Kishore Kumar (Hindi: किशोर कुमार, Bengali: কিশোর কু মার; 4 August 1929 – 13 October 1987) was an Indian

film playback singer and an actor who also worked as lyricist, composer, producer, director, screenwriter and
scriptwriter. Kishore Kumar sang in many Indian languages including Bengali, Hindi, Marathi, Assamese,
Gujarati, Kannada, Bhojpuri, Malayalam and Oriya. He was the winner of 8 Filmfare Award for Best Male
Playback Singer and holds the record for most number of Filmfare Awards won for that category.

[edit] Career
After Ashok Kumar became a Bollywood star, the Ganguly family used to visit Mumbai regularly. Abhas
Kumar changed his name to Kishore Kumar and started his cinema career as a chorus singer at Bombay Talkies,
where his brother worked. His first film as an actor was Shikari (1946), in which Ashok Kumar played the lead
role. Music director Khemchand Prakash gave him a chance to sing the song Marne ki duayen kyon mangu for
the film Ziddi (1948). After this, Kishore Kumar got many other assignments, but he was not very serious about
a film career.[1] In 1949, he decided to settle in Mumbai.

Kishore Kumar played hero in the Bombay Talkies film Andolan (1951), directed by Phani Majumdar.
Although Kishore Kumar got some assignments as an actor with help of his brother, he was more interested in
becoming a singer. He was not interested in acting, but his elder brother Ashok Kumar wanted him to be an
actor like himself.[2]

He starred in Bimal Roy's Naukri (1954) and Hrishikesh Mukherjee's directorial debut Musafir (1957). Salil
Chowdhury, the music director for Naukri was initially dismissive of him as a singer, when he came to know
that Kishore Kumar didn't have any formal training in music.[3] However, after hearing his voice, he gave him
the song Chhota sa ghar hoga, which was supposed to be sung by Hemant Kumar.

Kishore Kumar starred in films New Delhi (1957), Aasha (1957), Chalti Ka Naam Gaadi (1958), Half Ticket
(1962), and Padosan (1968). Chalti Ka Naam Gaadi, his home production, starred the three Ganguly brothers,
and Madhubala. The film is about romance between a city girl (Madhubala) and a car mechanic (Kishore
Kumar), with a subplot involving brothers.

Music director S. D. Burman is credited with spotting Kishore Kumar's talent as a singer, and advancing his
singing career. During the making of Mashaal (1950), Burman visited Ashok Kumar's house, where he heard
Kishore imitating K. L. Saigal. He complimented Kishore, but also told him that he should develop a style of
his own, instead of copying Saigal.[2] Kishore Kumar did not have a formal training in music.[4]

S. D. Burman recorded with Kishore for Dev Anand's Munimji (1954), Taxi Driver (1954), House No. 44
(1955), Funtoosh (1956), Nau Do Gyarah (1957), Paying Guest (1957), Guide (1965), Jewel Thief (1967),
Prem Pujari (1970), and Tere Mere Sapne (1971). He also composed music for Kishore Kumar's home
production Chalti Ka Naam Gaadi (1958). Some of their initial films included the songs "Maana Janaab Ne
Pukara Nahin" from Paying Guest, "Hum Hain Rahi Pyar Ke" from Nau Do Gyarah (1957), "Ai Meri Topi
Palat Ke Aa" from Funtoosh, and "Ek Ladki Bheegi Bhaagi Si" and "Haal Kaisa Hai Janaab Ka" from Chalti
Ka Naam Gaadi (1958). When S. D. Burman was not on good terms with Lata Mangeshkar during 1957-62, he
gave patronage to her younger sister, Asha Bhosle.[5] The Asha Bhosle-Kishore Kumar duets composed by S. D.
Burman include "Chhod Do Aanchal" from Paying Guest (1957), "Ankhon Mein Kya Ji" from Nau Do Gyarah
(1957), "Haal Kaisa Hai Janaab Ka" and "Paanch Rupaiya Baara Aana" from Chalti Ka Naam Gaadi (1958),
"Chhedo Na Meri Zulfein" from Ganga Ki Lahren (1964), and "Arre Yaar Meri Tum Bhi Ho Gajab" from
[Teen Devian|Teen Deviyan] (1965).

