his cap as he become the second Indian composer to perform with the world-famous Melbourne Symphony Orchestra after AR Rahman. Says Amaal, “It feels really good. This is a prestigious moment for me and my family. It’s like a dream come true to perform with such great musicians, so it feels incredible.” About being the second Indian composer to perform with the band he states, “When I heard about this, it was unbelievable. It feels amazing as I started my journey about five years ago and now, I’m in Melbourne with my music representing India. My parents, especially my dad is really proud because in his family no one has ever performed at this scale.”
Excerpts from the chat:
While composing songs for movies, does the star factor ever affect you?
In India, films are considered big if there are big actors but nowadays, people are not really keen on that as sometimes movies featuring big stars do not do well. Obviously, it’s fun to compose for big stars, but so far in my career, I have done songs for the younger heroes only. I never choose films because of its starcast, the director and the story are the most important factors for me. I’ve worked with big stars like Akshay Kumar, Sushant Singh Rajput, Salman Khan who had good directors like Raja Krishna Menon, Neeraj Pandey or Sujoy Ghosh. Their films have done really well on-screen. So for me, it’s always the script, if I think the story is good I jump on the project.
Having worked with Armaan Malik quite often, is it an easy or a difficult process for you?
I think it’s very easy as I’m the elder one so I get to boss him. It’s also fun as he is a very talented and hard-working singer. But everyone needs to know that Armaan and I have a very special combination. Whenever we have collaborated it has been a magnificent hit, so the pressure rises every time we work together. We both work even harder, as each time we have to give a better song than the previous one. Together we work very well even though we almost kill each other during the process, but it’s fun (laughs).
What are your thoughts about the trend of remix in Bollywood?
It has always been there, but now it’s been overdone. It used to be done even in the 90s, but they were non-filmi and that was a fun way of paying a tribute, but now makers are too dependent on remixes. For Kabir Singh, an entirely original album had to be done and that’s how music should be made, but unfortunately that does not happen as the labels and the producers are more interested in fast food music. They do not have the time and patience to sit and create good music, but according to me, this trend will stay for two-three years more as it has reached a point where people are getting slightly irritated. Even I have done few remixes, but I did it respectfully. I do not do a remix without crediting the original makers. For me, that is what is most important. So, if I’m working on a remix, I never promote the song as my song, I always say it’s a tribute to the original makers. Ghar Se Nikalte Hi was a tribute to Rajesh Roshan, Javed Akhtar, and Udit Narayan. I’m very clear about that and I do not enjoy doing a remix, but if I can add a good element to the song from my side, that’s the only time I pick it up.
What is the one thing about Indian music industry that you would like to change?
I think the work process — composers do not get enough time to make a good song. That’s the one thing which needs to be changed.
What is tough, singing or composing?
I think both come naturally to me, but composing comes with a little ease as I think I was born to do this. Writing music and thinking on the music section, instruments and melody comes easily to me but luckily I’m not that bad at singing, so it works (laughs).
What’s next?
I have been in Bollywood for five years and now it is time for me to do something new in music for my audience. They have always wanted to see me in music videos, so I’m working towards that now, more towards non-filmi music. And in films, I’m reading few stories, I’m happy that this year I did three really big films — De De Pyaar De, Badla and Kabir Singh. I’m just a year away from thirty and I do not want to reach there without enjoying my life. In the past four to five years, I have given a lot to the film music industry and now I want to do more non-filmi things where people get to see me and enjoy more of my music.
J Om Prakash passes away; Bollywood fraternity come out to pay last respects
8:15 AM
Akash Bhatnagar (MUMBAI MIRROR; August 8, 2019)
The funeral of J Om Prakash, who passed away in Mumbai on Wednesday, took place in Vile Parle around noon. His grandson Hrithik Roshan, who was present with mom Pinky (the late filmmaker’s daughter), father Rakesh and uncle Rajesh, performed the last rites. His ex-wife Sussanne Khan turned up with their sons, Hrehaan and Hridhaan.
