Music composer Ravi Sharma dies at 86

Suanshu Khurana : New Delhi, Thu Mar 08 2012, 01:01 hrs

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When Mohammad Rafi crooned Chaudhvin ka chand ho, the nation was hooked. Not just to the innocent eyes of Waheeda Rehman, whose beauty the song celebrated, but to the genius of the man who composed the track. It is well-known that the music of this film saved Guru Dutt’s studio, which was down in the dumps after the disastrous collections of Kaagaz Ke Phool.

Music composer Ravi Sharma, popularly known as Bombay Ravi, the man who composed this song along with many such sublime tracks with no frills, passed away on Wednesday in a Mumbai hospital. He was admitted in a critical condition after two heart attacks.

Sharma was 86 and is survived by son Ajay and daughter-In-law Varsha Usgaonkar, a Marathi actress.

A self-taught musician, his tracks in films like Humraaz, Waqt, Do Badan and Nikaah are vividly remembered. Sharma worked as music composer Hemant Kumar’s assistant for a long time. With hardly any recognition for his simple and melodious songs, Sharma tried his hand at some Malayali films and was highly successful.

As sweet-natured as tunes, he will be remembered as an extremely talented composer of the era.

4. Waheeda Rehman

I have only seen her one film she did when she was young so far, but that one was enough. This woman is an amazing actress with very sensitive approach and very sensitive beauty. She look gentle and fragile, and even when the emotions like frustration and anger overcome her, she doesn´t loose that beautiful gentleness.

Gentle, yes, I think that is the word that defines this lady. What more, she kept her beauty till this age. Who cares if her dark tresses turned white and there are wrinkles on her face?

Just look at her smile and eyes, her dignity and posture.

Waheeda Rehman is a proof that beauty is not age-limited.

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10 most beautiful women of Bollywood ever!

Waheeda Rehman - Top ten Bollywood movies of famous Indian actress

by MairaS on January 5, 2011

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Waheeda Rehman, one of the greatest actresses of Bollywood, was considered a Hyderabadi due to her command of Urdu and  expressive acting but was born in a Muslim family in Chengalpattu, India. Before joining the Indian film industry, Waheeda Rehman was a dancer.  Waheeda first appeared in the Guru Dutt movie “CID”. Its success led her to another blockbuster “Pyassa”. That was the time when this graceful lady became the star of the industry and she gave it hits after hits.

Bollywood actress Wahida Rehman was sublime in her trial roles where characters became lively due to her strong performances. Waheeda Rehman did it all with elegance, whether it was joining, succeeding and quitting the industry with her standing and charisma as a reliable star. She was a wonderful dancer and a terrific actress who proved her brilliance in a whole continuum of both plain and burly role.

The top 10 best movies of famous Bollywood actress Waheeda Rehman are as follows:

• # 10 … Sahib bibi or Gulam
• # 9 … Chaudvi ka Chand
• # 8 …Solwa Saal
• # 7 … Pyassa
• # 6 … CID
• # 5 … Guide
• # 4 …Neel Kamal
• # 3 …Admi
• # 2 … Ram Aur Syham
• # 1 …Pather ke sanum

Above all are the Waheeda Rehman super hits in which she showed brilliant performances and put a soul in the story by her immortal characters. She never compromised on her characters and always used to choose the challenging ones.

Waheeda Rehman’s period of success in Bollywood was too short since many of her films had  flopped, which brought down her popularity.  Even the song “Pan Khaye Sayian Hamaroo” could not bring her back to the luminous life of Bollywood.

Demerara Guy You like them Tamil girls?

Ten of my favourite Waheeda Rehman songs

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What made Bees Saal Baad such a good watch was its music, its fairly good suspense – and its lovely heroine.

Waheeda Rehman had it all: an immense amount of talent, a rare beauty, a grace and dignity that few possess – and she was a superb dancer. What’s more, as I discovered in a TV interview a couple of years back, she’s also very modest. “When I was a girl, my siblings would call me the ‘ugly duckling’”, she said. A flash of that trademark smile, and she added, “The camera was very kind to me.” As fellow blogger Sabrina Mathew remarked when I recounted that on her post, “I want that camera!”

