DP Rangan

Kumkum: The Danseuse Butterfly of Bollywood

Guest article by DP Rangan to pay tribute to Kumkum (22 April 1934 – 28 July 2020) on her first death anniversary

(The dancers had an important place in our films. They came in amazing varieties. There was a tradition of the top actresses themselves being professionally trained in classical or popular dance forms, such as Vyjayanthimala and Waheeda Rehman, to Hema Malini to Madhuri Dixit, Rekha and Aishwarya Rai. Some mainstream actresses performed ‘Item Numbers’ for a lark. The other end was a night club or cabaret dancer, such as Helen, Bindu and Jayshree T etc. Since this was not seen as a very noble activity, they were generally given a small role of a vamp.

In this crowded field, it is to the credit of Kumkum that she carved out her own niche as a dancer with grace on whom some of the most memorable songs of the Golden Era have been picturised. As she had a proper training in Kathak, her dance always showed her class. Her natural talent for dance, her supple body and expressive eyes made her a sought after artist. She did several lead roles or second lead roles in which she showed her acting prowess too. To pay our tribute to her on her first death anniversary is the indefatigable DP Rangan.

As the regulars of SOY are well aware, Mr Rangan is 70-plus going on 17. He is the most prolific guest author on SOY. Undeterred by the difficulty of language, he is always after me what next he should write on. I instantly welcomed his suggestion to write on Kumkum. Thank you Mr Rangan for this tribute to Kumkum we all like so much. – AK)

The lure of filmdom started right after movies started invading everywhere. Men and women in search of fame and wealth had made a beeline for the tinsel towns where studios were rooted and functioning. Our Bharat is no exception to this golden rule. Lahore was probably the first town where this started during the colonial era. Calcutta also emerged as another such centre. Then Bombay joined the bandwagon and thereafter Chennai came into the film map. As part of technical advancement, silent movies were supplanted by talkies with the film Alam Ara in 1931. All with a histrionic talent or with pretensions to it sought fame and riches in this tinsel world of glamour. Most of them came from poor families ready to confront this game of life and death. Success meant stardom, wealth and fame and those who failed to make it count were left by the wayside. Ladies with alluring looks as a powerful weapon had an easier time at grappling with the studio moghuls and those with dancing skills had a decided advantage.

READ THE FULL ARTICLE

Raja Mehdi Ali Khan: Lyricist Par Excellence

Guest article by D P Rangan as a tribute to Raja Mehdi Ali Khan on his 55th Remembrance Day (b. 1915/1928? – d. 29 July 1966)

(There are at least two dozen lyricists who wrote more songs than Raja Mehdi Ali Khan. Yet every lover of old film songs has the highest regard for him, especially for the exquisite songs he wrote for Madan Mohan. For many of us, it might come as a surprise that his songs for Madan Mohan are about one-sixth of his total output. That underscores the talent of Raja Mehdi Ali Khan.

To do full justice to such a highly respected lyricist, you would expect the writer to have very deep familiarity with Hindustani language. D P Rangan is not deterred by minor constraints, such as lack of adequate knowledge of the language. He comes up with another of his very sincere guest articles. He is conscious that lyricists have not been given due importance on SOY, therefore, his article fills up an important gap.

Mr Rangan is a retired government servant, now well into his 70s. We know him for his enthusiasm and zest for life. He has written over two dozen guest articles for SOY, the most by anyone. This article has been in my folder since the last year, but it turned out to be a very crowded year. Mr Rangan  appreciated my scheduling difficulties, and allowed me to post it on a later suitable date.

Let us pay our tribute to the great lyricist Raja Mehdi Ali Khan on Madan Mohan’s 97th birth anniversary, with whom he had the most memorable association. Thank you Mr Rangan for this nice guest article. – AK)

Raja Mehdi Ali KhanA rare combination of poet, writer and lyricist in erudite Urdu is how I think of this gifted individual who streaked across the cinematic field in blazing glory for a brief span of time and embraced eternity by his untimely demise at a very young age of just thirty eight years. His achievements in this brief sojourn in terra firma speak for themselves. Here is my humble effort to pen his biography for scrutiny by blog followers.

READ THE FULL ARTICLE

Mughals Engulf Bollywood

Guest article by DP Rangan as a tribute to the Last Mughal Emporer Bahadur Shah Zafar II on his 158th Remembrance Day (24 October 1775 – 7 November 1862)

(Mughal period has fascinated our film makers from the very early days – not to make ‘historical’ films as we understand by the term, but to weave tales of romance and legend, mostly apocryphal, in the backdrop of grandeur, opulent sets, colourful costumes, songs and dance, and flowery Urdu language. Even over 260 years of the de facto demise and 160 years of official end of the Mughal Empire has not dimmed the romance for the period.