Abhishek Bachchan, Kunal Kapoor, Madhu Mantena, Sanjay Gupta, Jeetendra, Prem Chopra with wife Uma and Pahlaj Nihalani were among the visitors. Amitabh Bachchan paid tribute to the late filmmaker with a tweet: “J Om Prakash ji, Producer Director of eminence, passed away this morning .. a kind gentle affable being .. my neighbor, Hrithik’s grandfather .. sad!! Prayers for his soul (sic).”
Actor Deepak Parashar told Mirror, “Mr Omprakash’s wife and my uncle’s wife are sisters. I got a chance to work with him Aap Toh Aise Na The. It’s very saddening and heartbreaking to see him leave us. I can relate to one of his songs right now, “Sheesha Ho Ya Dil Ho”.
My kids hadn’t heard the original Mungda till I made them listen to the new version-Indra Kumar
7:28 AM
After makers of Helen’s classic get upset over Mungda remix, Total dhamaal director Indra Kumar says song was recreated to ‘pass on the gem to next generation’
Sonil Dedhia (MID-DAY; February 8, 2019)
Bollywood continues to take the easy way out to ensure a chartbuster — rewind, rehash and repeat. In the latest example of recreating old ditties, the makers of Total Dhamaal revisited Helen’s classic, Mungda. Singer Usha Mangeshkar and composer Rajesh Roshan — who had created the number for Inkaar (1977) — were quick to outrage over the track that features Sonakshi Sinha and Ajay devgn. According to reports, the composer alleged that today’s filmmakers “have lost the confidence to create new songs”.
Total Dhamaal director Indra Kumar doesn’t challenge Roshan’s allegation. “Lack of originality and talent in music is an understatement,” he says, but goes on to add that the idea of revisiting the song was to introduce it to a younger audience. “The original song was made over 40 years ago. Today’s generation isn’t aware of it. My kids hadn’t heard the original till I made them listen to the new version, and they loved it. I admit we aren’t half as good as them, but we didn’t set out to achieve their level of brilliance. This is our way of paying homage. We don’t have the capacity or intention to compete with them.”The director insists that he has simply jumped on the bandwagon of rehashing forgotten gems. “There is no harm in following trends. I may have fallen short, but I didn’t intend to hurt them at any point. This generation has been deprived of those beautiful songs. Our job is to pass on the gems to them.”
Lata Mangeshkar has often expressed her reservation about how makers do not take their approval before repackaging their classics. Ask Kumar if he had reached out to Roshan and Usha Mangeshkar, and the director brings out the ugly truth of the music industry. “We don’t have to take their consent. when Neend Churayi Meri was remade [for Golmaal Again; the original belonged to Kumar’s Ishq], no one came to me for approval. The rights belong to the music label, and they [owners of the label] have the right to do what they want to.”
My brother is recovering well-Rajesh Roshan
11:04 PM
Avinash Lohana (MUMBAI MIRROR; January 9, 2019)
Early on Tuesday Hrithik Roshan took to the social media to share that his actor-filmmaker father Rakesh Roshan was diagnosed with early stage squamous cell carcinoma of the throat (throat cancer) a few weeks ago. “Asked my dad for a picture this morning. Knew he wouldn’t miss gym on surgery day. He is probably the strongest man I know,” the 44-year-old actor informed, adding that as a family they are “fortunate and blessed” to have a leader like his father.Roshan senior was operated upon on Tuesday morning at a SoBo hospital. “He is better now and recovering well. We were all very tense about the surgery and the entire family was in the hospital with him. God willing, he will be up in the next three days and should be discharged from the hospital,” informed his brother and veteran music director Rajesh Roshan.
Soon after Hrithik’s tweet, Prime Minister Narendra Modi extended support to the Roshan family, saying he was praying for Rakesh. “He is a fighter and I am sure he will face this challenge with utmost courage,” the PM tweeted. Grateful for his support, Rajesh added, “That was very bighearted of the Prime Minister and a huge encouragement for both the patient and his family.”
Hrithik, responded to the PM too, thanking him for his concern and good wishes. “I am very happy to inform that according to the doctors his surgery has gone off well,” he added.
