Shailendra

[b]Shailendra[/b]
Birth: 30th August 1923
Birthplace: Rawalpindi, Pakistan
Profession: Poet, Bollywood Film song Lyricists


Born in Rawalpindi on 30th August 1923 as Shankardas Kesrilal Shailendra, Shailendra was the eldest of the four sons of Parvati Devi and Sri Kesrilal. During his childhood days his family moved to Mathura for good but the accidental death of his mother after the shift caused a deep pain for Shailendra, which almost turned him an atheist.

Shailendra started his career with the orthodox method of joining the government organization and lead his secure life. His job in Indian Railways brought him to the city of Bombay in 1947, when the Indian freedom struggle was at its best. The stereotype and technical aspect of his job was totally out of line with is artistic nature. He spent more of his duty hours writing poetry than toiling in the workshop. His Incharge always used to complain about his working habits and was the cause of general resentment.

Raj Kapoor discovers Shailendra

Shailendra decided to take part in the Freedom struggle in his own style. He used to write verses and fiery poems, which would ignite the masses. His poem ‘Jalta hai Punjab’ was a highlight and when reading out aloud during a public meeting, Raj Kapoor caught eye of him. Raj Kapoor saw an emerging star for Indian history and expressed his desire to buy the poems Shailendra has written for his new production. Shailendra, the young patriot blood refused to do so. But due to some domestic reasons and responsibilities, Shailendra approached Raj Kapoor and agreed to his terms. His first project was ‘Barsaat’. ‘Barsaat’ is one of the musical hit of the last century.

Shailendra had best of his association with Shankar-Jaikishan, but shared a equally pleasant rappot with musical giants of those days, like Salil Chowdhary (Madhumati), S. N. Tripathi, (Sangeet Samrat Tanseen), S.D. Burman (Guide and Bandini) and Pt. Ravi Shankar (Anuradha).

He won the Filmfare award for Best Lyricist thrice. Out of the three two were won in consecutive years. The first came in 1958 for the song ‘Ye mera deewanapan hai’ from the film Yahudi, and the second in 1959 for the evergreen ‘Sab kuch seekha hamne’ from Anari. In 1968 Shailendra won it again for the third time for ‘Main gaaun tum so jaao’, from 'Brahmachari'.

Shailendra considered his life as his real poetry. He used to derive inspiration from his walks along Juhu beach every morning. He wrote songs for almost all occasions of life, let alone ordinary situations. Those lyrics were vibrantly alive, in the sense they went far beyond the context of the film situation for which they were intended, and lived on long after the film itself had passed from memory. There is a Shailendra song for any emotion, any situation, from birth to death, such was his versatility.

Shailendra's end days

It is quite ironical that for the man who loved life so much, the spectra of death always haunted him. He was obsessed by death. There was no fear involved, but a kind of helplessness drew him towards it. His producing Teesri Kasam caused him several heartaches and it was also the ultimate cause of his death. But what bothered him was not the film's failure at the box-office, but that his investment in friends he trusted and loved went wrong. Shailendra was admitted to the hospital on December 13 1966, but on his way he decided to stop at the famous cottage at the RK Studios to call on Raj Kapoor, where he promised R.K. that he would complete the lyrics for ‘Jeena yahan marna yahan’ for Mera Naam Joker. That was one promise he could never keep, for Shailendra died on the following day, which also happened to be R.K’s birthday. Reading the following lines from 'Anari' can see his obsession for death:

"Ke mar ke bhi kisi ko yaad aaenge
Kisi ke aansuon mein muskuraenge
Kahega phool har kali se baar baar
Jeena isi ka naam hai"

Lyricist Shailendra is most remembered for his outstanding achievements with Raj Kapoor and Shankar Jaikishan in almost all the R.K. films. His death on December 14, 1966 saw one of the leading lights of the film industry extinguished.