When did the Mughal empire actually end? The real answer is it was a painful slow death for over a century, shrinking from a large swathe of Indian territory extending up to Afghanistan, to just Delhi, and finally the Lal Quila, at the time of the last emperor, Bahadur Shah Zafar II, who lived on the pension paid by the British. So we can say the empire ended with the arrest of the last emperor on 20 September 1857, after which he was exiled to Rangoon where he died on 7 November 1862. India was the crown jewel for the British, and too valuable to be left to the rule by the East India Company. If you want to be legalistic, the Queen’s Proclamation dated 1 November 1858 brought India under the direct Rule by the British Crown.

DP Rangan’s range of interest is amazing. From objects of nature, to variety of themes like cycle, tonga, horses, to film stars, now he writes on the films and songs around Mughal rulers. You may scoff at the authenticity of their history, but the songs the music directors created were everlasting. Mr Rangan selects some of the best songs for the post.

Bahdaur Shah Zafar was ‘technically’ the Last Mughal. Though only a nominal emperor, he fostered a multi-cultural and multi-religious society around him, and presided over a court having great Urdu poets like Zauq, Ghalib, Momin and Dagh. At a time fraught with inter-faith tension and mistrust, it is befitting to pay a tribute to him with this article on his 158th Remembrances Day. Thanks a lot Mr Rangan. – AK)

Bahdurshah ZafarIndian subcontinent since time immemorial has had her belly exposed to all sorts of invaders through Khyber and Bolan pass. The petty kingdoms nestled around this vulnerable locality were too busy fighting each other, and failure to present a united front against aggressors from further North eventually cost them dear. This was checkmated during periods of great empires like Kanishka, Gupta and Harshvardhan. The power vacuum thereafter led to a resurgence of such invasions. Repeated invasion and retreats with booty led to colonization subsequently. Delhi sultanates were first such settlements ruling over a big territory in the North. With the proselytizing Islam as their creed they sought to swell their numbers from among the conquered people. A delicate balance prevailed between Islam and the native faith.

READ THE FULL ARTICLE

Madan Mohan: The Pied Piper of Bollywood in Different Moods

Guest article by DP Rangan as a tribute to Madan Mohan on his 45th Remembrance Day (b. 25 June 1924 – d. 14 July 1975)

(Two years ago to this day, DP Rangan wrote a tandem article on Roshan and Madan Mohan about their classical songs, with annotation by Subodh Agrawal, which set the stage for a series on them. The series concluded with Madan Mohan’s daughter Sangeeta Gupta’s nostalgic piece about him as a family man and a maestro. However, meanwhile Mr Rangan had also been working on Madan Mohan’s songs in different moods, and he was disappointed that, with the series closed with the calendar year, his piece might not see the light of day.

You can never have enough of Madan Mohan; he was a multi-faceted talent, composing songs for all the major playback singers, and songs in all possible moods. I am happy to present M Rangan’s guest article as a tribute to Madan Mohan on his 45th Remembrance Day. Thank you Mr Rangan. – AK)

Madan MohanUnder inspiration from the blog master AK, I wrote a  tandem post involving Madan Mohan and Roshan on 14 July 2018 which was Roshan’s 101st birth anniversary, and in a unique coincidence, Madan Mohan’s 43rd death anniversary.  It grew steadily through a number of posts exploring many aspects of their genius, ending with Madan Mohan’s daughter’s fond article on him titled ‘Remembering my father and the legend’ on 25 December 2018. The announcement of the closure of the series by AK disappointed me somewhat because I have been working on a post on Madan Mohan’s songs in different moods. As I don’t see any duplication with the posts in the series (though some songs might have figured earlier), I am happy that AK agreed to post it on Madan Mohan’s 45th Remembrance Day.

READ THE FULL ARTICLE

NASEEM BANU: The Maiden Venus of Bollywood

Guest article by DP Rangan as a tribute to Naseem Banu on her 104th birth anniversary (4 July 1916 – 18 June 2002)

(Naseem Banu was arguably the most bewitching beauty of her time. When Saira Banu burst on the screen in the 1960s, she was immediately hailed as a Beauty Queen, and the media coverage was replete with references to her mother, Naseem Banu, who was regarded as even more mesmerising than her daughter. She achieved great fame as the lead actress of Sohrab Modi’s historical magnum opus, Pukaar (1939). And in keeping with the times she also sang many songs for films, but gradually let regular playback singers sing for her. She deserves to be remembered on Songs of Yore in a befitting manner, and DP Rangan is ever ready for doing the honours.

