Written
by Dr. Seshadri Kumar, July 26, 2012
Copyright
© Dr. Seshadri Kumar, 2012. All Rights
Reserved.
Disclaimer:
All the opinions expressed in this article are the opinions of Dr. Seshadri
Kumar alone and should not be construed to mean the opinions of any other
person or organization, unless explicitly stated otherwise in the article.
******************************************
As most
people who follow Hindi cinema now know, the first superstar of Hindi cinema, Rajesh Khanna, also known
in the film industry as Kaka, died at 69 on 18th July, 2012. Every news report about Kaka’s death starts
with how he was the first “superstar” of Hindi cinema. Yes, it is true that, with the modern meaning
of the word “superstar,” he was a bigger star than any before or after him in
Hindi cinema. But a little reflection on
the origin of the word “superstar” makes you realize that Kaka was an anomaly
in stellar terms.
According
to the theories of star death, very large stars end their life through what is
known as a supernova, or a massive stellar explosion which blows them into bits,
and often end up as a black hole, something that cannot be seen, only felt. Stars that are much smaller, smaller than the
Chandrasekhar limit (named after our own Dr. S. Chandrasekhar, the Nobel Physics
Prize winner of 1983) end their life, well, in a whimper. They gradually lose their surrounding matter,
and become tiny remnants with a mild luminosity, and are known as white dwarfs.
Over a long period of time, the brightness slowly fades, as a flashlight that
has been kept on might slowly fade, until the light in them goes out, and they
become completely black, and are called black dwarfs.
The
anomaly of Rajesh Khanna is that although he was equivalent, at his peak, in
astronomical terms, to a super-massive star, his descent into oblivion was
characteristic of stars that are as small as our own sun.
But
stars never burn in vain, and as long as Kaka burned brightly, he lit up the
world in the way only he could, and left many lifetimes’ worth of memories
through his movies and songs. So while
we mourn the loss of someone who was larger than life for many of us, we also
remember fondly the many ways in which he made and continues to make us smile,
laugh, and cry.
Rajesh
Mania
I am
young enough that I never experienced Rajesh-mania first-hand. I was too small during Kaka’s golden period,
1969-1973, to have seen any of his early movies, or remember having seen any of
them, in a theatre. However, I was
constantly exposed to his songs through the radio and, later, to his movies on
Doordarshan. I still remember the whole
family watching Anand on Doordarshan and marvelling at the acting of Rajesh
Khanna. We similarly watched Amar Prem
and the classic dialogue, “Ro mat Pushpa, I hate tears...” and watched him with
awe, even though as a rule we were staunch Amitabh followers. My movie-going days coincided with the rise
of Amitabh Bachchan, but because I was born at this crossover time, I also had
a soft corner for Rajesh Khanna.
So,
from my personal experience, I was mostly exposed to Rajesh Khanna through his
old movies that would appear regularly on Doordarshan, and his old songs that
would appear on Chhayageet or Chitrahaar.
Once in a while, songs from his new movies would appear on Chitrahaar,
etc. – I distinctly remember watching “Shayad meri shaadi ka khayal” from
Souten and “Kabhi bekasi ne mara” from Alag Alag on Chhayageet (the latter about
4 or 5 times in a row - I think he had a fan in DD Mumbai).
Having
watched movies like Anand, Safar, Amar Prem and the like on Doordarshan, I, and
most of my friends, thought these “new” movies like Souten and Alag Alag were pathetic
attempts by a has-been star to come back.
The fact that he was much better-looking in those older movies and had
lost much of his good looks through a dissipated life full of alcohol abuse did
not help him either. Eventually, even
the rate of appearance of the new movies slowed down, and they finally stopped
coming. Once in a while you would hear
about a movie like Avtaar being a hit, but you never bothered to go see
it. I think that, for me, the magic was
in the Rajesh Khanna of the Anand days, and I really could not accept him in
any other avatar.
His
Films: The King of Romance and Much More
For, to
me, as to millions more, he was the quintessential romance king. I could never forget the way he would wink
and nod at Asha Parekh in “Yeh Shaam Mastani” or the smouldering look he had in
“Roop Tera Mastana.” His charisma was so
great that I remember watching Andaz as a small kid on TV but forgot all about
Shammi Kapoor, who was the main actor in the film. With just 5 minutes of screen time, Rajesh
Khanna stole the show with that fantastic song, “Zindagi ek Safar hai Suhana.” Only years later did I do a google search for
that movie and find out that Khanna’s character dies very early in that
movie. (Though I do remember the great
children’s song, “Re mama re mama re,” I never connected it with that
movie.) But that is Rajesh Khanna for
you – when he was at his peak, you really didn’t notice anyone else.