Shailendra considered his life as his real poetry. He used to derive inspiration from his walks along Juhu beach every morning. He wrote songs for almost all occasions of life, let alone ordinary situations. Those lyrics were vibrantly alive, in the sense they went far beyond the context of the film situation for which they were intended, and lived on long after the film itself had passed from memory. There is a Shailendra song for any emotion, any situation, from birth to death, such was his versatility.

Shailendra was born in Rawalpindi on 30th August 1923 as Shankardas Kesrilal Shailendra. He was the eldest of the four sons of Parvati Devi and Sri Kesrilal. During his childhood days his family moved to Mathura for good but the accidental death of his mother after the shift caused a deep pain for Shailendra, which almost turned him an atheist. Shailendra started his career with the orthodox method of joining the government organization and lead his secure life. His job in Indian Railways brought him to the city of Bombay in 1947, when the Indian freedom struggle was at its best. The stereotype and technical aspect of his job was totally out of line with is artistic nature. He spent more of his duty hours writing poetry than toiling in the workshop. His Incharge always used to complain about his working habits and was the cause of general resentment.

Raj Kapoor with whom Shailendra gave his best, heard him in a 'Kavi Sammelan' when he was reciting one of his poem. Raj Kapoor saw an emerging star for Indian history and expressed his desire to buy his poems. Shailendra, the young patriot blood refused to do so. But due to some domestic reasons and responsibilities, Shailendra approached Raj Kapoor and agreed to his terms. His first project was 'Barsaat'. Shailendra wrote his first song 'Barsat Mein Tum Se Mile Hum Sajan..' for Raj Kapoor. Eventually, Barsat was also the first film for the emerging music director duo Shankar-Jaikishan. The film proved very successful and after the success of Barsaat Raj Kapoor, Shankar-Jaikishan and Shailendra always worked together.

No doubt, Shailendra gave his best with Shankar-Jaikishan, but he shared equally pleasant rapport with musical giants of those days, like Salil Chowdhary, S. N. Tripathi and S.D. Burman. He was an active member of Progressive Writers' association and one of the founder members of Indian Peoples' Theatre (IPTA). Shailendra won the Filmfare Award for Best Lyricist thrice. Out of the three two were won in consecutive years. The first came in 1958 for the song 'Ye Mera Deewanapan Hai..' from the film Yahudi, and the second in 1959 for 'Sab Kuch Seekha Ham Ne..' from Anari. In 1968 Shailendra won it again for the third time for 'Main Gaaoon Tum So Jao..', from the film Brahmachari.

It is quite ironical that for the man who loved life so much, the spectra of death always haunted him. He was obsessed by death. There was no fear involved, but a kind of helplessness drew him towards it. His producing Teesri Kasam caused him several heart aches and it was also the ultimate cause of his death. Shailendra was admitted to the hospital on December 13, 1966. Shailendra died on the following day, which also happened to be Raj Kapoor's birthday. Lyricist Shailendra is most remembered for his outstanding achievements with Raj Kapoor and Shankar-Jaikishan in almost all the R.K. films. His death on December 14, 1966 saw one of the leading lights of the film industry extinguished.

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Manna dey

Manna Dey at his best
Dr Mandar V Bichu
Published: April 30, 2006, 00:00


On Friday, the select audience of music lovers and media people at the Cinemasangeet dot com-MMI-organised luncheon were in for a real treat as the legendary singer Manna Dey regaled them with an amazing array of anecdotes, shedding light not only on his own career but also offering a rare personalised glimpse into the historic golden era of Hindi film music.

The octogenarian (who performed in a Signature Events concert later that evening) was in top form as he remembered every minute detail, mimicked personalities at will and even broke into songs in mid-sentence!

Hates interviews

To get Manna Day to talk in this intimate fashion takes some doing for the man simply abhors interviews and interviewers.

"I simply detest people who ask questions without knowing anything about the subject" - is his frank explanation.

I still remember how he had tried to wriggle out of an interview 12 years ago giving me 10 different excuses before agreeing for a short chat.

But then that chat had extended into a three hour-session at the end of which I had even managed to make him sing one-on-one!