So here’s to Waheeda Rehman. Beautiful, charming, ever-graceful – and the star who featured in some wonderful songs. I faced a problem choosing these; some of her best-known songs are not songs her character sings onscreen. Instead, they’re (not surprisingly!) songs sung in praise of her (Chaudhvin ka chaand ho; Yeh nayan dare-dare; Yehi toh hain woh, etc). Or they’re songs picturised on her but with the song sung in the background (the poignant Waqt ne kiya kya haseen sitam, which is her own favourite song, is an example).

In this post, however, I wanted to showcase Waheeda Rehman’s skill in depicting different characters, different moods, even different dancing styles, perhaps – so I settled on these rules. These are all songs that the character Waheeda Rehman portrays onscreen sings – and they are not duets.  And no two songs are from the same film.

Here’s the list, all from 50s and 60s’ films (the only exception is Prem Pujari, from 1970) that I’ve seen, and in no particular order.

1. Kahin pe nigaahein kahin pe nishaana (CID, 1956): Waheeda Rehman’s first Hindi film – in which she acted a vamp of sorts. She was slightly gauche in CID, but this song is hers all the way. Bir Sakhuja is the villain, the man she tries to distract with her singing and dancing so that Dev Anand, the cop whom she sympathises with (loves?) can get away. There’s no denying the seduction in her eyes, the grace of her movements – and the momentary flicker of doubt as she wonders whether her friend has been able to escape.

A harbinger of great acting and equally great dancing in the coming years.

2. Piya tose naina laage re (Guide, 1965): Here’s another example of how great that dancing was. Although Guide – one of Waheeda Rehman’s most popular films opposite Dev Anand – had fantastic music (including another great Waheeda dance, Mose chhal kiye jaaye), as far as I’m concerned, there’s no beating Piya tose naina laage re. Firstly, it’s a beautiful song – lovely music, great lyrics – and at over 8 minutes, it’s long enough to satisfy most Waheeda fans! Secondly, you get to see Waheeda in different dances, different costumes: at Diwali and Holi; at sunrise and at moonrise, serenading her beloved. And yes, this is probably one of the finest displays there is of her fabulous dancing.

3. Paan khaaye saiyaan hamaro (Teesri Kasam, 1967): Still hungry for Waheeda Rehman’s dancing? Here’s yet another song that has her on stage. While Piya tose naina laage re is (to some extent) classical, this one is typically nautanki. Spirited, replete with all the right jhatkas and matkas, mischievous yet come-hither all at the same time. And from a character seemingly obviously used to (and catering to) the lascivious stares of the leering all-male audience.

Very entertaining, but in a way quite different from the bulk of Waheeda Rehman’s dances onscreen.

4. Badle-badle mere sarkar (Chaudhvin ka Chaand, 1961): A change of style, pace, mood – everything. Here Waheeda plays the young bride, crushed and confused by the sudden change in her husband – from a devoted lover (who called her a Chaudhvin ka chaand), to one who spurns her. There is pain in the lyrics and in Lata’s voice, but it is the pain Waheeda Rehman manages to bring into her face that moves me. Especially in that first frame, where her eyes, brimming with despair, seem to fill the screen. Beautiful, and so immeasurably sad.

5. Bhanwra bada naadaan hai (Sahib Bibi aur Ghulam, 1962): If Waheeda danced her way through songs like Piya tose naina laage and Paan khaaye saiyaan, here she’s relatively immobile – but her face is not. Pretending to be penning a poem, while well aware that the subject of her poetry is watching, fascinated one moment, outraged (or pretending to be!) the next, she is superb. Teasing, part-flirtatious, part-mischievous, all perfection. No wonder the simple-hearted rustic Bhootnath (Guru Dutt) can’t take his eyes off her!

6. Na tum humein jaano (Baat ek Raat ki, 1962): Although the better known version of this song is the Hemant one, with Dev Anand’s character singing the bulk of the song, and Waheeda Rehman’s insane/amnesiac/criminal (?) character joining in at the very end, I love this one too. This is shown in flashback, with the heroine remembering the days when she had fallen in love with her co-star. Look at the shyness and the softness in Waheeda’s dreamy smile as she awaits the man she loves: beautiful.

7. Sach hue sapne tere (Kala Bazaar, 1960): While a dejected Dev Anand sits on a deserted seashore and looks out through despairing eyes… the girl he loves dances about, singing of the happiness flooding her heart. Waheeda Rehman is joy personified in this song: in that sunny smile, the laughing eyes, the way she goes prancing through the surf, the way she splashes her hands in a pool of water: infectious happiness all the way. No wonder, then, that by the end of the song, Dev Anand’s sadness has been replaced by a grin.