But
Khanna was much more than just the king of romance. He was a fairly good actor, and he chose
films which were meaningful, with sensitive roles – often stories with complex
romantic relationships. This was really
the genre to which his emotive skills were best-suited. This age of sensitive family dramas gave way
to the action genre with the rise of Amitabh, and though you occasionally had some
intelligent stories, I think it is fair to say that good stories took a
backseat with the rise of the action genre in Bollywood. And Rajesh Khanna will always remain in my
mind a symbol of the times when good stories ruled and plot mattered.
With
the rise of Amitabh Bachchan and the action movie genre, people deserted Rajesh
Khanna. Khanna continued making his kind
of films; they just didn’t sell. One
could argue that he could have tried to reinvent himself as an action star, but
I doubt he would have succeeded. It
would have been very hard for anyone to compete with the Big B in the action
genre at that time.
Relationships
with Directors
An
analysis of the data given in the Wikipedia page on Rajesh Khanna’s
filmography reveals that he has worked with as many as
90 different directors (not counting special appearances), which is a
remarkably large number for any actor.
Shakti Samanta was his favourite director, having been responsible for
some of his all-time great hits such as Amar Prem, Kati Patang, and
Aradhana. Khanna did 8 films with Samanta,
including Awaaz, Ajnabee, and his home production, Alag Alag. Kaka also had unforgettable films with
Hrishikesh Mukherjee, notably Anand, Namak Haram (both with Amitabh Bachchan),
and Bawarchi, and also worked with him on Naukri. He also had 4 films with B.R. Ishara (who,
incidentally, died yesterday – RIP) but most of these were forgettable fare in
the later phase of his career. He had
three films with J. Om Prakash, including the outstanding Aap Ki Kasam. He also had three films with Yash Chopra,
including the critically acclaimed Daag and the song-less crime thriller Ittefaq.
One is
led to question why Kaka did not have more solid partnerships with directors,
which might have led to them insisting on him being in their films time after
time. Perhaps his much-talked about mercurial personality is
responsible for this. Stories of him
always arriving late for shooting engagements with no concern for his co-stars, directors, or crew are legend. (To get an idea, see the
outstanding BBC documentary on Rajesh Khanna, created in 1973, titled
“Bombay Superstar.”)
At any rate, even
one or two movies with many directors have turned into unforgettable
films. Asit Sen had the unforgettable
Khamoshi and Safar, both featuring terrific performances by Khanna, and some
unforgettable music. Chetan Anand made
only two movies with Kaka, but one of them was his first release, Aakhri Khat,
which he was contractually obligated to sign Khanna for because Khanna won the
national acting contest, and the other, Kudrat, featured some fine performances
which even garnered Khanna an award nomination.
Manmohan Desai made two movies with Khanna, and one of them, Saccha
Jhoota, was one of Khanna’s biggest hits.
Din Dayal Sharma made just one film, Tyaag, with Khanna, but it was
nominated for a Filmfare award. Basu
Bhattacharya made only one film, Aavishkar, with Khanna, but that fetched him a
Filmfare award. Basu Chatterjee directed
Kaka in just one film, Chakravyuha, but it fetched Kaka an award
nomination. Dulal Guha made the highly
successful Dushman, but no other with Khanna.
Lekh Tandon scored big with Khanna with Agar Tum Na Hote. There are other examples, but one does wonder
whether, despite the trend towards action-based movies and the Amitabh wave of
the late 70s and 80s, Rajesh Khanna could have continued to succeed with his
brand of sensitive, complex emotional dramas, had he but known better how to
cultivate relationships with people in the film industry.
During
his decline that started in the mid 70s and continued to the end of his life,
he did a lot of films with many South Indian directors, who still believed in
the superstar image of Rajesh Khanna.
Notable among these were Dasari Narayana Rao, K. Bapayya, K. Raghavendra
Rao, C.V. Sridhar, A.C. Trilokchander, S.A. Chandrasekhar, R. Thyagarajan, and
even the legendary Bharatiraja, who chose Khanna to remake his “Red Rose” which
starred Kamal Hasan in the original Tamil.
Such was the respect people in the South had, both for Kaka’s acting
skills and his superstar marketability.
Durability
as an Actor
One of
the things I was quite surprised about when I did the research for this article
is just how durable an actor Rajesh Khanna was.
He vanished from the limelight with the advent of Amitabh, but like the
white dwarf in the cosmos, he never stopped shining – his light only became
weaker, but never so weak you could not notice it. An analysis of the number of films that Khanna
acted in over the years, extracted from the same Wikipedia site quoted above,
reveals that Khanna continued to be busy through the 80s, with a significant
drop in his output apparent only in 1991.
Figure 1 shows the distribution of movies of Kaka over the years
(excluding special appearances).