As the regulars of SoY are aware, Mr Rangan is a unique person. Though not familiar with the language, he has nevertheless written over twenty guest articles on various themes relating to old Hindi film songs, including on stars like Meena Kumari, Suraiya and Madhubala.  He does an equally competent job, typical of him, for Naseem Banu. Thank you Mr Rangan for this tribute to Naseem Banu. – AK)

Naseem BanoThe Industrial Revolution from the mid-nineteenth century ushered in an era of prosperity for a few and misery for the majority. Entertainment avenues also underwent a radical change. Introduction of cinematography was one such event and people crowded theatres to enjoy silent movies. Advent of talkies in 1927 was a fillip to boost people’s interest and India had its first talkie in 1931. Cinema viewing was a new rage among the populace and film actors commanded a huge following. The time was ripe for the arrival of a maiden of beauty and the miracle did happen.

READ THE FULL ARTICLE

Twins Phenomena In Bollywood

Guest article by DP Rangan

(The prolific guest writer DP Rangan now writes on the twins in Hindi films, some generic tropes of these films, and gives a selection of songs from some twin films. The highlight of this post is some great songs of the vintage era. This post too has been with me for quite some time. Mr Rangan has been quite understanding of the unavoidable delay in scheduling it. Thank you Mr Rangan for yet another nice post from your pen. – AK)

Ram Aur ShyamFour billion years after the formation of the Solar System, the first elementary form of life emerged. Over the next five billion years, life underwent steady transformation and became more and more complex and advanced. Survival of the fittest was the key element in ensuring continuation of species. Apotheosis was emergence of Human beings (Phylum Vertebrata, class Mammalia) as the last to arrive at the scene. There was no longer any need to have large broods of young ones for species continuation among human beings. Single birth was the norm and over a number of years, a human couple, male and female, brought forth several children, and despite partial infant mortality perpetuation of the race was ensured. Still there were odd instances of giving birth to twins, identical or fraternal. Identical were either male or female, while fraternal could be a male and female child. For this post we are concerned only with identical twins.

READ THE FULL ARTICLE

Film Songs From Firmament

Guest article by DP Rangan

(DP Rangan is by far the most prolific guest writer on SoY, and among its most senior members. If he is appearing after a long gap, I am partly responsible for it as a couple of his articles have been in my folder for a while. I had already scheduled some articles which most fitted earlier. But Mr Rangan has unbounded energy, and he is always bubbling with new ideas. He can willingly write on command on any topic, even during his travels abroad to meet his family. I have restrained my temptation to palm off some topics to him in deference to his age. But whatever comes from him, I take it happily if it fills a gap in the SoY.

The topic of ‘Atmospheric songs’ has been on Mr Rangan’s ‘firmament’ for quite some time. After consultations back and forth, this is the final product. If you miss  his usual heavy research, I am again to blame. But thank you Mr Rangan for your understanding, and I am grateful for this nice article from you. You can see these songs as a cousin of Surrogate Songs about which I wrote a post last month. In the earlier post readers often mixed up surrogate songs with atmospheric songs. This post will clarify that the two are distinct categories. – AK)

Atmospheric songsWith the advent of talkies, films became a hot favourite in Hollywood from 1927 and commanded a huge following of film crazy viewers. India followed suit with the first talkie Alam Ara in 1931 and music became an integral part of our cinema. Songs were of many kinds, i.e., solos by male and female singers, duets – male/female, male/male or female/female and also chorus songs, main singer followed by a multitude of nondescript characters repeating the stanza. The songs were generally lip-synchronized by the actors and the live song scene was part of the film. All these categories of songs were more or less fitted in the films in line with the unravelling of the plot. As instances of conundrum, certain songs did not fit the bill. They seem to float down from an empyrean source and not identifiable with the characters in the scene. It also appeared that they were the most appropriate one for the scene unfolding before the viewing audience.