The Big C has struck many in B-town in the last year. Irrfan Khan announced in March last year that he had been diagnosed with Neuro Endocrine Tumour and has been out of the country since. In July, Sonali Bendre flew off to New York to be treated for high grade cancer that had metastised. The actress is currently in Mumbai on a “happy break”. Rishi Kapoor is also undergoing treatment in the Big Apple and Neetu recently said on the social media “hope in future cancer is only a Zodiac sign”. In November, Nafisa Ali revealed through a Facebook post that she had that she had been diagnosed with stage 3 cancer. Ayushmann Khurrana’s wife Tahira Kashyap who was detected with DCIS (Ductal carcinoma in situ) in her right breast with high grade malignant cells recently underwent her last chemo.
Three generations of Roshans unite for a musical tribute titled ‘Roshan Se Roshan Tak’
7:51 AM
Sanyukta Iyer (MUMBAI MIRROR; January 16, 2018)
In a first-of-its-kind celebration, called ‘Roshan Se Roshan Tak’, composer Rajesh Roshan, along with director-brother Rakesh and his actor-nephew Hrithik, is planning a musical event as a tribute to his late father Roshan, an acclaimed composer of his time. He has invited singer-friends including Alka Yagnik, Kumar Sanu, Udit Narayan and Abhijeet to perform for a star-studded audience.
“Musicians and veteran filmmakers will remember Roshan ji who worked with top singers like Mohd. Rafi, Mukesh and Talat Mahmood in films like Malhar, Shisham and Anhonee in the ’50s. He composed the unforgettable song Naubahar’s 'Aeiri main to prem diwani mera dard na jane koi' sung by Lata Mangeshkar. We are planning to get a top playback singer to recreate the song for a live audience,” informed a source.
Roshan’s hits from the’60s include “Zindagi bhar nahi bhoolegi woh barsaat ki raat”, “Kabhi to milegi, kahi to milegi”, “Rahen Na Rahen Hum” and “Aaya hai mujhe phir yaad woh zalim”. “His speciality was the qawwali. The singers will recreate his most famous qawwalis, 'Nigahen milane ko jee chahta hai' and 'Yeh baazoo mere aazmaye hue hain' as well,” adds the source. Roshan had given breaks to Indeewar and Anand Bakshi, who went on to become the most soughtafter songwriters in the Hindi film industry in the late ’60s. The concert takes place this Saturday in Borivali with singers and a 50-piece live orchestra celebrating three generations of the Roshan family.
Rajesh Roshan opens up about Lata Mangeshkar and Manna Dey’s last recorded duet
7:46 AM
Roshmila Bhattacharya (MUMBAI MIRROR; October 26, 2017)
“Sab
kho diya, sab pa liya, raaste, manzilein, kaarvan/Samay ruk gaya hai,
gagan jhuk gaya hai, Tum jo mile, mil gaye hai hamein do jahan”
Not many will remember this 1986 Vinod Mehra-Bindiya Goswami starrer called Maqaar, but a quick Google search will throw up this song listed as Lata Mangeshkar and Manna Dey’s last recorded duet. It brings back a flood of memories for its composer, Rajesh Roshan, who, contrary to the public perception of Mannada being a serious, intense classical vocalist, remembers his father’s (composer Roshanlal Nagrath) friend as a jovial figure. Manna Dey’s light-hearted rendition of pa philosophical Bengali song often had his parents in splits, says Rajesh ji.
“He recorded a lot of songs with my father, but it was never a strictly professional relationship. He would come home, there would be plenty of laughs, endless hours of rehearsals and lunch with the family before the two of them got down to creating magic in the recording studio,” reminisces Rajesh ji who went on to carry forward his father’s musical legacy as a popular composer himself. He composed the above mentioned track that started out with a desire to revive the magic of the Lata-Manna Dey duet, “Yeh Raat Bheegi Bheegi Yeh Mast Fizaein” from Raj Kapoor and Nargis’s 1956 romcom Chori Chori.
Composer duo Shankar-Jaikishan won the Filmfare Award for Best Music for this particular song, penned by Shailendra, which has long been one of Rajeshji’s favourites. When he was rocking the charts in the ’80s, he decided to tune into the melody of the black-and-white era when composers like Shankar-Jaikishan, Madan Mohan and Roshan, lyricists like Sahir Ludhianvi, Majrooh Sultanpuri and Shailendra, singers like Lataji, Mohd Rafisaab and Mannada reigned.
