Bahar (1951) MHCe_Indian Cinema_The Golden Years-Vyjayanthimalas First Hindi Film [DDR] torrent

Bahar (1951) MHCe_Indian Cinema_The Golden Years-Vyjayanthimala's First Hindi Film [DDR]

CAST:-
Karan Dewan......Ashok / Vasant Kumar
Vyjayanthimala...Lata
Padmini..........Malti
Pran.............Shekhar
Om Prakash.......Choudhry Goverdhanlal Patwardhanlal
Leela Mishra.....Malti's mom (as Leila Misra)
Sunder...........Lattu
Tabassum.........Shashi
Indira Acharya
Shyamlal

Directed by M.V. Raman
Lyrics by Rajinder Krishnan
Music by S.D. Burman

Songs are included in MP3s
Bahar (1951) 00. TItle Music and Screen Credits, S.D. Burman
Bahar (1951) 01. Duniya Ka Maza Le Lo, Shamshad Begum, Rajendra Krishan, S.D. Burman
Bahar (1951) 02. Sataaye Hue Ko Sataati Hai Duniya, Geeta Dutt, Rajendra Krishan, S.D. Burman
Bahar (1951) 03. Music Interlude and Dance, S.D. Burman
Bahar (1951) 04. Ae Zindagi Ke Raahi, Talat Mahmood, Rajendra Krishan, S.D. Burman
Bahar (1951) 05. Chhodo Ji Kanhaiya Kalaiya Hamaar, Shamshad Begum, Rajendra Krishan, S.D. Burman
Bahar (1951) 06. Kusoor Aapka Huzoor Aapka, Kishore Kumar, Rajendra Krishan, S.D. Burman
Bahar (1951) 07. Kusoor Aapka Huzoor Aapka, Shamshad Begum, Rajendra Krishan, S.D. Burman
Bahar (1951) 08. Bhagwan Do Ghadi Zara Insaan Ban Ke Dekh, Geeta Dutt, Rajendra Krishan, S.D. Burman
Bahar (1951) 09. Saiyan Dil Mein Aana Re, Shamshad Begum, Rajendra Krishan, S.D. Burman
Bahar (1951) 10. O Pardesiya Pyar Ki Bahar Leke, Shamshad Begum, Rajendra Krishan, S.D. Burman



PROFILE:- Vyjayanthimala (August 13th, 1936)
Vyjayanthimala was the first South Indian actress who made it as a national star and was one of the biggest ever Hindi Film female stars in a career lasting almost two decades. Besides her ability as an actress, which was considerable, her greatest legacy to Indian Cinema perhaps is that it has become a must for any aspiring actress in Indian Cinema to be an accomplished dancer. Vyjayantimala has always had the mandatory dance sequence in practically every film of hers evoking 'classical art' associations. This pseudo-classical style is perhaps a filmic equivalent of calendar art's version of Ajanta murals and Tanjore glass paintings.

Born in 1936, she was a born performer who danced for the pope at the age of four. She started in Tamil films under MV Raman's direction at AVM with Vazkai/ Jeevitham (1949) a bilingual in Tamil and Telugu. The immensely popular film was later adapted as Bahar (1951), which was AVM and Vyjayanthimala's initial foray into Hindi Films. Vyjayanthimala's role was undemanding, the focus clearly being on her dances and not on her acting. It was left to a weepy Pandari Bai to take care of the histrionic department. Bahar was a major success and Vyjayanthimala was on her way.

Her later films like Ladki (1953) were no different. Again, she had to mainly sing and dance while Anjali Devi wept and suffered. But She finally broke throughand became an A-star with Filmistan's Nagin (1954). Crowd's thronged in repeatedly to see her snaky gyrations to that evergreen Lata Mangeshkar hit - Man Dole, Mera Man Dole. But here too she was saddled with an undemanding role and the film was filled with numerous song sequences to show off her dancing skills.

It was finally with Devdas (1955), under Bimal Roy's able direction that Vyjayanthimala, playing the dancing girl Chandramukhi, proved herself to be an actress of considerable merit. There was a till now unexplored depth in her characterization. Her silent expression in the scene where Devdas offers her money for her services was award worthy and indeed she did win the Filmfare Award for Devdas as Supporting Actress. She however refused the award on the grounds of her role being equally important as the other heroine, Suchitra Sen who played Paro and that both were leading roles. But she began to be taken seriously as an actress now.