READ THE FULL ARTICLE

Bharat Vyas: Lyricist Extraordinaire in Hindi

Guest article by DP Rangan as a tribute to Bharat Vyas on his 37th death anniversary (18 December 1918 – 4 July 1982)

(One oft-repeated complaint against Songs of Yore is that it does not give due importance to the lyricists. I have given my reasons from time to time, which may not be very convincing. I do not know whether DP Rangan was guided by altruistic motives to come to the rescue of the blog, but his offer to write on Bharat Vyas came as a big surprise. By now we are aware of his tremendous enthusiasm and capacity to write on different themes – this is his 19th guest article – but one thought familiarity with the language was necessary for writing on lyricists. For Mr Ranagn, no challenge is too great to deter him. The result is a comprehensive write-up on Bharat Vyas, one of the most respected lyricists for elegance of his language. The two Excel sheets he has prepared of Bharat Vyas’s Filmography would challenge anyone priding himself as a number-cruncher. My compliments and thanks to Mr Rangan for a very painstaking article. – AK)

Bharat VyasInvention of moving films for single viewer by Edison of USA and its further enhancement by Lamar brothers of France for simultaneous view by many in a sort of theatre had added new dimensions to entertainment for the people and the fever grew exponentially from then on. The epoch of silent movies started at the turn of the last century, but introduction of talkies in 1927 in the USA revolutionised picture viewing throughout the world and India joined the bandwagon almost from inception. The first talkie, Aalam Ara, was released in Mumbai in 1931 to a riotous start with the necessity of police intervention for control.

READ THE FULL ARTICLE

MADHUBALA: The Bewitching Beauty of Bollywood

Guest article by DP Rangan as a tribute to Madhubala on her 86th birth anniversary (14 February 1933- 23 February 1969)

(The regular readers of Songs of Yore are aware of the tremendous enthusiasm of DP Rangan for writing on various themes and artistes associated with old film songs. After covering themes like Horses, Tonga, Moon, Stars, Bacchus, Deepavali, Steam Engine, Flowers, Cycle, Waterfall, Tasveer and Nuptials, Mr Rangan wrote life sketch of film stars and music directors. He has already written excellent articles on Sajjad Hussain, Suraiya and Meena Kumari. Carrying on the good work, Mr Rangan pays a tribute to the incredible beauty, Madhubala, commonly known as the Venus of Indian Cinema. It is a befitting coincidence that she was born on the Valentine’s Day.

Mr Rangan is a retired civil servant. At seventy-plus, his zeal can be the envy of many persons much younger to him. SoY is lucky to have him among the family. I join him in paying my tribute to the ethereal beauty, Madhubala, and also wishing the readers a very Happy Valentine’s day. Thank you Mr Rangan for your contribution to this blog. – AK)

MadhubalaImagine an audience bedazzled by the beauty of the heroine of the film they are intensely focused on, and coming out at the conclusion completely dazed and still reliving in the dream world of the preceding few hours, and the harsh wakeup to the reality of day to day struggle for carrying on their mundane life. Such was the hold of Madhubala on the public during the heydays of 1950s and 1960s. She was not an actress who could excel in serious roles as her contemporary Meena Kumari and yet such was her mesmerisation of one and all, even when her acting was below par now and then, it was glossed over. Yet her life was not a bed of roses, but one of thorn. She was a glorious star in the film world during her halcyon years, In astronomical language, she could be equated to super massive blue stars that gallop through their life rapidly and sink into a red dwarf or a black hole. She was amply endowed with je ne sais quoi. While Meena Kumari committed seppuku by excessive indulgence in drinks, our contemporaneous heroine was born with a major debility which was to prove a torment in the last few years of her life that did not complete forty years of existence. It is my humble attempt to recapitulate her life with my limited ability and I request patrons of the blog to keep this in mind while going through this post. This is my fourth biography and I am certain the three previous ones of Meena Kumari, Suraiya and Sajjad Hussain are already archaeologist’s delight.

READ THE FULL ARTICLE

Sajjad Hussain, Bollywood’s Loss

Guest article by DP Rangan to pay tribute to Sajjad Hussain on his 23rd death anniversary (15 June 1917 – 21 July 1995)

(Sajjad Hussain has been acknowledged as an undisputed genius by all the stalwarts of film music. His name also became a byword for his short temper and his spats with his colleagues. This came in the way of a ‘successful’ career. But whatever he composed – about a hundred songs in 14 films – has achieved everlasting fame. DP Rangan has done some very in-depth research to come up with a worthy tribute to a composer, who was ‘difficult’ in more ways than one. Thank you Mr Rangan. – AK)

Sajjad HussainThe title was chosen to emphasize what invaluable contributions of film music of a genius was lost to film goers by the negative attitude of the industry towards a music director who refused to compromise on his principles and to kowtow to the directives of bigwigs in the industry and insisted his own ideas of music composition should prevail.

READ THE FULL ARTICLE