I am writing this post for Valentine’s Day which is an annual festival to celebrate romantic love, friendship and admiration. Every year on 14 February people celebrate this day by sending messages of love and affection to partners, family and friends. Every person may have individual experiences of unconditional love and attachment. It can be wrong to pressure yourself to find true love; if you have yet to experience a genuine connection with another person or feel a sense of comfort with them. The song koi sone ke dilwala, koi chandi ke dilwala implies that love is fragile, it isn’t strong.

कोई सोने के दिलवाला कोई चांदी के दिलवाला,
शीशे का है मतवाले तेरा दिल,
महफ़िल ये नहीं तेरी दीवाने कहीं चल.

There’s someone who’s heart of gold, some other’s heart is of silver, my heart is of glass (fragile). This song is shot in a party. The hero of the song says this party does not belong to him he consoles himself by saying dear crazy mind let’s move on. Lyricist Majhrooh Sultanpuri wrote this song for film Maya (1961) sung by the great Mohamed Rafisab, composed by Salil Chowdhary and filmed on Dev Anand. This is one of the superhit songs and remains timeless. This song will never die. Generations will listen to it. Long live Mohd. Rafi Sab.

Sone ke dilwala means someone who is exceptionally kind, generous, and compassionate, someone who is loyal with a willingness to help others without expecting anything in return.  And, silver hearts represent a romantic heart, someone who is deeply in love with something, or a person. A heart of glass means someone who is easily hurt or emotionally fragile, like glass which can break easily, suggesting that their feelings can be shattered quickly by a minor setback, one who gets disappointed; it describes a person who is highly sensitive and prone to emotional pain. 

While many would ideally choose “heart” over “money,” in reality, when faced with a difficult decision between following one’s passion (love) or pursuing financial stability, people often tend to prioritize money due to the practical need for security and necessities, even if it means sacrificing the love of his/her life.

The word love has depth.  We don’t love easily. Love is not a universal experience; some   people might feel an immediate attraction as falling in love quickly, for others, developing deep love takes time and getting to know someone well. This means there’s no single answer to whether someone “gets love easily” as it varies greatly from person to person depending on factors like inner personality, character, outer personality, intelligence, earnings, attachment styles, and life experiences. 

Every person who falls in love experiences variety of pains and pleasures of love. Each person has his/her own character and personality; they have different backgrounds and conditions. So, there is no set of rules that applies equally to everyone. Also, whom a person dates also is a matter of personal choice. No one has any right to intrude in anybody’s private affair. The youngsters say, not even their parents have any rights.  But our heart and gut do give us signals about the right or the wrong person. Do we hear to the signals?

Because people often lose all objectivity when they fall in love, it is said ‘Love is blind’.  The song koi sone ke dilwala, koi chandi ke dilawala’s last stanza says that this party isn’t really my vibe, I think it’s time to head out because I am not enjoying it any longer. I should get out of here.  This means the hero feels like he doesn’t belong to that gathering, and it would be better to leave and seek out a different social environment that aligns more with his interests or personality.

How a person experiences pain is unique to each one. Attraction and affection don’t stay the same, and love can feel different for each person. Love too has a lifecycle – introduction, development, growth, maturity and in some cases decline. A person may experience and express love differently from another person. Some people have intense feelings that they are unafraid to express, while others take time to open or prefer to show love in subtler ways.

Also, people demonstrate their love for others in various ways. Whether through acts of service, physical touch, quality time, words of affirmation, gift-giving, acts of kindness, sacrifice, or support, the key is to find the expression that resonates most with your loved ones. Essentially, “everyone’s pain is different”, “everyone’s experience of love is different”. Listen to this beautiful song.  Happy Valentines Day!

The most versatile singer Kishore Kumar has sung for all the actors from 1950s to 1987 (till he died) all genres of songs, ghazals, fast, romantic, slow, bhajans, comedy, sad, happy, semi classical, folk etc. in his deep yet, sparkling, bubbly, modulating voice. He could express any shade of emotion naturally. He initially became famous for yodeling. Kishore Kumar never had any formal musical training. I think, that could be a reason that he could experiment and modulate his voice effortlessly. In his career span, he showed proficiency in a variety of musical styles.  Moreover he was able to pick up the piano and played it well; it seems he learnt playing piano also on his own.

Kishore had an ear for music; he understood music instinctively. He could adapt the voices of the actors easily. For example when he sang for Sanjeev Kumar ‘tere bina zindagi se koi,’while hearing you almost feel Sanjeev Kumar singing the song; when he sang for Amitabh Bachchan, more or less you felt it was AB himself singing the songs; similarly when he sang for Dev Anand or Rajesh Khanna you feel Dev or Rajesh Khanna singing. He contributed to the success of three actors – Dev Anand, Rajesh Khanna and Amitabh Bachchan.

It is said that he never smoked or drank, he dint like to socialize much and had very few but friends, such as Gulzar, R.D. Burman and Asha Bhonsale. He was sort of a recluse preferring his solitude. He hardly ever attended the film parties.

Kishore Kumar was a true genius; he was an actor, director, composer, and he has even penned few songs. Perhaps, because of his multi-faceted personality, he could sing songs befitting the screen actors suitably fitting the song situations. I think once in a while the Almighty gives gems like Kishore Kumar; sadly, he lived a short life of 58 years only. It was S.D. Burman who first tapped Kishore’s inner talents as a playback singer.

I am listing 10 evergreen light, romantic solos of Kishore Kumar which in my opinion will never die….. Please listen to those 10 awe-inspiring songs.

Kehana hai, kehana hai:

Film: Padosan (1968).

Lyricist: Rajendra Krishnan.