Figure 1. Distribution of
Rajesh Khanna’s Movies Over the Years
Statistics sometimes reveal truths the mind could scarcely have guessed. The surprising thing about this graph is that
in 1986 he appeared in 11 releases as a hero, which exceeds his 10 releases
from 1972, during his most successful period as a hero. Movie studios and producers are not fools
with their money, and this high number of movies in a year, even in the late
period of his career, must mean that they were likely making at least a modest
profit, and at worst breaking even, with him as the lead actor, even if he was
no longer the superstar he once was.
Partnerships
with Actresses
Khanna partnered with 55 different leading ladies in films, a tribute again to his
longevity as an actor. Figure 2 shows
how different actresses paired with him in his movies (only actresses who have
acted in at least 3 movies with him are shown here.)
Figure 2. Distribution of
Kaka’s Leading Ladies
Hema
Malini leads the pack with 12 films, including films like Prem Nagar in 1974,
Mehbooba in 1976 (of the “Mere naina sawan bhadon” fame), the critically
acclaimed Palkon Ki Chhaon Mein in 1977, and Kudrat in 1981. She acted with Kaka in several films in the
80s. She is followed by Sharmila Tagore
with 9 (including the all-time favourites Aradhana, Amar Prem, and Safar) and
Mumtaz with 8. The Rajesh-Mumtaz pair
was legendary in its day and made such blockbusters like Do Raaste, Saccha Jhoota,
Dushman, and Aap Ki Kasam. Matching
Mumtaz, astonishingly, is Tina Munim which, considering her almost-nonexistent
talent as an actress (yes, she was quite beautiful – but there is only so long
you can keep looking at a fixed expression without getting bored out of your
wits), is a tribute to Kaka’s keen interest in her career. The fact that a couple of these were reasonable
hits – Souten and Alag Alag – is more a tribute to Kaka’s residual charm at
that stage, combined with the great singing of Kishore Kumar, than to Munim’s
rather wooden presence.
These
are followed by, not surprisingly, Rekha and Shabana Azmi with 7 each, and
quite surprisingly, Jaya Prada with 7.
The Jaya Prada number can at least be partially explained by the strong
interest of South Indian directors in Khanna in his lean period. Rekha acted in some of Khanna’s memorable films,
such as Namak Haram, Agar Tum Na Hote, and Prem Bandhan. Shabana has featured, most memorably, in Thodisi
Bewafai, Avtaar, and Aaj Ka MLA Ram Avtar.
Reena Roy and Moushumi Chatterjee also makes an appearance in 6 of his
films, mostly in the forgettable phase of his career, while Zeenat appears
on-screen with Kaka in 5 films, the most notable of which is Ajnabee.
Of
actresses who acted in just a few movies with Kaka, it is important to mention
Nanda, who was an established actress and acted with Khanna in some of his
earliest movies such as The Train and Ittefaq; Waheeda, who acted with Khanna
in Khamoshi and, like Nanda, played an important role in recommending him to
producers; Tanuja, who acted with Khanna in 3 films, two of which were hits,
namely Haathi mere Saathi and Mere Jeevan Saathi; and the extremely talented Jaya Bhaduri (now
Bachchan), who only acted with Khanna in one film; however, this singular
partnership gave rise to a highly entertaining and successful film, Bawarchi.
The
Music of Rajesh Khanna Films
Ultimately,
though, Indian movie stars are most strongly connected to their audience
through the music of their films. A good
soundtrack can make or break a film. Let’s
face it – most Indian movies have hackneyed plots and, with few exceptions,
don’t warrant repeated viewing. The
portions of the movie that have the greatest recall value are the songs, if
they are good. In this regard Kaka was extraordinarily fortunate. In at
least this department, he maintained strong relationships with some music
directors and one particular singer who, singlehandedly, is responsible for
much of the magic of Rajesh Khanna – Kishore Kumar.
I get
tired of watching “Top 10” lists of Rajesh Khanna hits on TV programs. There are so many good songs there; how do
you pick the top 10? It is really
impossible. I find such programs quite
lazy, really, listing only the obvious hits (e.g., Zindagi ka Safar) and
ignoring several gems that are not as well-known as they deserve to be.
So I
have created, after listening to practically every song in almost every movie
of his (until 1991, after which point I realized that no one was writing songs
for him – he was usually appearing in movies as a character actor then onwards),
a comprehensive list of all his hit songs and good songs. As in my earlier article about Dev Anand’s songs, I
have also included songs in which there is no male lead singer, provided the
male actor is present in the picturization, because I believe that his mere
presence contributes to the effect of the song.
