In Loving Memory of Chotu Mama

Chotu Bhaiya / Mama /Kaka

Some people remain close to us not merely because they are family, but because of the warmth, affection and ease with which they become an inseparable part of our lives. S. G. Varkhedkar ..our beloved Chotu Bhaiya, Mama and Kaka.. was one such person.

My memories of him go back to 1973, when our D. N. Dhanagare family returned from London and, on our arrival, stayed with Chotu Kaka and Manda Atya. That was the beginning of memories that have remained deeply cherished.

Chotu Kaka was an exceptionally affectionate person, yet what always struck me was how contemporary and progressive he remained. I never felt a generation gap while talking to him. He was always up to the times, interested in people and life, and had a wonderful ability to make conversation easy and comforting.

My admiration and affinity for him were strengthened during our time in England. Through his close friendship with Ajit Wadekar, then captain of the Indian cricket team, we had the extraordinary opportunity to meet the entire Indian team in 1971 at the Sussex County Ground. For me, that remains a very special memory and one of the many ways in which Chotu Kaka opened doors to experiences that stayed with us for life.

His friendships extended across every sphere. He had friends in the film industry, including Sudhir Dalvi, and connections with the Date family, associated with the legendary singer Arun Date. He seemed to know people everywhere, but more importantly, he valued those relationships.

He was also one of the closest people to my late father. Their bond was special. They shared their joys, their sorrows, their irritations, their opinions and their little peeves. They could talk freely and understood each other. Their friendship was one of those relationships that needed no explanation.

Living at Sunny Side in the prime area of Matunga, Chotu Kaka was, without doubt, possibly the most handsome person in our family. But his real charm went far beyond appearances. He was always ready to advise, help or simply listen.

For me personally, talking to him was therapeutic. A conversation with Chotu Kaka could make me feel lighter and de-stressed. There was a reassuring quality about him — an affection and familiarity that made you feel that things would somehow be all right.

I last met him in November 2024. He had been battling health issues since 2025, and during this difficult period, my cousin Janhavi and her daughter Tanvi were physically there with him and Manda Atya, both of them being over 80. Pallavi, despite being far away in Canada, was always there with her support and concern.

Chotu Kaka and Manda Atya shared almost 58 years of togetherness. Their journey together was long, rich and filled with the experiences that make a marriage a life partnership. I am sure that Manda Atya will be the one who misses him the most.

It took me some time to come to terms with the news of his passing. Perhaps because some relationships are so deeply woven into our memories that accepting their absence takes time.

But, as life moves on, memories remain.

And my memories of Chotu Kaka will remain forever nostalgic, affectionate and filled with gratitude for the love, friendship, guidance and countless moments he gave us.

Farewell, Chotu Kaka.

You were not just an uncle by relationship.

You were a friend, a confidant, a guide and a very special part of our family.

You will be deeply missed, but never forgotten.

CHARITRAHEEN (1974): A Different Shade of Shakti Samanta

Producer Debesh Ghosh released his films under the banner of Shri Lokenath Chitramandir, and his first Hindi production under this banner was CHARITRAHEEN, released on 20 December 1974 at NAAZ, Barkha, Bandra Talkies and several other cinemas. Directed by Shakti Samanta, the film starred Sharmila Tagore, Sanjeev Kumar and Yogeeta Bali, with music by R. D. Burman and lyrics by Anand Bakshi.

Charitraheen may appear routine today, but in 1974 it was a fairly bold subject. In many ways, it carries the emotional flavour of Shakti Samanta's post-Amar Prem cinema—a story of love, social stigma, sacrifice and a woman being judged by society though presented through a more dramatic and melodramatic narrative.

The story revolves around Rama (Sharmila Tagore) and Indrajeet (Sanjeev Kumar), who fall in love but are separated because of family circumstances. Rama is married off to a drunken, womanising goon. Years later, she encounters Indrajeet again under tragic circumstances. By then, she has endured humiliation and hardship and is eventually forced into becoming an escort. Indrajeet, now a successful businessman, wants to help her, but circumstances create misunderstandings between him and his wife Kamala (Yogeeta Bali).

The film eventually moves into courtroom territory, with Utpal Dutt as the prosecutor and Raza Murad representing the defence. The mystery surrounding Indrajeet's character and Rama's past leads to a predictable but emotionally satisfying conclusion, where Rama herself becomes instrumental in proving his innocence.

Sharmila Tagore is remarkable. The role demands a complete transformation—from an innocent young woman in love to a woman hardened by circumstances. She brings dignity and vulnerability to Rama without allowing the character to become merely a victim. Sanjeev Kumar, as always, is wonderfully controlled, giving Indrajeet the maturity and restraint the role requires.