8. Rangeela re tere rang mein (Prem Pujari, 1970): Waheeda Rehman and Dev Anand made a fantastic onscreen pair, right from their first film together, CID, to this one in 1970.  Rangeela re is yet another showcase of Waheeda’s superb dancing – and it shows what a great actress she is, too. While she dances with a gay, drunken abandon, you can see the pain in her eyes. To the shocked Achla Sachdev or the contemptuous Zahida, this is just another woman who’s lost control; to us in the know, it’s not a case of in vino veritas: there is real anguish here. And nobody who was actually drunk could dance so well!

9. Bujha diye hain khud apne haathon (Shagoon, 1964): This is one of the quintessential ‘sad songs’ in my lexicon – Sahir’s words are heart-breaking, Khayyam’s music is superb, Suman Kalyanpur sings it with a great depth of feeling. And Waheeda Rehman brings the character’s sorrow and helplessness brilliantly to life. While Shagoon is not a film I’d rewatch – too depressing – and its heroine behaves in an utterly idiotic, martyrish fashion through much of the film, this is one song in which I can’t help but find myself feeling her misery at the self-sacrifice she’s had to make.

10. Jaane kya tune kahi (Pyaasa, 1957): And, to end this list: a classic. While S D Burman’s music and Geeta Dutt’s singing are top notch, it is Waheeda Rehman whom I can’t help being mesmerised by. She’s amazing – looking closely at her expressions while this song plays, I couldn’t tell exactly what I was seeing. Girlish innocence? A prostitute enticing a customer (and knowing, triumphantly, as she sings “Zulf shaane pe mudi”, that she has succeeded)? Sometimes I’m sure she actually loves this young man whom she’s met, that it’s not mere flirtation… but there are so many moods to this song. While an audio version of Jaane kya tune kahi may just be another love song, the picturisation of it – Waheeda – make it what it is.

Asha Bhosle keeps grandsons away from today's films

Waheeda Rehman

Bollywood Actress Waheeda Rehman receives the Best Actress Award for her performance in Hindi movie 'Guide' from legendary filmmaker Raj Kapoor at the Filmfare award function held in Bombay. - 1966 Filmfare Awards.

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Waheeda Rehman and Asha Parekh on Raveena Tandon’s chat show

Waheeda Rehman, Asha Parekh, Anupam Kher and Kader Khan on Raveena Tandon’s chat show Issi Ka Naam Zindagi

Date: Fri, Apr 20, 2012

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Waheeda Rehman-Asha Parekh-Raveena Tandon

The gorgeous yesteryear’s actresses Waheeda Rehman and Asha Parekh were clicked at Raveena Tandon’s chat show ‘Issi Ka Naam Zindagi’.

Raveena revealed that this was the final episode of her show, and uploaded an image of herself with Waheeda Rehman and Asha Parekh and wrote on Twitter: “Final episode of issi ka naam zindagi..the Divas..incredible evening, elegance, grace and dignity”

She added: “The beautiful mystery of being Waheeda Rehman..a treat for me. Overwhelming.”

Raveena also revealed that she will miss the team members of Issi Ka Naam Zindagi: “Went for the afterparty, the episode got over, we all the crew and team of IKNZ had become a family! sad I won't see them again, maybe season 2.” 

Teesri Kasam (1966): Director: Basu Bhattacharya
Cast: Raj Kapoor, Waheeda Rehman, Iftikhar, Asit Sen
About the Film: The film explores the bond that develops between bullock cart driver Hiraman (Raj Kapoor) and dancer Hirabai (Waheeda Rehman). Teesri Kasam is simple, soulful, and sensible saga based on Phanishwar Nath's short story 'Mare Gaye Gulfam'.

Teesri Kasam is poignant study of cultural clashes of lower-middle class and upper-middle class in early 20th century India. Hiraman grew up in traditional lower-middle class with conservative values and Hirabai grew up in modern upper-middle class with liberal values. One of the most impressive aspects about movie is how its plot unfolds and how it treats two different culture clashes.

The story moves at a leisurely yet captivating pace establishing the characters and rustic ambience. The way Hiraman and Hirabai meets, talks, getting closer to each other, and the manner in which they get apart are real heartbeats of this film.