Many of my selections in the list will be incontrovertible choices; an
example of such a selection is the all-time classic “Zindagi ka Safar” from
Safar (1970). But some have been
included because they were popular at the time, even though they may not
represent a milestone in musicality. An
example of such a song is “Chhod maza haath mala peene de,” which I remember to
be quite a popular song at the time, though obviously no one would claim that
it is a great song.
Such a
list, by definition, is subjective, although I would hope that most of the
songs in the list would be on anyone else’s list as well. I also could only listen to those songs that
either I possessed or that I could listen to on the internet. I made the reasonable assumption that a song
that no one would care to put up on a website probably wasn’t worth listening
to anyway. And that is saying a lot,
considering I had to filter out a lot of trash to come up with this list.
The
Appendix shows the comprehensive list of Kaka’s hits. Over a period of 21 years, from 1966 until
1987, I found 159 songs worthy of repeated listening and hence qualified to be
in this list. Some will be obvious to
you; others, I hope, will be pleasant discoveries. The song titles are hyperlinked to
youtube. Several things stand out on
examination of this list, which I will discuss in greater detail below.
Figure 3. Composers of Rajesh
Khanna’s Hit Songs
A look
at Figure 3 shows the one thing that any follower of either Kaka’s career or RD
Burman’s, for that matter, would have guessed quite easily – that Pancham is
the composer of the most Rajesh Khanna hits.
For those who do not know, Pancham, Kaka, and Kishore Kumar were very
close friends, and the root of this triangular friendship goes way back to
Aradhana (1969), Kaka’s first super hit film, which had Pancham as the assistant
to his father and the composer of the film, SD Burman, and Kishore-da as the
singer. Bollywood actors are fairly
superstitious people, and Rajesh Khanna was certainly so, as has been reported widely on
Indian TV and Indian film magazines, and so Rajesh Khanna continued for a long
time with this pair.
I am
not a big fan of superstition myself, but in this case Kaka’s superstition
seems to have helped him really well.
Pancham turned out a huge number of hits for Kaka – 55 out of my list of
159, or more than a third. What is not
so obvious, but stands out from Figure 3, is the fact that Laxmikant-Pyarelal
were not far behind, with 48. I had
heard Pyarelal Sharma mention in an interview that after RD Burman, they had
composed the most for Kaka. I was
sceptical about this claim, thinking that yes, maybe they composed a lot of
songs for Kaka, but how many of those songs were good? But the research proved me wrong.
One
unusual composer you will find in this list is Kanu Roy, who composed a lovely
song sung by Manna Dey for Kaka in Aavishkar from 1974. Kanu Roy was a minor music director who was
also an actor (http://en.wikipedia.org/wiki/Kanu_Roy), but
this track truly deserved to be in the list.
The
other big surprise for most of you will be the name of Naushad in this
list. Even in 1982, Naushad had his
fans. Sultan Ahmed asked him to create
the music for Dharam Kaanta, and Naushad proceeded to create music for a 1982
film as though he were still living in the sixties. So this number from Dharam Kaanta, “Duniya
choote yaar na choote,” is a complete anachronism, but if you forget that fact,
it is actually a pretty nice song. Rafi
and Bhupinder deliver on the vocals. (Naushad would only use Rafi in his songs,
even though by 1982 Kishore was the king of Bollywood. But then, as I said, he was still mentally in
the 1960s, as his compositions for the film show.)
There
are a few more lonely figures out there.
Usha Khanna got the only big hit of her later career thanks to Rajesh
Khanna’s Souten. Madan Mohan had one
great soundtrack of Rajesh Khanna to his credit – Bawarchi. And Hemant Kumar features in this list only
because of Khamoshi, which had some unforgettable numbers (one great song which
could not be included in this list, because it was featured not on Kaka but on
Dharmendra, which was from Khamoshi, was the all-time classic, “Tum pukar lo,
tumhara intezar hai.”) And Salil-da had
only 3 hits in Kaka’s career ... but can anyone forget the songs of Anand?
One
notable exception from this list is OP Nayyar.
Quite surprisingly, he never seems to have composed the music for a
single Rajesh Khanna film. The only
reasonable explanation for this fact is simply that Rajesh Khanna came on the
scene late enough (1969) that by this time, OP had finished antagonizing about
everyone he could in Bollywood, and very few people wanted to work with him
anyway. Like the subject of our present
study, OP too had a reputation of being an arrogant egotist, albeit a genius. So don’t feel bad and start wondering about
the “what ifs” – they probably wouldn’t have gotten along, anyway.
Singers
Figure 4. Singers for Rajesh
Khanna’s Songs
I could
end this section simply with Figure 4 and no one would complain – this one
figure says it all as far as singers for Khanna’s songs are concerned. The complete domination of Kishore Kumar over
all other singers when it comes to Rajesh Khanna cannot be elaborated by an
essay of any length more eloquently than this figure. The utter belief of Rajesh Khanna that
Kishore Kumar was the only person who could be his “voice” is borne out by the
following story that you might have heard.