Until then “Yeh Raat Bheegi Bheegi” resonated within him, and when he decided to recreate it, Amit Khanna gave him poetry that made him think of golden beaches, idyllic pastorals and a song that celebrated love with the simplicity of yore. Then, he took it to the two legends he had grown up worshipping.
“Both Lata ji and Mannada heard me out quietly, then, learnt it in half an hour. Lataji, came into my music room at Famous Studio to rehearse a few times. I can’t remember if he did the same. He was like this batsman who walks out, hits a match-winning sixer and walks to the roar of the crowd. Two hours, that’s all it took them to record it,” Rajeshji says.
When the two started singing, he was thrilled. “I couldn’t believe Lataji and Mannada were singing my song with the same feel of Raj saab and Nargis ji’s springtime romance,” he says, recalling a conversation between Mannada and his father on why some singers made it and others didn’t, during which the former pointed out that it’s because while others merely sang, a few like him breathed life into a song. “Yes, woh gaane mein jaan daal dete the. Ditto Lataji, who once pointed out that if you stood too close to the mic or too far, if you sang too loudly or too softly, the song didn’t work. The trick was to stand at the right spot and throw the voice exactly right.”
For Rajeshji, “Sab Kho Diya” was a milestone. But the film didn’t do well and it was outscored by his more popular hits. “But it remains dear to me, like the other Manna Dey classic, 'Laga Chunri Mein Daag', scored by my father. Mannada passed away four years ago, on October 24, but his songs will live in my heart forever,” he sighs, as the strains of “Sab Kho Diya, Sab Paa Liya” fill the room.
Not many will remember this 1986 Vinod Mehra-Bindiya Goswami starrer called Maqaar, but a quick Google search will throw up this song listed as Lata Mangeshkar and Manna Dey’s last recorded duet. It brings back a flood of memories for its composer, Rajesh Roshan, who, contrary to the public perception of Mannada being a serious, intense classical vocalist, remembers his father’s (composer Roshanlal Nagrath) friend as a jovial figure. Manna Dey’s light-hearted rendition of pa philosophical Bengali song often had his parents in splits, says Rajesh ji.
“He recorded a lot of songs with my father, but it was never a strictly professional relationship. He would come home, there would be plenty of laughs, endless hours of rehearsals and lunch with the family before the two of them got down to creating magic in the recording studio,” reminisces Rajesh ji who went on to carry forward his father’s musical legacy as a popular composer himself. He composed the above mentioned track that started out with a desire to revive the magic of the Lata-Manna Dey duet, “Yeh Raat Bheegi Bheegi Yeh Mast Fizaein” from Raj Kapoor and Nargis’s 1956 romcom Chori Chori.
Composer duo Shankar-Jaikishan won the Filmfare Award for Best Music for this particular song, penned by Shailendra, which has long been one of Rajeshji’s favourites. When he was rocking the charts in the ’80s, he decided to tune into the melody of the black-and-white era when composers like Shankar-Jaikishan, Madan Mohan and Roshan, lyricists like Sahir Ludhianvi, Majrooh Sultanpuri and Shailendra, singers like Lataji, Mohd Rafisaab and Mannada reigned.
Until then “Yeh Raat Bheegi Bheegi” resonated within him, and when he decided to recreate it, Amit Khanna gave him poetry that made him think of golden beaches, idyllic pastorals and a song that celebrated love with the simplicity of yore. Then, he took it to the two legends he had grown up worshipping.
“Both Lata ji and Mannada heard me out quietly, then, learnt it in half an hour. Lataji, came into my music room at Famous Studio to rehearse a few times. I can’t remember if he did the same. He was like this batsman who walks out, hits a match-winning sixer and walks to the roar of the crowd. Two hours, that’s all it took them to record it,” Rajeshji says.
When the two started singing, he was thrilled. “I couldn’t believe Lataji and Mannada were singing my song with the same feel of Raj saab and Nargis ji’s springtime romance,” he says, recalling a conversation between Mannada and his father on why some singers made it and others didn’t, during which the former pointed out that it’s because while others merely sang, a few like him breathed life into a song. “Yes, woh gaane mein jaan daal dete the. Ditto Lataji, who once pointed out that if you stood too close to the mic or too far, if you sang too loudly or too softly, the song didn’t work. The trick was to stand at the right spot and throw the voice exactly right.”