Even though India's first color film, Raj Kapoor's Sangam (1964) was released two years ago, producer Shailendra and director Basu Bhattacharya wanted this movie in B&W to give it a traditional old-era feel. Raj Kapoor as an innocent, naive, simple-minded bullock cart driver and Waheeda as a sweet-faced, village nautanki dancer features one of the best performances of their respective career and leaves their everlasting stamp on the film.

Shankar Jaikishan's legendary score over Shailendra's lyrics is considered as one of the greatest music compositions in Hindi cinema. Despite its box office failure, Teesri Kasam won the President's Gold Medal as the Best Feature Film of 1966. (Wikipedia)

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Source - Times of India

Waheeda Rehman

Actress Waheeda Rehman remarked when TOI caught up with her on her recent visit to the city

She visited the city after 10 years and was given a warm welcome on Sunday evening. Actress Waheeda Rehman, who was last seen as the lovable dadi in Delhi-6, connects with the current crop of movie buffs as easily as she did with the yesteryears generation. Even at 76, her face glows with grace. "But I am taking a break from films now," she tells TOI.

As Indian cinema completes 100 years, Rehman talks with pride about the industry. Her journey, which began half a century ago, has been inspiring for others in the fraternity. She ruled hearts as Gulabo in Pyaasa, danced to Kahin pe nigaahen kahin pe nishaana in CID and then moved audiences with her character in Rang De Basanti. "I am thrilled to be associated with an industry which celebrates the existence of a century. It makes me proud," she says. She salutes Dadasaheb Phalke for his "outstanding contribution to Indian cinema and for being the pillar behind an industry which is known worldwide now." "Phalke's vision moulded the vision of Indian cinema and made it what it is today," she feels.

Among the recent films, she appreciates Kahaani and The Dirty Picture. Vidya Balan tops her list of favourites which also includes Kareena Kapoor and Anushka Sharma. "Things have changed now. People know us all over the world and the credit goes to the youth brigade of the industry that has taken forth Phalke's legacy well," she adds. "There is so much of new talent in Bollywood today. They are focused, confident and bright," she smiles. "Neither did we go to acting schools nor did we interact with so many people at the initial stages of our careers," she points out. "Audiences today acknowledge small films like Paan Singh Tomar which have a strong script," she observes. Even though Rehman does not understand Marathi, she is all praise for actor Atul Kulkarni's epic performance in Natrang in particular. "Though I do not understand Marathi, I was spellbound by Atul's work," she says.

In the celebrity circuit, the buzz about Sachin Tendulkar and Rekha's nominations to RS doesn't seem to die down. "Sachin is an international star. It is nothing big for him. And as for Rekha, her glamour will sizzle the house for sure!" Rehman grins.

Source: Dailybhaskar.com

Last Updated 21:58(14/05/12

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Waheeda Rehman

New Delhi: Bollywood legendary actor Waheeda Rehman celebrated her 76th birthday on Monday. The National Film Award winner (for Dev Anand’s movie Guide in 1966) also entered Bollywood with Dev Anand’s movie CID.

Born in 1936 in Chengalpattu (Tamil Nadu), Waheeda was a huge fan of Dev Anand and she was thrilled to enter Bollywood with his movie.

Her initial years in the film industry were marked by her works with another legend Gurudutt. His movie Pyaasa not launched her as a wonderful actor. She also worked with Guru Dutt in Kagaz Ke Phool and Sahab Biwi Aur Ghulam. However, the Guru Dutt-Waheeda Rehman honeymoon for viewers lasted just a few years.

Waheeda has been admired as much for her acting as for her simplistic beauty. s

Soon after Guru Dutt’s alcohol addiction and marriage, Waheeda drifted away from him. Her next phase in movies was marked by a series of successful flicks like Prem Pujari and Kala Bazaar.

Later, she also tried her hand at offbeat movies like Khamoshi with Rajesh Khanna. She returned to Bollywood in early 90s with Lamhe and around 2005 with Rang De Basanti, Since then, she has essayed several roles of mothers, each remarkable in its own right.

Her latest movie was Delhi 6 where she plays the grandmother of Abhishek Bachchan.

He fans await her next release and pray for a long and healthy life for her. Twitter was abuzz with tweets wishing her a happy birthday. Most of the fans shared her beautiful pictures while doing so.