Apparently
during the making of Dushman in 1972, Kishore Kumar got to know that he had to
sing a qawwali, “Jhoota hai tera waada, waada tera waada.” Kishore Kumar protested that qawwalis were not
his forte and that Kaka might do better to ask Mohammad Rafi to sing the song,
since Rafi was very good at singing these songs. Kaka just told Kishore, “Ok, then we’ll drop
the song.” On being told this, Kishore
said it was too good a song to drop and he would sing it. The result is amazing.
The
other great story that many would have heard about the great friendship between
Kishore and Kaka is that when Kaka produced his first film, Alag Alag (1985),
Kishore refused to accept a single paisa as a fee. His contention was that his own resurgence
and superstardom as a singer was due to Kaka’s Aradhana, and so it would not be
right of him to charge Kaka money for his own film.
But the
real insight we get from this picture is about who else sang for Rajesh Khanna.
I was really surprised to know that the wonderful songs “Teri aankhon ki
chahat mein” and “Humse ka bhool hui” were sung for Rajesh Khanna, not by
Mohammad Rafi, as I had always assumed, but by Anwar Hussain, a man who has a
voice that seems like a perfect copy of Rafi’s.
Wonder why this guy did not make it big.
Another surprise was Manhar Udhas singing “Jeevan saathi saath mein
rehna” from Amrit (1986). And Suresh
Wadkar, whom I have always liked, chips in with a nice song for Kaka in
Mithun’s Disco Dancer, in which Kaka plays mentor to the young dancer.
And in case you are wondering which song RD
Burman has sung for Kaka (if you REALLY don’t know), it is that immortal
“Duniya mein, logon ko” from Apna Desh (1972), a rocking, timeless song with
Kaka and Mumtaz on screen and RD and Asha on playback.
Hits
Through The Years
A real
surprise for me was to know how many hit songs Kaka had even after his peak years
were far behind him. Figure 5 shows the year-wise
distribution of the 159 selected songs in my list over the years.
Figure 5. Distribution of
Kaka’s Hit Songs Over the Years
The
correlation between good music and hit movies is obvious from this graph. The years 1971-1972 were the years of Kaka’s
superstardom – these were the years in which he delivered 15 consecutive super
hit movies – a record that will likely never be broken. In each of these years, he had 24 super hit
songs!!!
But the interesting thing about
this graph is that Kaka always had good luck with songs. Even in his late period, from 1980-86, he had
an average of almost 6 hits a year, which is quite an accomplishment. This is probably one of the reasons why he
continued to be a bankable star even in the mid-80s. Eventually, though, all the make-up in the
world cannot hide your age, and he stopped getting songs featured on him in
movies, which is why the hit parade ends in 1987.
Concluding
Thoughts
The
persona of an Indian actor is moulded by five main ingredients – his own
personality and charisma, good stories, great, visionary directors, talented
music directors and, finally, great singers to give playback to the
actors. The combination of all these
factors is what the Indian audience sees and remembers. Rajesh Khanna was a gifted actor with
matchless charisma. He was also fortunate
to have great people help him in all the other departments. He had directors like Hrishikesh Mukherjee
and Shakti Samanta make great movies for him; he had good stories like Anand,
Namak Haram, Amar Prem, and Khamoshi to display his histrionic skills in;
excellent music directors like Pancham and LP to give him great music for the
songs in his films; and finally the late, great Kishore Kumar, to make Khanna’s
character soar on screen with his heavenly baritone. Fuelled by all these factors, he reached
heights which can perhaps never be matched in the history of Hindi cinema.
His
rise was meteoric in the way most people cannot even dream of; yet it was
probably this rise that destroyed him.
People who criticize his behaviour should understand that he experienced
the sort of adulation that most of us can never imagine getting. And, like him, we would also not know how to
react properly if we ever got that kind of adulation. He himself has admitted that
he did not know how to handle the adulation.
There is a story I heard from a friend how Kaka went once to Chandigarh
and people prostrated themselves on the floor all along the red carpet so he
could walk over them on the way to the stage rather than walk on the
floor. That is a kind of adulation even
our present superstar, Amitabh Bachchan, probably never experienced.
His
loss of fame and prestige, after scaling such heights was, therefore, all the
more difficult to bear. His later period
was marked with grief, bitterness, and disappointment; people who could have helped him regain
some of his standing in the industry did not help him – they
probably remembered his misbehaviour during his heyday and wanted their
revenge. And yet he persevered in acting
in films, for that was what defined him, and today he has left us with a rich
treasure house of memories, not only from his golden days but, through his
songs, from his later films as well, until he could not give us any more.