While making him agree to do this live public interview session, I reminded him of that encounter, which brought a mischievous smile to his face.

The moment I saw it, I was sure the great man was ready for the challenge!

The history behind Manna

He started off with a tale about his unusual name Manna and said, "Prabodhchandra was the real name given to me by my father Purnachandra Dey but I never liked it.

My uncle and Guru - K.C. Dey, (the great blind singer of Bengal) always used to call me by the nickname - Manna. Somehow I liked that name and changed it officially when I reached college!"

Recounting his early memories of film-industry, Manna Da said, "Composer Shankar Rao Vyas gave me my first film-song in the 1943-film Ramrajya. Actually the producer wanted my uncle to sing that song but he refused and instead suggested my name. In the film, the song was picturised on an old sage Valmiki. In fact, as a twenty-something young guy I mostly ended up singing for white haired old men!"

First real break

"In the 1940s, the playback singers were not given credits on records and that's why many of my earlier songs never received any attention. In those days, I worked as an assistant to music directors like S.D.Burman and Khemchand Prakash and even composed music for many mythological films at the ripe old age of 25. So embarrassed was I to be associated with that music that I used to flatly deny any role in composing such serious, pious songs! Finally in 1950-film Mashal, I got my real break as playback singer when my song Upar Gagan Vishal became a hit. "

A tough fight

Manna Da candidly accepted the fact that he had to always fight for second place as the top spot in those days was reserved for the great Mohammed Rafi.

Without rancour, he remembered how the producers openly pressurised composers to choose other singers over him.

Thus in Basant Bahar, (where he sang superb songs like Sur Na Saje and Bhay Bhanjana), the hero Bharat Bhushan's brother Shashi Bhushan wanted Rafi and in Chori Chori (where he rendered classics like Yeh Raat Bheegi Bheegi and Aaja Sanam) producer A.V. Mayyappan wanted Mukesh as their main singers.

Dey said he remains indebted to composers Shankar- Jaikishan for recognising his talent.

No regrets

He said he didn't rue the missed opportunity of becoming superstar Raj Kapoor's regular playback singer.

According to him, Mukesh shared a great personal friendship with Kapoor and the undercurrent of pathos in that singer's voice suited RK's screen image better.

Remembering Raj Kapoor's great sense of music, Manna Da recounted how the thespian first made the singer sing the Malhar raga and then made composers Shankar- Jaikishan compose a brilliant comedy - classical number Lapak Jhapak for Boot Polish.

Such was Kapoor's musical passion that he even joined Manna Da in the song, lending some comic vocal gimmickry.

The bond with Mehmood

Manna Da fondly remembered his musical bond with comedian Mehmood. He recalled how Pancham (R.D.Burman) had first used his (Manna Da's) voice for Mehmood in the Pati Patni comic number Allah Jaane Main Hoon Kaun, which later became a popular trend.

He also recounted how the comedian used to coax and cajole him to add more masala (spice) to his songs.

Concluding the session, when he lightheartedly described how he absolutely hated finally getting the Filmfare award for an 'ordinary' song like Aye Bhai Zara Dekhke Chalo instead of earlier, better deserving numbers like Nirbal Se Ladai Balwan Ki, Kaun Aaya Mere Man Ke Dware, Poochho Na Kaise and Kasme Vaade Pyar Wafa, the smilingly made observation was subtly tinged with a lingering regret of a great singer who never really got his due!

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100 Greatest Bollywood Soundtracks Ever

Hi all members, here's avery interesting article from Planet Bollywood you might like to read, here is the link:
http://www.planetbollywood.com/displayArti...id=060306044135

I'm writing here only those parts related to Raj Kapoor Saab listing aal his music album in the top 100...