The supporting cast—including Anita Guha, Manmohan, Asrani, Madan Puri, Utpal Dutt and Raza Murad—adds considerable weight to the melodrama.

But the real evergreen element of Charitraheen is its music. R. D. Burman's score is one of the film's strongest assets. Dil Se Dil Milne Ka Koi Kaaran Hoga remains the best-known song, beautifully capturing the romance through its melody, instrumentation and picturesque locations. Even today, one can close one's eyes while listening to it and almost visualise the hills, misty winding roads and flower-filled landscapes.

Personally, however, my favourite is the lovely Lata Mangeshkar solo, Chhota Sa Ghar Apna, Apne Jeevan Ka Sapna, picturised on Yogeeta Bali. The soundtrack also benefits from the presence of both Lata Mangeshkar and Asha Bhosle.

the film had completed roughly ten weeks at Naaz and had been shifted to matinee screenings. That experience also underlines an interesting aspect of Mumbai's film culture. A movie that did not make a major impact across India could still find an audience in Bombay through individual cinemas and sustained runs.

Today, Charitraheen may seem like a product of its era, but that is precisely what makes it interesting. It is a film where Shakti Samanta's melodramatic sensibility, Sanjeev Kumar's effortless acting, Sharmila Tagore's transformation and R. D. Burman's unforgettable music come together.

Nazia Hassan: A Tribute on her Death Anniversary

Today, 13 August, is the death anniversary of Nazia Hassan, my school and college-days crush and perhaps the softest crooner of her generation.

Born on 3 April 1965, Nazia became the Queen of South Asian Pop with her fresh voice, innocent charm and unforgettable melodies. At just 15, she made her Bollywood debut with “Aap Jaisa Koi” from Qurbani, winning the Filmfare Award for Best Female Playback Singer and becoming the youngest and first Pakistani recipient of the award.

Her 1981 album Disco Deewane, created with her brother Zoheb and Biddu, became an international sensation. Boom Boom, Young Tarang and Hotline followed, producing songs that remain popular even today.

But Nazia was much more than a singer. An accomplished student and philanthropist, she worked for underprivileged women and children and used her fame for social causes.

Her personal life was far less happy. Diagnosed with lung cancer, she passed away in London on 13 August 2000, at the tender age of just 35.

Twenty-six years later, her voice still carries the same innocence and magic. For those of us who grew up listening to her, Nazia Hassan remains not just a pop icon, but a beautiful memory of our youth.

I dedicate her own words to her:

“Ye dil tere liye hai, ye jaan tere liye hai,

Mere liye tere siwa, jaane jaan,

Koi nahi… koi nahi… koi nahi.”

Gone too soon, but never forgotten.

Nazia Hassan .. forever young, forever beautiful, forever in our hearts.

R.D and his Producers

Pairing of Music Director and Director/ Actor is common.

Many a time dependant on the equation and relationships they share and the success they achieve.

Raj Kapoor- Shailendra- Shankar Jaikishan or Dilip Kumar Naushad.

Brij - Kalyanji Anandji, 

Dev Anand S.D.Burman

Chetan Anand - Madan Mohan 

Prakash Mehra Kalyanji Anandji

Prakash Mehra Bhappi Lahiri

Manmohan Desai Laxmikant Pyarelal

Yash Chopra Khayyam

Yash Chopra Shiv Hari

J.Om.Prakash Laxmikant Pyarelal

But when one goes to R.D.Burman one finds that barring Ramesh Behl, Nasir Hussain and Shakti Samanta we hardly find anyone pairing up inspite of giving hits.

Mehmood off course was the one who introduced R.D.

Let's take the example of

Prakash Mehra and Manmohan Desai.

Prakash Mehra used R.D.Burman for Mela, Samadhi and Khalifa.

The songs were popular but after Zanjeer it was back to Kalyanji Anandji till Namak Halaal where he switched to Bhappi Lahiri.

Manmohan Desai had R.D.Burman in Rampur Ka Laxman and Aa Gale Lag Ja. The latter being a true musical melodious treat but differences came when Manmohan Desai wanted to use Mohmmad Rafi Saab for Shashi Kapoor but R.D. Insisted on Kishore Kumar due the Charecter being depicted by Shashi Kapoor. After that it was Laxmikant Pyarelal all the way till Mard ( Allha Rakha before that ) made way to Anu Malik and after Rafi Saab passed away..it was Shabbir Kumar and Mhd Aziz .

There is another example of Tinnu Anand ..Kaalia was a big hit and the music also was successful and songs are still popular but he never worked with him again.

Yash Chopra worked with R .D in Joshila and Deewaar but due to personality clashes never worked with him again. The producer Gulshan Rai also shifted from

R.D .Burman back to to 

Kalyanji Anandji (Johnny Mera Naam).