Thinking
of his golden songs, perhaps it is fitting that he died during the monsoon
season in Mumbai. For, as he says in
this immortal number from Anurodh through Kishore Kumar's golden voice,
Jab dard nahin tha seene mein,
Tab khaak mazaa tha jeene mein
Ab ke shaayad, hum bhi royen
Sawan ke mahine mein
When there was no sorrow in the heart,
There was no joy in life
Now, perhaps, even I will shed tears,
In the season of the rains.
But all
the tears and the rains cannot wash away the beautiful memories that you have
created for us with a lifetime of work, Kaka.
Your songs and movies will continue to cheer and inspire us – for
generations to come.
So,
thank you for the memories, Kaka. And hope you have found that peace in death which eluded you all your
life.
Acknowledgement
I would
like to thank my wife, Sandhya Srinivasan, for her help in bouncing off ideas
on songs for the list, for her suggestions regarding this article, and for her
help in proof-reading this article.
Appendix:
Kumar's List of the Best Rajesh Khanna Songs
|
|
Song
Title
|
Movie
|
Year
|
Music
Director
|
1
|
|
Aakhri
Khat
|
1966
|
Khayyam
|
|
|
|
Bahaaron ke Sapne
|
1967
|
RD Burman
|
3
|
|
Bahaaron
ke Sapne
|
1967
|
RD
Burman
|
|
|
|
Raaz
|
1967
|
Kalyanji Anandji
|
|
|
|
Aradhana
|
1969
|
SD Burman
|
|
|
|
Aradhana
|
1969
|
SD
Burman
|
|
|
|
Aradhana
|
1969
|
SD
Burman
|
|
|
|
Aradhana
|
1969
|
SD Burman
|
|
|
|
Aradhana
|
1969
|
SD Burman
|
|
|
|
Bandhan
|
1969
|
Kalyanji Anandji
|
|
|
|
Do
Raaste
|
1969
|
Laxmikant
Pyarelal
|
|
|
|
Do Raaste
|
1969
|
Laxmikant Pyarelal
|
|
|
|
Do Raaste
|
1969
|
Laxmikant Pyarelal
|
|
|
|
Do
Raaste
|
1969
|
Laxmikant
Pyarelal
|
|
|
|
Khamoshi
|
1969
|
Hemant Kumar
|
|
|
|
Saccha
Jhutha
|
1970
|
Kalyanji
Anandji
|
17
|
|
Saccha
Jhutha
|
1970
|
Kalyanji
Anandji
|
|
|
|
Saccha Jhutha
|
1970
|
Kalyanji Anandji
|
|
|
|
Safar
|
1970
|
Kalyanji
Anandji
|
|
|
|
Safar
|
1970
|
Kalyanji Anandji
|
21
|
|
Safar
|
1970
|
Kalyanji
Anandji
|
22
|
|
The
Train
|
1970
|
RD
Burman
|
|
|
|
Aan Milo Sajna
|
1971
|
Laxmikant Pyarelal
|
24
|
|
Aan Milo
Sajna
|
1971
|
Laxmikant
Pyarelal
|
25
|
|
Aan Milo
Sajna
|
1971
|
Laxmikant
Pyarelal
|
|
|
|
Aan Milo
Sajna
|
1971
|
Laxmikant
Pyarelal
|
|
|
|
Anand
|
1971
|
Salil
Chaudhary
|
28
|
|
Anand
|
1971
|
Salil
Chaudhary
|
|
|
|
Anand
|
1971
|
Salil Chaudhary
|
|
|
|
Andaz
|
1971
|
Shankar Jaikishan
|
|
|
|
Chhoti
Bahu
|
1971
|
Kalyanji
Anandji
|
|
|
|
Haathi mere Saathi
|
1971
|
Laxmikant Pyarelal
|
33
|
|
Haathi
mere Saathi
|
1971
|
Laxmikant
Pyarelal
|
34
|
|
Haathi
mere Saathi
|
1971
|
Laxmikant
Pyarelal
|
35
|
|
Haathi
mere Saathi
|
1971
|
Laxmikant
Pyarelal