C. Ramchandra was another music director who recognized Kishore Kumar's talent as a singer.[3] and their
collaborations include Eena Meena Deeka from Aasha (1957). Kishore Kumar's work includes, Nakhrewaali
from New Delhi (1956) by Shankar Jaikishan, and C.A.T. Cat Maane Billi and Hum To Mohabbat Karega from
Dilli Ka Thug (1958) by Ravi.

Kishore Kumar produced, directed, and acted in the film Jhumroo (1961). He wrote the lyrics for the title song,
Main Hoon Jhumroo, and composed music for all the songs in the film. Later, he produced and directed the film
Door Gagan Ki Chhaon Mein (1964). He also wrote the script and composed music for the film. The film is
based on the relationship between a father (Kishore Kumar), and his deaf and mute son (played by his real-life
son, Amit Kumar). He made another two films called Door Ka Rahi (1971) and Door Waadiyon Mein Kahin
(1980).

In the 1960s, as an actor, Kishore Kumar built up a notoriety for coming late for the shootings, or bunking them
altogether.[6] His films flopped frequently, and he also landed in income tax trouble.[2] As a singer, his work in
this period includes "Zaroorat Hai Zaroorat Hai" from Manmauji (1961), "Gaata Rahe Mera Dil" from Guide
(1964), and "Yeh Dil Na Hota Bechara" from Jewel Thief (1967).

In the late 1960s, Rahul Dev Burman worked together on the soundtrack of the film Padosan (1968), in which
Kishore Kumar sang the popular songs "Mere Saamne Wali Khidki Mein" and "Kehna Hai". Padosan was a
comedy film starring Kishore Kumar as a dramatist-musician, Mehmood as a Carnatic music and dance teacher,
and Sunil Dutt as a simpleton named Bhola. Kishore Kumar's character in the film was inspired by the
personality of Kishore's own uncle, Dhananjay Bannerjee (a classical singer).[1] The highlight of the film was a
musical, comical duel between Kishore Kumar-Sunil Dutt and Mehmood, Ek Chatur Nar Karke Singaar.

[edit] Rise to Fame

In 1969, Shakti Samanta produced and directed the film Aradhana, for which the music was composed by S. D.
Burman. S. D. Burman fell ill after recording some duet songs with Mohammed Rafi, Asha Bhosle, Lata
Mangeshkar and Kishore Kumar. Afterwards, his son and assistant R. D. Burman took over the recording. R. D.
Burman got Kishore Kumar to solo sing the songs "Mere Sapno Ki Rani" and "Roop Tera Mastana", which
became smash hits. Kishore Kumar won his first Filmfare award for the song "Roop Tera Mastana".

Kishore Kumar sang for all leading actors in 1970s & 1980s, including Rajesh Khanna, Amitabh Bachchan,
Dharmendra, Jeetendra, Sanjeev Kumar, Dev Anand, Shashi Kapoor, Randhir Kapoor, Rishi Kapoor, Mithun
Chakraborty, Sanjay Dutt, Sunny Deol, Anil Kapoor and Jackie Shroff.

S. D. Burman and Kishore continued to churn out several hit songs together, including "Phoolon Ke Rang Se"
and "Shokhiyon Mein Ghola Jaaye" from Prem Pujari (1969), "Aaj Madhosh Hua Jaaye Re", "Khilte Hain Gul
Yahan" and "O Meri Sharmilee" from Sharmilee (1971), "Meet na mila" from Abhimaan (1973), "Pyaar Ke Is
Khel Mein" from Jugnu. In 1975, S. D. Burman composed his last song for Kishore Kumar. S. D. Burman went
into a coma for the second time, soonafter Kishore recorded the song "Badi Sooni Sooni Hai Zindagi" for the
film Mili.[3]