Music Director: R.D.Burman

Sama Hai suhana, suhana:

Film: Kahani Ghar Ghar ki (1970).

Lyricist: Hasrat Jaipuri.

Music Director: Kalyanji Anandji.

Aaj unse pahli mulaqaut hogi.

Film: Paraya Dhan (1971).

Lyricist: Anand Bakshi.

Music Director: R.D.Burman

Simti si, sharmai si.

Film: Parwana (1971).

Lyricist: Kaifi Azami.

Music Director: Madan Mohan.

Bhanware ki gunjan hai mera dil.

Film: Kal, aaj aur kal (1971).

Lyricist: Hasrat Jaipuri.

Music Director: Shankar – Jaikishan.   

Guzar jaye din, din, din.

Film:  Annadata (1972).

Lyricist: Yogesh.

Music Director: Salil Chowdhury   

This is an amazing composition by Salil Chowdhury; it’s one of KIshore’s best renditions. Ironically, Kishore dint want to sing this song as he thought he could not sing it the way Salil Da wanted. He completed this one after multiple takes and in the end we have a gem of a creation.

Chaala jata hoon kisi ke dhun me.

Film: Mere Jivan Sathi (1972).

Lyricist: Majrooh Sulatnpuri.

Music Director: R. D. Burman

Ek Ajnabi hasina se yun mulakat ho gayi.

Film: Ajanabi (1974).

Lyricist: Anand Baxi.

Music Director: R.D. Burman.

Oh hansini, meri hansini

Film – Zehareela Insaan (1974).

Lyricist: Majrooh Sultanpuri.

Music Director: R. D. Burman.

Rimzim gire sawan.

Film – Manzil (1979).

Lyricist: Yogesh.

Music Director: R.D.Burman

I am sure, like me many readers might be Dev Anand’s die-hard fans. Can Dev Anand be called the style icon? Yes certainly. In the 50s, 60s and 70s he brought in the fashion of scarves, mufflers and jackets and his signature puff which he imitated from his childhood idol Gregory Peck. He was a trendsetter and a guide, who gave an impetus to Bollywood fashion. On screen he personified serious and romantic roles with a penchant. His eyes spoke – he had the most expressive eyes that usually expressed more than words. Besides being a good looker Dev had the oodles of charm which left viewers spell bound!

He has the most memorable songs like Abhi na jao chodkar; koi son ke dlilwala, koi chandi ke dilwala, Jia o, Khoya khoya chand, aise to na dekho, tu kahan ye bata, arre yar mere tum bhi ho gazab, kahin bekhayal hoke, oh I can go on and on. Music was another facet of his films. He was lucky to have great singers rendering voice to him off screen and some of the great composers.

Some of the most popular Bollywood songs were filmed on him. Dev Anand’s association with music composers like – S. D. Burman and R. D. Burman, lyricists – Majrooh Sultanpuri, Neeraj, Shailendra and playback singer Mohammad Rafi and Kishore Kumar produced some of the best songs in the Bollywood history. Considering the fact that he was so full of life and bubbling with energy all the time, it doesn’t come as a surprise that the only film Dev Anand had a death scene in, was Guide. Dev Anand never went on funerals and never mourned anyone’s death. His philosophy about death was different.

Dev Anand had girls swooning over him. There was a time when female fans passionately started sending him letters in their blood especially after seeing him in a black suit. Such was his personality that he was warned or “banned” from wearing a black suit in public.

He preferred to look ahead, than looking back with nostalgia; in such a wonderful career that had milestones such as Baazi, Kala Pani, Kala Bazar, Paying Guest, Guide, Jewel Thief, Hum Dono , Teen Deviyan, Maya, Nau-Do-Gyarah  etc; this because he had the tireless energy and the genius to craft more and more films.

It is said that in the 50s and 60s, the day his films were released, colleges and universities used to wear an abandoned look. His hurried style of dialogue delivery, his enchanting smile and the frequent nodding of head became his unmatched style, what is called ada in Urdu. He romanced yesteryear’s bold and beautiful actresses; most of them have vouched him being a gentleman.

Dev Anand was spotted by Ashok Kumar, who gave him a lead role in Ziddi, a production of Bombay Talkies. Before this, he had acted opposite the famous singer- actress Suraiya in the 40s, but Suraiya’s popularity surpassed his talent – leaving him high and dry. But, his off-screen failed romance with Suraiya filled many gossip columns.

It was during his period of struggle that he came across Guru Dutt, and the two made a promise to each other, whosoever achieved success first, would help the other. And, the rest is history. In 1951 Guru Dutt made Baazi, starring Dev Anand and Geeta Bali. The film became a trend-setter in urban crime thrillers and was a hit. The film also introduced Kalpana Kartik, who became Dev Anand’s lead heroine for many films like House No 44, Nau Do Gyarah and Taxi Driver (1954). After delivering some hits, Kalpana married Dev and retired from films.

He was a simple at heart. He never had stylish cars, never had a huge birthday bash and no show offs. Dev Anand took keen interest in politics. He formed a party called National Party of India which he later dispersed. He was among the group of film personalities who stood up to the internal emergency imposed by then Prime Minister of India, Indira Gandhi. In 1977, he actively campaigned against her with his supporters in the Lok Sabha.

He began his early career as he worked in the postal department of armed forces for a while. The actor was paid Rs 165 a month. His work was to read the letters that came for soldiers and censor any unwarranted information.

For Dev Anand, life in all shades was a festivity. Today, though he is not around, he still remains a dream hero with his peculiarity as well as eccentricity. His puffed hair style, a scarf around neck, drawl, the speech, the gait… all these made him what he was. Can brand Dev Anand ever be replaced? Certainly not.