92. Anari (1959)

Winner of Filmfare Award for Best Music in 1959, Anari was a memorable soundtrack for any Raj Kapoor or Shankar-Jaikishen fans. Dil Ki Nazar Se is one prime example as it has superb singing from Lata Mangeshkar and Mukesh. Kisi Ki Muskurahaton Pe is a memorable track as its your typical perfect Raj Kapoor song. The only song that will appeal to certain audience is Nineteen Fifty Six. Hit songs, is what you can describe the rest of Anari soundtrack. Sub Kuchh Seekha, Tera Jana, Ban Ke Panchhi and Woh Chand Khila were all Hit tracks back in 1959. Well, Shankar-Jaikishen – Raj Kapoor has never disappoint, as all their albums have amazing music, and its not surprising that Shankar-Jaikishen got an award for this album. Anari is a great album nonetheless.

88. Jis Desh Mein Ganga Behti Hai (1960)
Music: Shankar-Jaikishen; Lyrics: Shailendra

Raj Kapoor is one director who always has a good music score in his film, so Jis Desh Mein Ganga Behti Hai comes to no surprise. The score for this classic film is simply mesmerizing to say the least. And always, Shankar-Jaikishen always gives Raj Kapoor movies memorable songs. The album starts on a promising with Aa Ab Laut Chalen, while Begani Shaadi Mein is typical fun, love song. One of my personal favorite is Hum Bhi Hain, which has the musical composition stands out in this song. Another hit song was the title track, Jis Desh Mein Ganga Behti Hai, which is the music composition, is soft, but enjoyable. Mera Naam Raju is another great track, while myy personal favorite is O Basanti, which is an excellent track from Lata Mangeshkar, which will appeal to everyone. The last two songs O Maine Pyar Kiya and Kyua Hua are absolute gems in their own right. The Shankar-Jaikishen – Raj Kapoor duo are simply unstoppable in terms of great music, so Jis Desh Mein Ganga Behti Hai comes to no surprise.

85. Prem Rog (1982)
Music: Laxmikant-Pyarelal; Lyrics: Santosh Anand, Pt. Narendra Sharma, Amir Qazalbash

Raj Kapoor is always one director who tends to have great music in his movies. Prem Rog is definitely no exception, since it was the highest selling album of 1982. However, the songs in Prem Rog are simply amazing, that you can hit the repeat button several times. The best example of that is undeniably the best song in Prem Rog, which is Mohabbat Hai Kya Cheez. Truly, does anybody know the definite answer of ‘What is Love?’ Well, nonetheless the song is simply super-hit quality, and if I’m not mistaken, it was this song that won the best lyrics award. The next super-hit song is Meri Kismat Mein Tu Nahin, as lyrics and musical compositions are truly a highlight in this song. Another super-hit song is Yeh Galiyan Yeh Chaubara. Listen to it, and you are instantly hooked. Excellent singing from Lata Mangeshkar. If Lata Mangeshkar can have a solo song that is super-hit quality, then Suresh Wadkar should one, and he does with Main Hoon Prem Rogi. Another great song is Yeh Pyar Tha, which it’s the musical composition, and Suresh Wadkar ending verse that stands out. The only average song is Bhanvre Na Khilara Phool. There’s no deny that Lata Mangeshkar and Suresh Wadkar are in excellent form in the song. Since it’s a Raj Kapoor film, the soundtrack will always have good quality. So please, get Prem Rog and enjoy it.

48. Mera Naam Joker (1970) Music: Shankar-Jaikishen Lyrics: Shailendra, Hasrat Jaipuri, Neeraj, Prem Dhavan, Shaily Shilendra

Although the film was a major flop at the box-office (I still don’t understand why because it was a great film), however the only thing that was a major success was its astonishing music from Shankar-Jaikishen. Like all RK Films, music was one of its assets, and it won the Best Music award in 1971. Mukesh had two classic songs, Jaane Kahan Gaye Woh Din and Jeena Yahan Marna Yahan, are not only the best songs in the film, but some may consider it to be Mukesh two greatest songs ever. Manna Dey sings one of his best songs ever in Ay Bhai Zara Dekh Ke Chalo, which earned Manna Dey an award. The other Hit tracks were Ang Lagja Balma, Daag Na Lag Jaye, Kaate Na Kate Rehna, Kehta Hai Joker Sara Zamana, Teetar Ke Do Aage Teetar, and Sadke Heer Tujhpe, Mera Naam Joker album was simply fantastic. Once again, RK Films scores with Mera Naam Joker.