R. D. Burman frequently used Kishore Kumar as the male singer, and recorded several hit songs with him in the
1970s. Some of the popular Kishore Kumar-R. D. Burman songs include "O Maajhi Re" from Khushboo, "Yeh
Shaam Mastaani" and "Yeh Jo Mohabbat Hai" from Kati Patang (1971), "Kuchh To Log Kahenge" from Amar
Prem (1972), "Raat Kali Ek Khwab Mein Aayi" from Buddha Mil Gaya (1971), "Musafir Hoon Yaaron" from
Parichay (1972), "Diye Jalte Hain" from Namak Haraam (1973), "Meri Bheegi Bheegi Si" from Anamika
(1973), "Zindagi Ke Safar Mein" from Aap Ki Kasam (1974), "Agar Tum Na Hote", Humein Tum Se Pyaar
Kitna from Kudrat, "Mere Naina Saawan Bhadon" from Mehbooba, and "Chingari Koi Bhadke" (Amar Prem),
"Jab Bhi Koi Kangana" from Shaukeen (1986). R. D. Burman also recorded several hit duets pairing Kishore
Kumar with Asha Bhosle and with Lata Mangeshkar. Some of these duets include "Panna Ki Tamanna" from
Heera Panna (1973), "Neend Chura Ke Raaton Mein" from the film Shareef Budmaash, "Kya Yehi Pyaar Hai"
from Sanjay Dutt's debut film Rocky (1981), "Sagar Kinare" from Sagar in [1985], "Aap Ki Aankhon Mein
Kuchh" from Ghar, "Jaane Ja Dhoondta" and "Nahi Nahi" from Jawani Diwani, "Kharoshoo" from Harjai
(1982).

Apart from the Burmans, Kishore Kumar worked with other music directors as well. The composer duo
Laxmikant-Pyarelal (L-P) also composed many hit songs sung by Kishore Kumar. Some of their hit songs
include Mere Mehboob Qayamat Hogi from Mr. X In Bombay, Mere Naseeb Mein Aye Dost from Do Raaste,
Yeh Jeevan Hai from Piya Ka Ghar, Mere Dil Mein Aaj Kya Hai from Daag: A Poem of Love, Nahi Mai Nahi
Dekh Sakta from Majboor, Mere diwanepan ki bhi from Mehboob Ki Mehndi, Naach Meri Bulbul from Roti,
Chal Chal Mere Haathi from Haathi Mere Saathi, Gaadi Bula Rahi Hai from Dost, Ruk Jaana Nahi from
Imtihaan, Ek Ritu Aaye from Gautam Govinda, My Name Is Anthony Gonsalves from Amar Akbar Anthony
Bahut Khoobsurat Jawan Ek Ladki from Dostana and Om Shanti Om as well as Paisa Yeh Paisa from Karz. L-
P, also composed several hit Kishore-Lata duets, including Achchha To Hum Chalte Hain from Aan Milo Sajna,
Gore Rang Pe Na Itna from Roti, Main Solah Baras Ki from Karz, and Din Mahine Saal from Avtaar, Tu Kitne
Baras Ki from Karz. L-P also got Kishore Kumar and Mohammed Rafi to sing duets for the films Dostana,
Ram Balram and Deedaar-E-Yaar. L-P composed a duet with Kishore Kumar and Alisha Chinoy, I love you
(Kaate Nahin Katate Yeh Din Yeh Raat) from Mr. India in (1987). Salil Chowdhury recorded songs like Koi
Hota Jisko Apna from Mere Apne and Gujar Gaye Din Din from Annadata. Ravindra Jain recorded Ghungroo
Ki Tarah, and the duet Tota Maina Ki Kahani from Fakira. Khaiyyaam recorded beautiful duets with Lata
Mangeshkar such as Hazar Rahein from Thodisi Bewafai, Aankhon Mein Humne Aapke Sapne Sajaye Hain,
Chandani Raat Mein Ek Bar. Hridaynath Mangeshkar recorded Zindagi Aa Raha Hoon Main from Mashaal.
Kalyanji-Anandji recorded several hit songs with Kishore Kumar including Zindagi Ka Safar and Jeevan se na
haar Jeenewale , from Safar, Pal Pal Dil Ke Paas from Black Mail, Apne Jeevan Ki Uljhan from Uljhan, Mera
Jeevan Kora Kagaz from Kora Kagaz, O Saathi Re from Muqaddar Ka Sikandar, Khaike Paan Banaraswala
from Don, Neele Neele Ambar Par from Kalakar and Pal Bhar Ke Liye from Johny Mera Naam.