Things began to move for Vyjayanthimala following Devdas. She replaced Madhubala in Naya Daur (1957), one of her biggest hits and shot to the highest echelons of stardom with Bimal Roy's Madhumati (1958), perhaps her most popular film ever, while her sensitive depiction of of a prostitute in BR Chopra's Sadhana (1958) fetched her the Filmfare Award for Best Actress, her first. She was clearly one of the biggest stars of Hindi cinema now. In this period she also returned to the South to do big Tamil films opposite stars like MGR and Gemini Ganesh (Parthiban Kanavu (1960), Then Nivalu (1961)).

Ganga Jamuna (1961) saw another flawless performance from her. It is to her credit that in spite of her South-Indian upbringing, her Bhojpuri dialect in the film is near perfect and fetched her another Filmfare Award for Best Actress.

Vyjayanthimala got her third Best Actress Award for Raj Kapoor's Sangam (1964), one of the best triangles in Indian Cinema. But while doing Sangam it is said she got involved in an ill-fated romance with Raj Kapoor. Vyjayanthimala denied the romance in her recently released autobiography but Rishi Kapoor insists the truth was something else. When they 'broke off', it is said Vyjayanthimala was a changed person having turned bitter and even arrogant. The flopping of the dancing magnum opus Amrapali (1966) with her in the title role didn't help. Having 'fought' with Dilip Kumar, she left Ram aur Shyam (1967) and was replaced by Waheeda Rehman. (though she completed Sangharsh (1968) with Dilip Kumar, the two hardly spoke to one another throughout the making of the film!)

Also after Sangam, barring Amrapali and Tapan Sinha's Bengali venture, Hatey Bazaarey (1967), her later films were again pretty lightweight and made no challenges on her as an actress. She has her moments in Vijay Anand's Jewel Thief (1967) though. Her dancing in the cult song Hoton Pe Aisi Baat was brilliant; it was a song with elaborate dance movements, long and complex shot takings with both character movement and camera movement but Vyjayanthimala effortlessly sailed through the song and that too it is said with minimum rehearsals. But it was clear she was losing interest in films now. Her costar of Pyar hi Pyar (1969), Dharmendra, remembers he completed the whole film with her without even being introduced to her! Her last Hindi film was Ganwar (1970).

Vyjayanathimala got married to Raj Kapoor's personal physician Dr. Bali and left the Film Industry. She has since had a son Suchindra, dabbled in various businesses like shrimp farming and even stood for elections and was a Member of Parliament in the 1980s, besides concentrating on her first love - dancing.

Her son, Suchindra, entered the Tamil Film Industry to try and make it as an actor but did not see much success.

NOSTALGIA 1951
- Central Board of Film Censorship formed in Bombay with B.N. Sircar representing the Film Industry.
- Guru Dutt made his directorial debut with Navketan's Baazi.
- Film Federation of India established with Chandulal Shah at its first president.
- The weekly newspaper Screen started by the Indian Express Group.
- The Film Enquiry Committee submitted its report.

POPULAR FILMS of 1951
1. Aawara : Raj Kapoor - Raj Kapoor, Nargis
2. Deedar : Nitin Bose - Nargis, Dilip Kumar, Ashok Kumar
3. Albela : Bhagwan - Bhagwan, Geeta Bali, Babu Rao
4. Bazi : Guru Dutt - Dev Anand, Geeta Bali, K N Singh
5. Bahar : M V Raman - Karan Diwan, Vyajayantimala
6. Hulchal : S K Ojha - Dilip Kumar, Balraj Sahni, Nargis

POPULAR SONGS of 1951
1. Sham Dhale Khidki Tale : Albela - Lata Mangeshkar
2. Man Me Kisi Ki Preet : Aaram - Lata Mangeshkar
3. Aawara Hoon : Aawara - Mukesh
4. Chori Chori Aag Si Gil Me : Dholak - Sulochana Kadam
5. Aa Gupchup Gupchup Pyar : Baazi - Hemant Kumar, Sandhya Mukherjee
6. Seene Me Sulagte Hain Armaan : Tarana - Talat Mahmood

SYNOPSIS:- Bahar (1951)
A singer and dancer par excellence, Lata lives a wealthy lifestyle with her dad, Choudhry Goverdhanlal Patwardhanlal and mom. Her parents would like her to get married to wealthy Shekhar, who she initially approves of. Shortly thereafter she meets with Vasant Kumar and both fall in love with each other. When Shekhar finds out that Lata does not want to marry him, he is enraged and starts to investigate Vasant's background. He finds out that Vasant's real name is Ashok, who is a writer for a magazine 'Bahar.