|
|
|
|
Kati Patang
|
1971
|
RD Burman
|
|
|
|
Kati Patang
|
1971
|
RD Burman
|
|
|
|
Kati
Patang
|
1971
|
RD
Burman
|
|
|
|
Kati Patang
|
1971
|
RD Burman
|
|
|
|
Kati Patang
|
1971
|
RD Burman
|
|
|
|
Kati Patang
|
1971
|
RD Burman
|
|
|
|
Maryada
|
1971
|
Kalyanji Anandji
|
|
|
|
Maryada
|
1971
|
Kalyanji
Anandji
|
|
|
|
Mehboob Ki mehndi
|
1971
|
Laxmikant Pyarelal
|
45
|
|
Mehboob
Ki mehndi
|
1971
|
Laxmikant
Pyarelal
|
46
|
|
Mehboob
Ki mehndi
|
1971
|
Laxmikant
Pyarelal
|
|
|
|
Amar
Prem
|
1972
|
RD
Burman
|
48
|
|
Amar
Prem
|
1972
|
RD
Burman
|
|
|
|
Amar
Prem
|
1972
|
RD
Burman
|
|
|
|
Amar Prem
|
1972
|
RD Burman
|
|
|
|
Apna Desh
|
1972
|
RD Burman
|
|
|
|
Apna Desh
|
1972
|
RD Burman
|
53
|
|
Apna Desh
|
1972
|
RD Burman
|
|
|
|
Bawarchi
|
1972
|
Madan
Mohan
|
|
|
|
Bawarchi
|
1972
|
Madan Mohan
|
|
|
|
Bawarchi
|
1972
|
Madan Mohan
|
|
|
|
Dil
Daulat Duniya
|
1972
|
Shankar
Jaikishan
|
|
|
|
Dil
Daulat Duniya
|
1972
|
Shankar
Jaikishan
|
|
|
|
Dushman
|
1972
|
Laxmikant Pyarelal
|
|
|
|
Dushman
|
1972
|
Laxmikant Pyarelal
|
|
|
|
Joroo
Ka Ghulam
|
1972
|
Kalyanji
Anandji
|
|
|
|
Mere Jeevan Saathi
|
1972
|
RD Burman
|
63
|
|
Mere
Jeevan Saathi
|
1972
|
RD
Burman
|
|
|
|
Mere Jeevan Saathi
|
1972
|
RD Burman
|
|
|
|
Mere Jeevan Saathi
|
1972
|
RD Burman
|
|
|
|
Mere
Jeevan Saathi
|
1972
|
RD
Burman
|
67
|
|
Mere
Jeevan Saathi
|
1972
|
RD
Burman
|
68
|
|
Shehzada
|
1972
|
RD
Burman
|
|
|
|
Shehzada
|
1972
|
RD Burman
|
|
|
|
Shehzada
|
1972
|
RD Burman
|
|
|
|
Anuraag
|
1973
|
SD Burman
|
|
|
|
Daag - A
poem of love
|
1973
|
Laxmikant
Pyarelal
|
|
|
|
Daag - A poem of love
|
1973
|
Laxmikant Pyarelal
|
|
|
|
Daag - A poem of love
|
1973
|
Laxmikant Pyarelal
|
75
|
|
Daag - A
poem of love
|
1973
|
Laxmikant
Pyarelal
|
76
|
|
Namak
Haram
|
1973
|
RD
Burman
|
77
|
|
Namak
Haram
|
1973
|
RD
Burman
|
78
|
|
Namak
Haram
|
1973
|
RD
Burman
|
|
|
|
Raja Rani
|
1973
|
RD Burman
|
|
|
|
Aap Ki Kasam
|
1974
|
RD Burman
|
|
|
|
Aap Ki
Kasam
|
1974
|
RD
Burman
|
82
|
|
Aap Ki Kasam
|
1974
|
RD Burman
|
|
|
|
Aap Ki
Kasam
|
1974
|
RD Burman
|
|
|
|
Aavishkar
|
1974
|
Kanu Roy
|
|
|
|
Ajnabee
|
1974
|
RD
Burman
|
|
|
|
Ajnabee
|
1974
|
RD Burman
|
87
|
|
Ajnabee
|
1974
|
RD
Burman
|
|
|
|
Prem
Nagar
|
1974
|
SD
Burman
|
|
|
|
Prem Nagar
|
1974
|
SD Burman
|
90
|
|
Prem Nagar
|
1974
|
SD Burman
|
|
|
|
Prem Nagar
|
1974
|
SD Burman
|
|
|
|
Prem
Nagar
|
1974
|
SD
Burman
|
|
|
|
Roti
|
1974
|
Laxmikant Pyarelal
|
|
|
|
Roti
|
1974
|
Laxmikant
Pyarelal
|
95
|
|
Roti
|
1974
|
Laxmikant
Pyarelal
|
|
|
|
Prem Kahani
|
1975
|
Laxmikant Pyarelal
|
|
|
|
Prem Kahani
|
1975
|
Laxmikant Pyarelal
|
|
|
|