Other composers including Rajesh Roshan, Sapan Chakravarty, and Bappi Lahiri also worked with Kishore
Kumar. Rajesh Roshan's first hit film Julie featured hit songs sung by Kishore Kumar, Bhool Gaya Saab Kuchh
(duet with Lata Mangeshkar) and Dil Kya Kare Jab Kisise. Their other hits include Chhookar mere man ko
from Yaarana , Tune Abhi Dekha Nahin from Do Aur Do Paanch and Kahan Tak Ye Man Ko Andhere
Chhalenge from Baaton Baaton Mein. Bappi Lahiri also recorded many popular songs with Kishore Kumar,
including Pag Ghunghroo Bandh from Namak Halal (1982), Manzilen Apni Jagah Hai from Sharaabi (1984)
and Chalte Chalte Mere Ye Geet from Chalte Chalte (1976), Saason Se Nahi Kadmose Nahi from Mohabbat in
(1987) and duets with (Lata Mangeshkar)) like Taa thaiya from Himmatwala in (1984), Albela Mausam from
Tohfa in (1985) and another duet Pyar Ka Tohfa from the same film.

During the Indian Emergency (1975–1977), Sanjay Gandhi asked Kishore Kumar to sing for a Congress rally in
Mumbai, but Kishore Kumar refused.[7] As a result, the Government put an unofficial ban on playing Kishore
Kumar songs on the All India Radio or television.[8]

[edit] Later years

Kishore Kumar produced and directed some movies in the late 1970s and early 1980s, such as Badhti Ka Naam
Daadhi (1978), Zindagi (1981) and Door Wadiyon Mein Kahin (1980). But none of these films did well at the
box office. His last appearance as an actor was in Door Wadiyon Mein Kahin.

With patronage from R. D. Burman and Rajesh Roshan, Kishore Kumar's son Amit Kumar also became a
Bollywood singer in the 1980s. Kishore Kumar also continuted singing for several actors. He also did some
stage shows, apparently to earn money to pay his income tax arrears.[6]
Kishore Kumar stopped singing for Amitabh Bachchan in the mid-1980s, after Bachchan did not do a guest
appearance in a film produced by him but called a truce with him by singing for him in Toofan. He also
temporarily stopped singing for Mithun Chakraborty, after Yogeeta Bali divorced him and married
Chakraborty. However, just like with Bachchan earlier, the two later put aside their differences as Kumar sang
for him in many films like Disco Dancer, Muddat, and Pyar Ka Mandir.

In mid-1980s, Kishore Kumar sang for Anil Kapoor in his Kapoor's debut film as a leading man, Woh Saat Din
and also recorded for his first superhit Mr. India. He sang a duet with Alka Yagnik, Tumse Badhkar Duniya
Mein Na Dekha for Kaamchor in (1986). He also recorded some songs for the film Saagar with R. D. Burman.
By this time, he had decided to retire and was planning to go back to his birthplace, Khandwa.[6] However, on
13 October 1987, he died of a heart attack in Mumbai. He was getting ready at 4 pm for recording a song when
he felt little pain in his left shoulder. The pain was there in the morning as well but very little so he didn't bother
and kept himself busy in household works. At around 4.45pm he felt giddiness and became unconscious within
minutes. Wife Leena unable to understand asked driver Arjun to call nearby Dr. Mani Kanga immediately who
was a dentist. By the time Doctor came at 5.10 pm it was all over. Kishore Kumar was no more. However a
cardiologist was called and by 6 pm the news spread everywhere that their favourite singer is no more. His body
was taken to Khandwa for cremation. He recorded his last song a day before he died. The song was Guru Guru,
a duet with Asha Bhosle, for the film Waqt Ki Aawaz (1988) composed by Bappi Lahiri for Mithun Chakraborty
and Sridevi.