J.Om Prakash made Aap Ki Kasam which was a musical blockbuster. and then never worked with Pancham again.??

With Actors it was like a Combination once of Rajesh Khanna, Kishore Kumar and R.D.Burman.

Randhir Kapoor, R.D.

Rishi Kapoor , R.D

Used by R.K. however just for Dharam Karam and later Biwi O Biwi.

Why was it that after churning melody after Melody he was not offered films in his last days ?

Yes one association which can be cherished is that of Gulzar and R.D.Burman as a Lyricist and as a director.

Another Post on that soon 🙏

I still feel he deserved better.

97 Years of Kishore Kumar Celebrating the Ultimate synonym to Versatility.

Today marks the 97th Birth Anniversary of the legendary Kishore Kumar (4 August 1929).

The world remembers him as one of India's greatest playback singers and a delightfully eccentric actor. But Kishore Kumar was much more than that—he was a producer, director, writer, music director, lyricist, storyteller, and visionary filmmaker. Few personalities in Indian cinema have displayed such remarkable versatility.

His most celebrated production remains Chalti Ka Naam Gaadi (1958), directed by Satyen Bose. Released on Friday, 26th December 1958 at Novelty, followed by Rex, Kohinoor and other theatres, the film became one of Hindi cinema's evergreen comedies.

Kishore Kumar convinced his elder brothers Ashok Kumar and Anoop Kumar to join him, making it a memorable Ganguly brothers' outing. He even conceived the famous vintage car around which the story revolved, inspired by his father's old car that he had inherited.

Ironically, legend has it that Kishore Kumar hoped Chalti Ka Naam Gaadi would fail at the box office so he could show losses and reduce his income tax liability. He even made the Bengali film Lookochuri with the same expectation. Fate, however, had other plans—both films became commercial successes. According to popular accounts, Kishore was so amused by this twist that he eventually handed over the rights of Chalti Ka Naam Gaadi to his secretary, Anoop Sharma.

The unforgettable music by S.D. Burman remains as fresh today as it was nearly seven decades ago, with songs that continue to charm generations.

Kishore Kumar revisited this comic world with Badhti Ka Naam Dadhi, released on 30th August 1974 at Ganga, Strand, Lotus and other cinemas. Carrying the same rhythmic title style, it featured Amit Kumar, I.S. Johar, and others.

He later reunited the Ganguly brothers in Chalti Ka Naam Zindagi, released on 29th January 1982 at Sachinam, Aurora, Galaxy and other theatres. This nostalgic sequel introduced Amit Kumar as the son of Ashok Kumar's character, while Kishore Kumar himself composed the music, beautifully evoking memories of the original classic.

His creative ambitions were not limited to comedy. In 1961, Kishore Kumar produced, directed, wrote the story and screenplay, composed the music, and starred in Jhumroo, making it one of the finest examples of his all-round creative genius. Featuring Madhubala opposite him, the film showcased Kishore Kumar in virtually every major creative department. He later directed and produced the deeply philosophical Door Gagan Ki Chhaon Mein (1964) and Door Ka Raahi (1971). The latter, released on 19th November 1971 at Apsara (Matinees) and Chitra Cinema, reflected Kishore Kumar's sensitive and introspective side, far removed from his comic image.

His final production as an actor was Shabash Daddy, released on 1st February 1979 at Metro (Matinees) and from 2nd February 1979 at Paradise, Oscar and other cinemas. Made for his wife Yogeeta Bali and son Amit Kumar, it was the last film in which Kishore Kumar appeared on screen.

His final production venture, Mamta Ki Chhaon Mein, was made with Leena Chandavarkar. Kishore initially wanted Amitabh Bachchan to play the lead, but the role eventually went to Rajesh Khanna, alongside Raj Babbar. Kishore himself did not act in the film.

An interesting aspect of his filmmaking journey is that he created films around the people closest to him. He made memorable films featuring his wives—Madhubala in Chalti Ka Naam Gaadi, Yogeeta Bali in Shabash Daddy, and Leena Chandavarkar in Mamta Ki Chhaon Mein. His brothers, his son Amit Kumar, and he himself were all integral parts of these cinematic ventures.

Kishore Kumar's genius was not confined to one department. He could make audiences laugh, move them with philosophy, compose unforgettable melodies, write stories, direct films, and then step behind the microphone to create songs that became timeless.

Today, on his 97th Birth Anniversary, we salute not just the immortal singer, but the complete filmmaker and one of the most versatile creative personalities Indian cinema has ever produced.

His songs on life, love, joy, sorrow and the journey of jeevan continue to inspire millions—and those timeless melodies deserve a tribute of their own.