We got on well and I liked the kind of people they were.
I felt close to Nargisji and Meena Kumariji. Did you share a close personal relationship with any actress? NMK: You have sung for three generations of the same family: Shobhana Samarth, her daughters, Nutan and Tanuja, and then Tanuja's daughter, Kajol. Another talented actress is Karishma Kapoor. Of today's generation, I like Kajol, and Rani, especially in Sanjay Leela Bhansali's 'Black'. There is a difficult song in 'Lekin', 'Suniyoji araj hamari', and Dimple's lip movement is flawless. I thought she mimed the song 'Baahon mein chale aao' in 'Anamika' so well. I liked Jaya Bachchan's performance in 'Guddi' very much. It gives me a great sense of satisfaction to see the variations and expressions I have tried to give the song work on the screen. LM: The names that come to mind now are Waheedaji, Nimmiji, Nanda, Sadhana, Sharmila Tagore, Sairaji, Mala Sinha and Hema Malini. NMK: At some event, Shah Rukh Khan said his one regret was you could never sing for him! What about the generation after Meena Kumari? It takes us into the world of India's most gifted singer and reveals the person behind the voice that has provided the soundtrack for the lives of billions.
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in her own voice' (Niyogi Books) is a collection of fascinating conversations between Lata Mangeshkar and Nasreen Munni Kabir, an India-born TV producer, director and author based in the UK. She died due to multiple organ failures on Sunday.Nightingale of Bollywood Lata Mangeshkar passed away in Mumbai.Which is your favourite Dilip Kumar track? Let us know in the comments below. Other classic hits of Dilip Kumar include Imli Ka Buta, Mujhe Duniya Walo Sharabi Na Samjho, Saala Main To Saab Bangaya, Madhuban Mein Radhika Naache Re and Dil Diya Hai Jaan Bhi Denge among others. Jab Pyaar Kiya Toh Darna Kya and Teri Mehfil Me are priceless songs you must listen to if you're exploring Dilip Kumar's filmography. The trio's terrific chemistry, the choreography and Dilip Kumar's experessions - there's plenty to celebrate in this song.Ĭonsidered to be one of the most epic love tales witnessed on the silver screen in Bollywood, Mughl-e-Azam features two songs in which Madhubala and Dilip Kumar's under the surface eye contact and expressions speaks volumes.
The song's music was given by Naushad, sung by Mohammed Rafi and Dilip Kumar in front of the camera. This 1961 film saw Dilip Kumar in an upbeat track titled Nain Lad Jayeein Hain. Featuring Dilip Kumar and Vyjayanthimala, Ude Jab Jab Zulfwein Teri sung by Mohammed Rafi and Asha Bhosle, will take you back in time and put a smile on your face. While one classic, patriotic and energetic song is Yeh Desh Hai Veer Jawanao Ka, the other one is an evergreen tune. In the hit 1957 film Naya Daur, Dilip Kumar featured in two immensely popular songs that are played, remembered and celebrated to this day. The song in this romance drama was Sajjad Hussain’s composition and sung by Talat Mehmood. In 1952's romance drama, Dilip Kumar perfectly lip synced, in his own style, the lyrics to Yeh Hawa Yeh Raat Yeh Chandni while Madhubala played the sitar. From the 50s, 60s and 70s, Dilip Kumar enthralled us with his expressions and songs. We decided to go back in time and take a look at some of his all-time classics that will make you a fan even today. From spectacular scenes to impeccable songs and films, the 98-yera-old veteran actor has given us several reasons to cherish. In his passing away, Dilip Kumar has left behind an unmatched body of work.
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He will be buried with full state honours on Wednesday in Mumbai's suburbs. Several photos and videos of Dilip Kumar's mortal remains leaving the hospital and being brought to is residence have surfaced on social media. The demise of Dilip Kumar has definitely left the Bollywood industry in grief as actors and actresses mourned his loss on social media. Dilip Kumar's demise has left Indian cinema a tad poorer as millions of Indians flooded social media to pay their tribute to the legendary actor who passed away on Wednesday, 7 July in Mumbai.
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