Kishore Kumar's song Pal Bhar Ke Liye from the film Johny Mera Naam (1970) was used in an episode of The
Simpsons titled Kiss Kiss, Bang Bangalore.[9] His songs have also been featured in several films, including Such
a Long Journey (1998) and Side Streets (1998).[10] Sony TV organised the television singing contest K for
Kishore to search for a singer like Kishore Kumar.

[edit] Personal life

Kishore Kumar was born into a Bengali family at Khandwa in Madhya Pradesh, on 4 August 1929.[11]

He married four times. His first wife was Ruma Guha Thakurta aka Ruma Ghosh. Their marriage lasted from
1950 to 1958. Kishore Kumar's second wife was the actress Madhubala, who had worked with him on many
films including his home production Chalti Ka Naam Gaadi (1958). When Kishore Kumar proposed to her,
Madhubala was sick and was planning to go to London for treatment. At this time, she didn't know that she had
a ventricular septal defect, and her father wanted her to wait and consult the London doctors first. Nevertheless,
Madhubala married Kishore Kumar in 1960. Madhubala was a Muslim, and the two had a civil marriage.[12]
Kishore Kumar even converted to Islam, and took the name Karim Abdul.[13][14]

His family was against the marriage, and the couple also had a Hindu marriage to please them, but Madhubala
was not accepted by them. The doctors in London told Madhubala that she would not live for long. The
marriage lasted for 9 years, and ended with Madhubala's death on 23 February 1969. Kishore Kumar's third
marriage was to Yogeeta Bali, and lasted from 1976 to 4 August 1978. Kishore Kumar was married to Leena
Chandavarkar from 1980 until his death.

Kishore Kumar had two sons, Amit Kumar (playback singer) with Ruma, and Sumit Kumar with Leena
Chandavarkar.

Kishore Kumar is said to have been paranoid about not being paid.[1] During recordings, he would begin singing
only after his secretary confirmed that the producer had made the payment.[15] When the director questioned
him, he replied "Aadha paisa to aadha make-up." (Half make-up for half payment).[1] On the sets of Bhai Bhai,
Kishore Kumar refused to act because the director M V Raman owed him five thousand rupees. His brother
Ashok Kumar persuaded him to do the scene. But, when the shooting started, he walked across the floor and,
each time he walked a few places, he said, "Paanch Hazzar Rupaiya," (five thousand rupees) and did a
somersault. After he reached the end of the floor, he went out of the studio, jumped into his car, and ordered his
driver Abdul to drive away.[16] On another occasion, when the producer R. C. Talwar did not pay his dues in
spite of repeated reminders, Kishore Kumar turned up at Talwar's residence one morning and started shouting
"Hey Talwar, de de mere aath hazaar" ("Hey Talwar, give me my eight thousand"). He did this every morning
for a few days, until Talwar paid him.[15]

The film Anand (1971) was originally supposed to star Kishore Kumar and Mehmood in the lead roles.[17]
Hrishikesh Mukherjee, the director of the film, was asked to meet Kishore Kumar to discuss the project.
However, when he went to Kishore Kumar's house, he was driven away by the gatekeeper due to a
misunderstanding. Kishore Kumar (himself a Bengali) hadn't been paid for a stage show organized by another
Bengali man, and had instructed his gatekeeper to drive away this "Bengali", if he ever visited the house. When
Hrishikesh Mukherjee (also a Bengali) went to Kishore Kumar's house, the gatekeeper drove him away,
mistaking him for the "Bengali" that Kishore Kumar had asked him to drive away. Consequently, Mehmood
had to leave the film as well, and new actors (Rajesh Khanna and Amitabh Bachchan) were signed up for the
film.