Waheeda Rehman [Part 01]
A Tribute To A Legend Of Our Time!

Song No. 1 - Geeta Dutt - Jaane Kya Tune Kahi - Pyaasa [1957]

Song No. 2 - Mohammed Rafi - Apni To Har Aah Ek Toofaan Hai - Kala Bazar [1960]

Song No. 3 - Lata Mangeshkar - Tere Bachpan Ko Jawani Ki Dua - Mujhe Jeene Do [1963]

Source - Times of India

Waheeda Rehman, 76, is one of the few actors of 'the golden era of Hindi cinema' who is still active. A retrospective of her films is being showcased at the annual Habitat Film Festival in Delhi till July 31. She speaks to Archana Khare Ghose about the film 'Guide', dacoits and hair dyes.

It's the 100th year of India cinema and you have been an actor for more than 50 years. Do you have any plans to put it all down in a book?

I'm fortunate to be living in the 100th year of Indian cinema. Come to think of it, I've really had a lot of experience. What I do know is that right now is a great time for Indian cinema. It has changed so much from my days, not just in terms of technology and skills but also in the way actors are getting to play a wide variety of roles. Vidya Balan doing a Dirty Picture has been possible only now, not in my time. We had very limited scope to act. As far as acting scope is concerned, this is the golden era. For instance, when I signed Guide (1965), people told me that I was committing a mistake and that it would be my last film, because the film opened with Rosie already being married. Besides, Rosie and Raju lived together without being married to each other. Filmmakers were very conservative then and couldn't accept those situations.

'Guide' seems to be pretty close to your heart.

Yes, indeed. I enjoyed working for the film because it gave me some scope to do things differently. Otherwise, there was not much that the lead actress could do in my time. By the time I signed Guide, I had begun getting bored of the stuff I had been doing. Plus, it had very good music, by my favourite composer S D Burman.

I'll tell another story about my desire to do things differently. I badly wanted to be a part of Sahib, Biwi Aur Ghulam (1962) but the lead role went to Meenaji (Kumari). I was disappointed and complained to the cinematographer (V K) Murthy saab. He told me that I wasn't the right choice as I hardly looked like a mature, married woman. When its director Abrar Alvi approached me for the second lead, I agreed as I liked the character. But Guru Dutt saab, the producer, felt I was crazy in accepting second lead after my very successful Chaudhvi Ka Chand (1960). But I didn't relent and enjoyed playing the character.

Your have worked with some of the most accomplished names in Indian cinema. Can you share some of your memories of those times?

Yes, I worked with many established actors - Dilip saab, Raj saab, Dev saab... This incident is very interesting. Sunil Duttji and I were shooting near the Chambal valley for Mujhe Jeene Do (1963) with police protection as dacoits were a reality then. One day in the middle of the shoot, we were all asked to pack up as an anonymous letter had been sent to Sunil ji, asking him to leave or else his wife Nargis or son Sanjay (who were visiting the sets) or the actress, that is me, would be kidnapped.

You are among the few of that era to have continued to experiment with roles. You played Jaya Bachchan's mother in 'Phagun' (1973).

Yes, and I was criticized for taking up the mother's role too soon. But I would have been able to delay that only by two-three years. If you are a mother's age, what's the harm in playing one? I'm fit and fine even now, but would you accept me as Rosie now? People are going to s******, 'Inko kya ho gaya?' if I do that! Actors should learn to age gracefully. I remember I had just shifted back to Mumbai and went to see Sunil Duttji who was in hospital then. On spotting me, he exclaimed with such grief from his bed that I called for a doctor. He was shocked at my grey hair! He asked, 'Why have you dyed your hair white?' I laughed and told him that I had not used a black dye! If I get a grandma's role, I take it up if I like it (Delhi 6). But our industry still doesn't have intelligent roles for senior actors.

You seem to be a highly practical star.

That's because I always remember what my father told me when I was a girl. Everything is ephemeral. So is age. If you accept that, life will be happy and peaceful. If you don't, you will suffer. Film stars should also make peace with the fact that success and stardom are ephemeral. You have to progress in life. At my stage, for instance, I'm looking forward to learn something new. All I'm waiting for is to realize what I want to learn now! Otherwise, I keep myself busy doing many other things.