For Rajeshji, “Sab Kho Diya” was a milestone. But the film didn’t do well and it was outscored by his more popular hits. “But it remains dear to me, like the other Manna Dey classic, 'Laga Chunri Mein Daag', scored by my father. Mannada passed away four years ago, on October 24, but his songs will live in my heart forever,” he sighs, as the strains of “Sab Kho Diya, Sab Paa Liya” fill the room.
Hrithik Roshan, Sussanne Khan take off to Goa to celebrate Diwali; senior Roshans also join in
7:13 AM
Natahsa Coutinho (MUMBAI MIRROR; October 20, 2017)
On Thursday, Hrithik Roshan was spotted at the airport along with ex-wife Sussanne Khan, their kids, Hrehaan and Hridhaan, dad Rakesh Roshan, mum Pinky and sister Sunaina, as they waited to catch a flight to Goa. The family celebrated Diwali far away from the hustle and bustle of Maximum City, with Rakesh’s composer brother, Rajesh Roshan, joining the group later.
A source close to the Roshans told Mirror, “The family is expected to return next week. The idea is to spend some quality time together. On Thursday, Hrithik began his day with a pooja at his Juhu office before taking off for the airport— it’s a tradition he has been following for years now. The trip happened as it had been a while since the family got together. Everyone had been looking forward to it.”
“Yes, we are in Goa but are yet to decide how many days we will be here. Let’s see what the family plans,” Rakesh Roshan added.
After a detox break close on the heels of his last film, Kaabil, Hrithik had whisked away his sons and constant travel buddies to the US for a two-week holiday in June. Sussanne had joined the boys in Orlando, Florida.
On Thursday, Hrithik Roshan was spotted at the airport along with ex-wife Sussanne Khan, their kids, Hrehaan and Hridhaan, dad Rakesh Roshan, mum Pinky and sister Sunaina, as they waited to catch a flight to Goa. The family celebrated Diwali far away from the hustle and bustle of Maximum City, with Rakesh’s composer brother, Rajesh Roshan, joining the group later.
A source close to the Roshans told Mirror, “The family is expected to return next week. The idea is to spend some quality time together. On Thursday, Hrithik began his day with a pooja at his Juhu office before taking off for the airport— it’s a tradition he has been following for years now. The trip happened as it had been a while since the family got together. Everyone had been looking forward to it.”
“Yes, we are in Goa but are yet to decide how many days we will be here. Let’s see what the family plans,” Rakesh Roshan added.
After a detox break close on the heels of his last film, Kaabil, Hrithik had whisked away his sons and constant travel buddies to the US for a two-week holiday in June. Sussanne had joined the boys in Orlando, Florida.
I told Rakesh ji I am Hrithik's fan; he said that Hrithik is a fan of my voice-Jubin Nautiyal
8:02 AM
Nautiyal has sung three tracks in star’s Jan release, Kaabil; chuffed that Roshan is a fan of his voice
Soumya Vajpayee Tiwari (MID-DAY; December 14, 2016)
Under three years old in Bollywood’s playback scene, Jubin Nautiyal is excited about his latest project, Hrithik roshan-starrer Kaabil. The singer, who has lent his voice to three tracks in the film, is grateful to the star and makers for the experience.
“It all began at a music awards show where I won the Upcoming Male Vocalist of the Year award for Zindagi Kuch Toh Bata from Bajrangi Bhaijaan (2015). I sang two lines from the song; Hrithik and Rakesh ji were seated in the front row. A few days later, Sanjay ji (Gupta, Kaabil director), with whom I had earlier worked in Jazbaa (2015), called me to Rajesh ji’s (Roshan, music composer) studio.”
He says the makers wanted an innocent voice for Hrithik’s character. “We recorded at Rajesh ji’s home studio. Post dubbing, he called Rakesh ji (Roshan, producer) over. They said they wanted to explore my voice further. I got nervous. Later, I recorded the title track, a groovy dance number,” says Jubin, who also recorded a melancholic version of the same track. “When i told Rakesh ji I’m a huge Hrithik fan, he said, ‘Hrithik is a fan of your voice. He has been listening to your songs’,” he gushes.
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