In spite of his "no money, no work" principle, sometimes Kishore Kumar recorded for free even when the
producers were willing to pay. He recorded for free, for some films produced by Rajesh Khanna and Danny
Denzongpa.[18] On one occasion, Kishore Kumar helped actor-turned-producer Bipin Gupta, by giving him Rs.
20,000 for the film Dal Mein Kala (1964). When the little-known actor Arun Kumar Mukherjee died, Kishore
Kumar regularly sent money to his family in Bhagalpur.[16] Mukherjee was one of the first persons to appreciate
Kishore's singing talent.[16]

Many journalists and writers have written about Kishore Kumar's seemingly eccentric behavior.[19][20] Kishore
Kumar had put a "Beware of Kishore" sign at the door of his Warden Road flat, where he stayed for some time
while his bungalow was being done up. Once, the producer-director H. S. Rawail, who owed him some money,
visited his flat to pay the dues. Kishore Kumar took the money, and when Rawail offered to shake hands with
him, he reportedly put Rawail's hand in his mouth, bit it, and asked "Didn’t you see the sign?". Rawail laughed
off the incident and left quickly.[16] Once, when a reporter made a comment about how lonely he must be,
Kishore Kumar took her to his garden. He then named some of the trees in his garden, and introduced them to
the reporter as his closest friends.[16]

According to another reported incident, once Kishore Kumar was to record a song for the producer-director G.
P. Sippy. As Sippy approached his bungalow, he saw Kishore going out in his car. Sippy pleaded him to stop
his car, but Kishore only increased the speed of his car. Sippy chased him to Madh Island, where Kishore
Kumar finally stopped his car near the ruined Madh Fort. When Sippy questioned his strange behavior, Kishore
Kumar refused to recognize or talk to him and threatened to call police. Sippy had to return. Next morning,
Kishore Kumar reported for the recording. An angry Sippy questioned him about his behavior on the previous
day. However, Kishore Kumar insisted that Sippy must have seen a dream, and claimed that he was in Khandwa
on the previous day.[21]

Once, a producer went to court to get a decree that Kishore Kumar must follow the director's orders. As a
consequence, Kishore Kumar obeyed the director to the letter. He refused to alight from his car until the director
ordered him to do so. Once, after a car scene in Mumbai, he drove on till Khandala because the director forgot
to say "Cut".[16] In the 1960s, a financier called Kalidas Batvabbal, patently disgusted with Kishore Kumar's
alleged lack of cooperation during the shooting of Half Ticket, gave him away to the income tax authorities.
Kishore had to face a raid at his house. Later, Kishore invited Batvabbal home, tricked him by asking him to
enter a cupboard for a "chat" and locked him inside. He unlocked Batvabbal after two hours and told him
"Don’t ever come to my house again."[16]
[edit] Awards
Birthplace: Khandwa
Profession: Playback Singer, Bollywood.

Kishore Kumar's was the second golden male voice that the film industry produced. , the first being that of
Kundan Lal Sehgal. Besides being a singer, Kishore was a talented actor and comedian who stood out for his
performances. He made his mark as an accomplished film and music director.

The traditional concept of a comedian has always been one of lowly stature, that of a sidekick. It was Kishore
Kumar who successfully became Hindi cinema's comic hero whose popularity relied primarily on his comic
talents. Add to that his phenomenal acting talent and amazing singing voice and you have a performer who
bordered on the genius. And like most geniuses he was notoriously eccentric!

He was born as Abhas Kumar Ganguly in Khandwa. As a child, he had been mischievous and loved playing
pranks on everyone around him. His penchant for effortless comedy perhaps, came from his early days of
pranks and mimicry. And there were directors like Kalidas (Half Ticket) and Satyen Bose (Chalti Ka Naam
Gaadi) and actor-director Keshto Mukherjee (co-star in Padosan) who realised this potential and cashed in on
his unusual brand of humour with stupendous success.