40. Ram Teri Ganga Maili (1985) Music: Ravindra Jain Lyrics: Ravindra Jain, Amar Kazalbash, Hasrat Jaipuri

Ravindra Jain was best known for the music of Ramanand Sagar’s TV Epic Ramayana, however, with Ram Teri Ganga Maili, he came up with his biggest and most popular album till date. Although he did other RK Films and other films, he never produced great album than this one, and Ram Teri Ganga Maili became the third best-selling album in the 80s. All of the songs from Sun Sahiba Sun, Yaara O Yaara, Husn Hai Paharon Ka, Ek Dukhiyari Kahe, Ek Radha Ek Meera, Main Hi Main Hoon, and Tujhe Bhulaye, every song was very rich in its lyrics and each song had wonderful musical composition. Like Yashraj films, RK Films always have great music in their films, and Raam Teri Ganga Maili is ranked right at the top.

19) Chori Chori (1956)
Music: Shankar-Jaikishan
Lyrics: Shailendra & Hasrat Jaipuri

One can honestly say that Shankar-Jaikishan ruled the 50s when it came down to quality albums. Chori Chori is another feather in their cap as almost every song is first-rate. Although Chori Chori remains the last film of Raj Kapoor and Nargis together as a pair, it was its music of Chori Chori that makes Chori Chori popular. Aaja Sanam Madhur, Rasik Balma, Man Bhaanwan Ke Ghar, Jahan Main Jaati, Yeh Raat Bheegi Bheegi, Panchhi Banu Udti, Sawa Lakh Ki Lottery, Is Paar Saajan are what makes Chori Chori a superior album. Another huge achievement from the Shankar-Jaikishan duo.

17) Bobby (1973)
Music: Laxmikant-Pyarelal
Lyrics: Anand Bakshi, Indrajit Singh Tulsi & Vithalbhai Patel

No one would’ve expected both the music soundtrack and movie to be huge Hits. Yes, it was an RK Film, and Raj Kapoor was directing it, but it starred Rishi Kapoor who was making his full role debut in a film after Mera Naam Joker, and you also had Dimple Kapadia making her debut. So one can say that Raj Kapoor was taking a risk by casting two new stars. However, Laxmikant-Pyarelal came up with a memorable score which had tremendous appeal to the youth, which is why Bobby is the number one selling soundtrack in the 70s. Main Shayar To Nahin, Hum Tum Ek Kamre, Beshak Mandir Masjid, Mujhe Kuch Kehna Hai, Jhooth Bole Kauwa Kate, Ankhiyon Ke Rehne Do, Ae Phasa became a craze at that time. With Bobby album, Narenda Chanchal and Shailendra Singh became a household name, and Bobby had some evergreen tunes, which is still popular after 35 years of its release.

15) Shree 420 (1955)
Music: Shankar-Jaikishan
Lyrics: Shailendra & Hasrat Jaipuri

Come on, it’s an RK Film, especially if Raj Kapoor is going to direct it, you know the music will be nothing but outstanding. Shree 420 proves this theory right. Another reason why Shree 420 album is a classic is because of its simplicity at that time. Each song was a winner in its own right. Mera Jhoota Hai Japani, Ichak Dana Bichak Dana, Ramaiya Vastaviya, Pyar Hua Ikrar Hua, Dil Ka Haal Sune Dilwala, Mud Mud Ke Na Dekh, O Janewale, and Sham Gai Raat Hai remains as gems till this day. Although there were many memorable albums before Shree 420, however, it was this album that created a mark in the overseas, especially in Russia where some of the songs from Shree 420 are still popular in Russia. Albums like this will never die down, it will continue to live.

