The mention of Kishore Kumar typically conjures up the singer in our minds. We rarely recollect the actor in him instantly. In his career of 40 years in cinema, Kishore sang over 2900 songs as a playback voice for Dev Anand and later for Rajesh Khanna, Amitabh Bachchan and almost every other hero/actor.
Kishore also acted as a lead actor/hero in 72 films. In seven other films he had parallel major roles. He did three Bengali language films as a hero. In 11 more films, he had minor roles and 9 films remained incomplete. Thus he acted in 102 films in all. Quite a large number.
This Silhouette tribute is in memory of Kishore Kumar, the actor.
As a music director, Kishore Kumar directed music in 16 films. Except for Zameen Aasman, 1972, AV Films, Chennai, produced by AV Meiyappan, all 15 were his own productions.
It may come as a surprise to most that he directed 12 films, wrote stories for 15, and screenplay for 5; while penning lyrics for 24 songs and composing music for over 140 songs, officially. Some of these are immortal classics. Examples in case are songs from Jhumroo, Door Gagan Ki Chhaon Mein, Door Ka Rahi, and others.
Kishore always desired to be a singer with KL Saigal being his ideal. But his reputation of not being trained, that too with classical music, became a deterrent. I recollect that our seniors from that generation that frequented the cinemas in the ‘40s and ‘50s, would out rightly reject Kishore, saying that he was no singer. He had no knowledge of classical gayaki or sur and taal, as he was never trained. I have heard this numerous times. This probably was the reason that forced Kishore to become an actor in films. It is also documented that brother Ashok Kumar insisted he become an actor rather than a singer. All of it leading to the reality that people never took him seriously as a singer.
His first master in the craft, and Kishore referred to him as Masterji, was legendary music composer, Khemchand Prakash. Prakash introduced Kishore as a lead singer for Dev Anand in Bombay Talkies’ Ziddi in 1948. But Prakash died at a young age, soon after.
The other music composer who had seen the sparks of a singer in Kishore was SD Burman, who gave Kishore songs right from his first film in Bombay, Shikari, in 1946. So grounded was the confidence that SD had in Kishore, that he literally moulded and fabricated Kishore into a singer. So much so, that he used Kishore as the voice of Raj Kapoor in Pyar, 1950, then for Dev Anand in Baazi, 1951, for Premnath in Naujawan, 1951, and Gope in Ek Nazar, 1951. He reaffirmed this faith again, using him as Dev’s voice with Jaal in 1952, and finally even using him as playback for Dilip Kumar in Sagina in 1974.
Khali pili kahe ko akkha din baith ke bom marta hai (Tamasha, 1952) Manna Dey / Bharat Vyas/ Kishore.
Kishore was at his best right from the very beginning, as one can see in this song. The film Tamasha, produced by Bombay Talkies and directed by Phani Mazumdar, was to be musically directed by Khemchand Prakash. When he died, it was handed over to his brother, Basant Prakash, and assistant, Manna Dey. This song, thus, is credited to Manna. Also, this was the only time when Kishore shared major screen space as an actor with Dev Anand. He had a very small, insignificant role in Ziddi, 1948, where Dev was the hero.
After doing small screen roles in Shikari (1946) and Shehnai (1947), his first major acting role as leading man came to him via M&K Productions’ Sati Vijay in 1948, directed by KJ Parmar opposite Ratnamala. In 1950, he was cast opposite Nalini Jaywant in Bombay Talkies’ Muqaddar directed by Aravind Sen. Next year with Phani Mazumdar’s Andolan Kishore was a hero, as also in consecutive years with Pyarelal Santoshi’s Chham Chhama Chham, 1952, Shahid Lateef’s Fareb, 1953, MV Ramen’s Ladki and HS Rawail’s Lehren, both in 1953.
Shaadi, shaadi, shaadi, kismat ki baat hai (Ladki, 1953) R Sudarshanam and Dhaniram / Rajinder Krishan / Kishore
By 1954 he was an established name at the box office. He had 7 releases during this year and that too with well-reputed directors and heroines of the era:
Kamata hoon bahut kuch (Adhikar, 1954) Avinash Vyas / Raja Mehdi Ali Khan / Kishore Kumar and Geeta Dutt
The diversity of his roles gave him a large canvas to display his acting capabilities. Adhikar was a light role, Miss Mala was the cinema regular as of heroes of the time, Ilzam was a serious role and Bimal Roy’s Naukri was a difficult and extremely serious role. He had come of age as an actor now. He was singing his own songs in all his films, of course.
Ek chhoti si naukri ka talabgaar hun main (Naukri, 1954) Salil Chowdhury / Shailendra / Kishore, Shyamal Mitra, Shankar Dasgupta
Kishore in this Naukri song is job-searching and is joined from the next dormitory room by Iftekhar (in Shyamal Mitra’s voice) and Sunil Dasgupta (in Shankar Dasgupta’s voice). Six lovely antaras packed within 3 minutes and six seconds. Delightful lyrics by Shailendra with master craftsmanship of Salil.
Director RC Talwar directed Kishore in 3 films in 3 consecutive years. After Ilzam in 1954, he had Kishore in Rukhsana in 1955 and Mem Sahib in 1956. Meena Kumari was his heroine in all the films. While Ilzam and Mem Sahib had music by Madan Mohan, Rukhsana had music by Sajjad Husain. The song, Tere jahan se chal diye dete huye duayein hum, became popular and appreciated, as it was believed that singing a Sajjad tune was not easy for any singer.
Director Hem Chander’s Mad Bhare Nain (with Bina Rai) in 1955 was the first film where Kishore Kumar was the lead actor with his favourite SD Burman as composer. He had just one song in the film, Pehli, na doosri, teesri pasand hai.
1955 saw four Kishore releases, with AR Kardar’s Baap Re Baap being the biggest hit. It had Chand Usmani as his heroine and famous songs such as Piya piya piya mera jiya pukare (Kishore/Asha) under the baton of OP Nayyar. This duet was, for a very long time, the single most popular Indian song in west African countries like Ghana, Cameroon and Gold Coast, that too among the local populace.
Piya, piya, piya mera jiya pukaare (Baap re Baap, 1955) O P Nayyar / Jaan Nisar Akhtar / Kishore Kumar and Asha Bhosle
We are editorially independent, not funded, supported or influenced by investors or agencies. We try to keep our content easily readable in an undisturbed interface, not swamped by advertisements and pop-ups. Our mission is to provide a platform you can call your own creative outlet and everyone from renowned authors and critics to budding bloggers, artists, teen writers and kids love to build their own space here and share with the world.
When readers like you contribute, big or small, it goes directly into funding our initiative. Your support helps us to keep striving towards making our content better. And yes, we need to build on this year after year. Support LnC-Silhouette with a little amount – and it only takes a minute. Thank you
Whether you are new or veteran, you are important. Please contribute with your articles on cinema, we are looking forward for an association. Send your writings to [email protected]
Silhouette Magazine publishes articles, reviews, critiques and interviews and other cinema-related works, artworks, photographs and other publishable material contributed by writers and critics as a friendly gesture. The opinions shared by the writers and critics are their personal opinion and does not reflect the opinion of Silhouette Magazine. Images on Silhouette Magazine are posted for the sole purpose of academic interest and to illuminate the text. The images and screen shots are the copyright of their original owners. Silhouette Magazine strives to provide attribution wherever possible. Images used in the posts have been procured from the contributors themselves, public forums, social networking sites, publicity releases, YouTube, Pixabay and Creative Commons. Please inform us if any of the images used here are copyrighted, we will pull those images down.