At the age of 18, he came to Bombay where elder brother Ashok Kumar was a major star. He got his first
opportunity as a singer in Bombay Talkies Ziddi (1948) where he sang the song Marne ki Duayen Kyon Mangu
for Dev Anand. Being an ardent admirer of K.L. Saigal, the song was sung in the style of the legend. But in
spite of Ziddi's success, Kishore found few offers forthcoming and did the odd singing assignment with bit roles
making a rather tepid acting debut as hero in the forgettable Andolen (1951). At the age of 18, he came to
Bombay where elder brother Ashok Kumar was a major star. He got his first opportunity as a singer in Bombay
Talkies Ziddi (1948) where he sang the song Marne ki Duayen Kyon Mangu for Dev Anand. Being an ardent
admirer of K.L. Saigal, the song was sung in the style of the legend. But in spite of Ziddi's success, Kishore
found few offers forthcoming and did the odd singing assignment with bit roles making a rather tepid acting
debut as hero in the forgettable Andolen (1951). After his marriage to Ruma Devi resulted in a split in the
family, Kishore approached S.D. Burman who had given him an opportunity in Pyar (1950) where interestingly
he had sung for Raj Kapoor. Burmanda gave him the song Qusoor Aapka in Bahar (1951) which became a hit.
As he got more singing assignments, he also began being offered leading roles in films. Kishore was initially
taken quite lightly as a singer and was given mainly lighter songs by Burmanda and other music directors. But
with the soulful Dukhi Man Mere from Funtoosh (1956), Kishore was now taken seriously as a singer. Though
he was formally untrained, he assimilated jazz-scat fragmented musical notes into a rhythmic sequence and
once its beat was established, departed from the pattern and combined notes and words/ syllables into new kinds
of musical harmony.

Kishore reached his peak as an actor with the zany comedy Chalti ka Naam Gaadi (1958) which starred all the
three Ganguly brothers and Madhubala. Kishore and Madhubala matched each other step for step in this comic
caper with Burmanda composing such lighthearted ditties as Haal Kaisa Hai Janaab Ka and Paanch Rupaiya
Barah Anna. After Kishore's marriage to Ruma Devi disintegrated, he married Madhubala. The two starred in
Jhumroo (1961), which Kishore produced and directed. He also composed the music of the film. The riotous
Half Ticket (1962) with the two of them saw Kishore at his madcap best impersonating a 12 year old!

For all his eccentricity, Kishore married some of the most beautiful women in India. First Ruma Guha-Thakurta
(the mother of his singer son Amit Kumar), then the beautiful Madhubala (whom he literally nursed for years
till her death), Yogita Bali (niece of the great Geeta Bali) and finally Leena Chandavarkar. There are any
number of Kishore Kumar tales to be heard in Mumbai. The best is how when he was shooting for a Satyen
Bose film in Mahableshwar, he was supposed to come out of a bungalow, get into a car and go past the gate.
After a couple of retakes, Kishore got into the car and drove past straight to Bombay while the entire unit
waited for him to return. Night fell, but there was no sign of the man. To make matters worse, the car belonged
to the producer. He was a miser, screamed that the taxmen took away all his earnings. And considerable
earnings they were too: he charged Rs 15,000 per song. He charged one rupee less than Lata Mangeshkar to
show his respect for her and her seniority. And he talked of going back to Khandwa to become a farmer.

He shunned people, never smoke or drank and had no friends. Once when a lady gossip writer asked him who
his friends were, he took her to his backyard and introduced her to half-a-dozen trees. There they are, he said,
Janardhan, Raghunandan, Gangadhar, Jagannath, Budhuram and Jhatpatjhatpat-jhatpat! The lady wrote that he
was mad.

Door Gagan ki Chaon Main (1964) further confirmed Kishore's acting talent as he scored heavily in a rather
serious film. But the 60s also saw Kishore fall from grace as beset by tax problems he was reduced to doing B-
films with the likes of Kum Kum. He had the odd singing assignment for Dev Anand in Guide (1965) and Jewel
Thief (1967) but that was all. The turning point came with Aradhana (1969).Though Burmanda used Kishore as
what he called his second service, his songs for Rajesh Khanna - Mere Sapnon ki Rani and Kora Kagaz Tha
Yeh Man Mera proved super duper hits ahead of the Mohd. Rafi songs for the same film. It was a second
coming and there was no turning back. Kishore formed a solid hit pairing with Rajesh Khanna and in the early
70s the duo churned out hit after hit. He overtook all competition and was the undisputed number one male
playback singer of Hindi films, his voice pulsing with verve and exuberance.