Maha Chor
|
1976
|
RD Burman
|
99
|
|
Maha Chor
|
1976
|
RD Burman
|
|
|
|
Mehbooba
|
1976
|
RD
Burman
|
|
|
|
Mehbooba
|
1976
|
RD Burman
|
102
|
|
Mehbooba
|
1976
|
RD
Burman
|
|
|
|
Aaashiq Hoon Bahaaron Ka
|
1977
|
Laxmikant Pyarelal
|
|
|
|
Anurodh
|
1977
|
Laxmikant
Pyarelal
|
|
|
|
Anurodh
|
1977
|
Laxmikant Pyarelal
|
|
|
|
Anurodh
|
1977
|
Laxmikant
Pyarelal
|
107
|
|
Anurodh
|
1977
|
Laxmikant
Pyarelal
|
108
|
|
Chhaila Babu
|
1977
|
Laxmikant Pyarelal
|
|
|
|
Karm
|
1977
|
RD
Burman
|
110
|
|
Karm
|
1977
|
RD
Burman
|
111
|
|
Karm
|
1977
|
RD
Burman
|
|
|
|
Palkon
Ki Chhaon Mein
|
1977
|
Laxmikant
Pyarelal
|
113
|
|
Palkon
Ki Chhaon Mein
|
1977
|
Laxmikant
Pyarelal
|
114
|
|
Palkon
Ki Chhaon Mein
|
1977
|
Laxmikant
Pyarelal
|
115
|
|
Bhola Bhala
|
1978
|
RD Burman
|
116
|
|
Janata Havaldar
|
1979
|
Rajesh Roshan
|
117
|
|
Janata Havaldar
|
1979
|
Rajesh Roshan
|
|
|
|
Aanchal
|
1980
|
RD
Burman
|
|
|
|
Bandish
|
1980
|
Laxmikant Pyarelal
|
120
|
|
Bandish
|
1980
|
Laxmikant Pyarelal
|
121
|
|
Bandish
|
1980
|
Laxmikant Pyarelal
|
122
|
|
Bandish
|
1980
|
Laxmikant Pyarelal
|
|
|
|
Thodisi
Bewafaai
|
1980
|
Khayyam
|
|
|
|
Dard
|
1981
|
Khayyam
|
|
|
|
Dard
|
1981
|
Khayyam
|
126
|
|
Fiffty Fiffty
|
1981
|
Laxmikant Pyarelal
|
127
|
|
Kudrat
|
1981
|
RD Burman
|
128
|
|
Kudrat
|
1981
|
RD Burman
|
129
|
|
Ashanti
|
1982
|
RD Burman
|
130
|
|
Dil-e-Naadaan
|
1982
|
Khayyam
|
131
|
|
Dil-e-Naadaan
|
1982
|
Khayyam
|
132
|
|
Rajput
|
1982
|
Laxmikant Pyarelal
|
|
|
|
Agar Tum
Na Hote
|
1983
|
RD
Burman
|
|
|
|
Agar Tum Na Hote
|
1983
|
RD Burman
|
135
|
|
Avtaar
|
1983
|
Laxmikant Pyarelal
|
136
|
|
Avtaar
|
1983
|
Laxmikant Pyarelal
|
|
|
|
Dharam
Kaanta
|
1983
|
Naushad
|
138
|
|
Disco
Dancer
|
1983
|
Bappi
Lahiri
|
|
|
|
Nishaan
|
1983
|
Rajesh
Roshan
|
|
|
|
Nishaan
|
1983
|
Rajesh Roshan
|
141
|
|
Souten
|
1983
|
Usha Khanna
|
142
|
|
Souten
|
1983
|
Usha Khanna
|
143
|
|
Souten
|
1983
|
Usha Khanna
|
144
|
|
Aaj Ka MLA Ram Avtar
|
1984
|
Bappi Lahiri
|
|
|
|
Asha
Jyoti
|
1984
|
Laxmikant
Pyarelal
|
146
|
|
Maqsad
|
1984
|
Bappi Lahiri
|
|
|
|
Maqsad
|
1984
|
Bappi
Lahiri
|
148
|
|
Paapi Pet Ka Sawaal Hai
|
1984
|
Shankar Jaikishan
|
149
|
|
Aakhir Kyon
|
1985
|
Rajesh Roshan
|
|
|
|
Aakhir
kyon
|
1985
|
Rajesh
Roshan
|
|
|
|
Alag
Alag
|
1985
|
RD
Burman
|
152
|
|
Alag
Alag
|
1985
|
RD
Burman
|
|
|
|
Awara Baap
|
1985
|
RD
Burman
|
154
|
|
Babu
|
1985
|
Rajesh Roshan
|
155
|
|
Adhikar
|
1986
|
RD Burman
|
156
|
|
Amrit
|
1986
|
Laxmikant Pyarelal
|
|
|
|
Amrit
|
1986
|
Laxmikant
Pyarelal
|
158
|
|
Amrit
|
1986
|
Laxmikant Pyarelal
|
159
|
|
Nazrana
|
1987
|
Laxmikant Pyarelal
|