8) Sangam (1964)
Music: Shankar-Jaikishan
Lyrics: Shailendra & Hasrat Jaipuri

Another winning soundtrack in the RK camp. Raj Kapoor’s Sangam was not only one of the biggest Hits ever in Indian cinema, but it was the #1 selling soundtrack in the 60s. It was winning score from the first song to the last song. Each song is unique in its own way, and the result of each song is appealing and easy to the ears. From the wonderful Bol Radha Bol, to the romantic Yeh Mera Prem Patra, to the haunting Dost Dost Na Raha, to the beautiful O Mehbooba, to the superb Har Dil Jo Pyar Karega, to the amusing Main Ka Karoon, and the splendid O Mere Sanam, the beauty of Sangam album was its simplicity and the album had a soul, which lacks in today’s soundtrack. It’s sad that the recent RK Films (PremGranth and Aa Ab Laut Chalen) had average scores, because back in the old days when RK Films were releasing, you can bet your money that an RK film will have great soundtrack. Sangam is amongst the top soundtrack in the RK banner and one of the best ever in Bollywood history.

3) Awaara (1951)
Music: Shankar-Jaikishan
Lyrics: Hasrat Jaipuri & Shailendra

What’s one thing you remember from any RK Films? It’s likely the wonderful musical score that is associated with it. Almost every RK Films has perfect score, and Awaara is an perfect example of that. To be honest, Awaara is the best musical album in the 50s decade, also it was the top selling album of the 50s. Every song from Awaara is an evergreen. I would consider Ghar Aaya Mera Pardesi to be one of Lata Mangeshkar best song till date, probably in the top 10 list. An instant rewind candidate. Other gems in this album are Dum Bhar Jo Udhar, Awaara Hoon, Hum Tujhse Mohabbat Karke, Jab Se Balam, Ghar Aaye, Ek Bewafa Se Pyar Kiya, Aa Jaao Tadapte Hain Aarman, Ek Do Teen, Tera Bina, and Haiyya Ho Naiyya. We need more scores like Awaara in today’s time, as Awaara remains a classic after 56 years of this release.

1) Barsaat (1949)
Music: Shankar-Jaikishan

Lyrics: Hasrat Jaipuri, Shailendra, Ramesh Shastri & Jalal Mahilabadi To be honest, this comes to no surprise that the best soundtrack in Bollywood history is the 1949 classic Barsaat. When Barsaat album was released in 1949, it became the highest selling album at that time, plus it was the biggest seller of the 40s decade. Another reason why this album is memorable is that it was Barsaat that gave Hindi cinema greatest singer ever Lata Mangeshkar the launching pad. This is Shankar-Jaikishan first album and upto this day, everyone can still associate with Barsaat. Every song from Barsaat is a classic in its own right. Barsaat utilizes Lata Mangeshkar vocals very well as most of the songs are solo rendition for her. From the memorable Hawa Mein Udta Jaye, to the melodious Jiya Beqarar Hai, to the poignant Barsaat Mein Hum Se Mile, to the irresistible Mujhse Kisise Pyaar Ho Gaya, to the emotional Bichide Huye Pardesi, to the touching Ab Mera Kaun Sahara, and the beautiful Meri Aankhon Mein Bas Gaye. All of Lata Mangeshkar solo track is a perfect ten in my books. The other gems in Barsaat were Mohammed Rafi solo track Mein Zindagi Main Hardam, and the other two tracks were duets that had Mukesh and Lata Mangeshkar providing the vocals, and they were Patli Kumar Hai and Chhod Gaye Balam. Barsaat album changed the face of Bollywood as it launched the greatest singer to ever grace Bollywood, Lata Mangeshkar. It launched one of the famous musicians, Shankar-Jaikishan. Plus, Barsaat gave us some precious songs that will be remembered in the years to come. No wonder Barsaat is the greatest album of all-timegood

Hats off to you Raj Kapoor, nobody came even near your musical talent

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Life imitates art

Jis Desh Mein Ganga Behti Hai, when it was released in 1961, proved Raj Kapoor’s grip on the public imagination to be strong as ever. Surendra Miglani pays a tribute to the great showman on his death anniversary, which falls on June 2



When some ferocious dacoits surrendered to the police on the prompting of Loknayak Jai Prakash Narain sometime in the late 1970s, film critics and cine-goers were amazed to see how life was imitating art. Great showman Raj Kapoor had suggested this solution to tackle the menace of dacoits in Jis Desh Mein Ganga Behti Hai. Ironically, when the movie was released—in 1961— several critics had described the idea as "ridiculous".

A lot of people, the film tried to convey, were forced to remain dacoits as fear of harsh punishment constantly haunted them. The children of the dacoits, too, did not have any choice but to adopt this profession, as they feared that the society would not let them live with dignity. If the government assured the dacoits that they would be treated leniently, there was a chance to lessen the burden of the dacoits from society to a great extent, the film emphasised.

As if the idea of Raj Kapoor making a film on dacoits was not sufficient to make the observers ridicule it, Raj engaged Arjun Dev Rashk to write the story of the movie. The latter was known to be a writer of urbane and highly sophisticated themes.

Even Shanker (of Shanker-Jaikishan team) refused to do the film, saying a movie on the theme of dacoits had no scope for music. However, Raj, as always, had faith in himself. To convince Shanker, he hit upon an idea. It was a tradition in Raj’s camp to prepare a tune and then write a lyric for it. However, in this case, Raj asked Shailendra to first write the opening lines of the theme song of the movie. Then he invited Shanker and spoke the lines penned by Shailendra, "Hoton pe sachai rehti hai, jahaan dil mein safai rehti hai; hum us desh ke waasi hain, jis desh mein ganga behti hai". He asked the ace composer if he still believed that such poetic words, evoking the flow of the Ganga, did not offer any scope for music.

The two lines were enough to motivate Shanker to sign on the dotted line instantly. Come to think of it, the movie came to be a milestone in the annals of Hindi film music. A record number of five songs—Ho maine pyar kiya.., Mera naam Raju..., Hoton pe sachai rehti hai... Begani shadi mein Abdullah diwana... and O basanti pawan paagal—were played in the annual programme of Binaca Geetmala of Radio Ceylon in 1961 which was considered to be a barometer of the popularity of songs for 41 years.

The song Ho maine pyar kiya`85picturised on Padmini bathing under a waterfall had a mesmerising effect on viewers. The number also faced problems with the Censor Board when it objected to the line Dheere dheere aakhir band kali muskayee, saying it carried a vulgar meaning. Hasrat Jaipuri, who had penned the song, revealed in a TV interview that he was forced to change the words to Dheere dheere aakhir man ki kali muskayee.

Noted music director Anu Malik considers Raj Kapoor as a genius in the field of music. He says he has never been able to understand how he and his team must have produced the unique chorus sound appearing to come from quite a distance in the song Aa ab launt chalen in Jis Desh Mein`85

The movie took the country by storm. At a special premiere of the film at Calcutta, Raj Kapoor came to address the audience during the interval. When he introduced himself as Mera naam..., the whole house interrupted him, yelling Raju, the name of the character played by him in the movie. Padmini said she did not know Bengali, so she would not be able to speak there. However, the fans yelled, "No speech, just say Oi Oi". The expression, thanks to her unique style of uttering it, made her a darling of cine-goers.

Another "style" which cinegoers remember to date was of Pran who essayed the role of ferocious dacoit Raaka who constanly rubbed his fingers round his neck. Pran says the mannerism was meant to convey the fear of noose, which always exists in the mind of every dacoit. Incidentally, the wig and the moustache of the dacoit were "copy" of a real life dacoit who was killed in an encounter those days.

The movie, incidentally, won four Filmfare awards—for Best Film, Best Actor (Raj Kapoor), Best Art Director (M.R. Acharekar) and Best Editor (G.G. Mayekar).