As his fame grew so did stories of his eccentricities. He put up a board outside his house saying 'THIS IS A
LUNATIC ASYLUM.' He reportedly spoke to his trees in his backyard addressing eachMby a special name. He
zipped through a marriage with Yogita Bali which lasted just about a month and then married his fourth wife
Leena Chandavarkar who was two years older than his son, Amit!

Kishore remained at the top till the very end succumbing to a major heart attack in 1987. The singer left for
Mumbai when he was 18 years old but never failed to tell people that he hailed from Khandwa. But his wish to
spend the twilight of his life here was never fulfilled. He succumbed to a heart attack in Mumbai on October 13,
1987. His body was subsequently brought to Khandwa. It was placed in the room where he was born.

Awards And Honors :

Award Song - Movie
Filmfare Award - 1985 Saagar kinare - Saagar
Filmfare Award - 1984 Manzilen apni jageh - Sharabi
Filmfare Award - 1983 Agar Tum Na Hote - Agar Tum Na Hote
Filmfare Award - 1982 Pag Ghungroo - Namak Halal
Filmfare Award - 1980 Hazar rahen - Thodisi Bewafayi
Filmfare Award - 1978 Khaaike Paan Banaaras Wala - Don
Filmfare Award - 1975 Dil ayesa kisi ne mera toda - Amanush
Filmfare Award - 1969 Roop tera mastana - Aradhana

Best Of Kishore Kumar:

Song Movie
 Nahin Nahin Abhi Nahin Jawani Deewani
Aane wala pal jane wala hai Gol Maal
Mere Saamne Waali Khidki Mein Padosan
Chingari koi bhadke Amar Prem
Raat Kali Ek Khwaab Mein Aayi Budda Mil Gayaa
Dekha Ek Khwaab Silsila
Aa Chal Ke Tujhe, Maein Leke Chalun Door Gagan Ki Chaaon Mein
Humain tumse pyaar kitna Kudrat
Yeh Jeevan Hai Piya Ka Ghar
Tere Mere Milan Ki Ye Raina Abhimaan
Zindagi Ka Safar Hai Ye Kaisa Safar Safar
Tum aa gaye ho noor aa gaya hai Aandhi
Sach Mere Yaar Hai, Bas Wohi Pyaar Hai Saagar
Pal Pal Dil Ke Paas Tum Rehti Ho Blackmail
WITTY , DRAMATIC,
HINDI FILMS ' ONLY

SOURCE : THE ASIAN AGE, 13

(B Y DINESH RAHEJA AND JITENDRA KOTHARI)

WHEN DUST PARTICLES DANCE IN THE RAY OF LIGHT THAT BISECTS THE DARKENED THEATRE AND THE SCREEN LIGHTS UP , A SPECIAL COMMUNI
AND WHEN THE VIEWER BECOMES ENTRANCED WITH THE SHIFTING DYNAMICS OF THE WORLD BEFORE HIM, LUMINARIES ARE BORN.

IT WAS ON A WET DAY IN JULY 1896, IN A MUCH SMALLER MUMBAI WITH A POPULATION OF BARELY 10 LAKH PEOPLE , THAT THE SCREEN
OFFICIALS AND THEIR MEMSAHIBS CAME TO SEE THIS 'MARVEL OF THE CENTURY ' BROUGHT HERE BY THE L UMIERE BROTHERS BARELY SIX MONTH
CAME ON, EVEN THE PRICEY R E 1 SEATERS CHEERED AND WELCOMED THIS NEW MASS MEDIUM OF ENTERTAINMENT . A 100 YEARS LATER , IN
PRODUCING NATIONS IN WORLD .

SO WHAT ARE THE CRITERIA THAT MAKE A FILM PERSONALITY A LUMINARY ? IT IS NOT NECESSARILY TALENT OR INTELLIGENCE . IT IS NOT REGIO
IDENTITY FOR THE MELTING POT OF FILMS . IT IS A NON -FORMULAIC MIX .

BUT A TRAIT THAT ALL THESE REMARKABLE ARTISTES SHARE , LIKE CREATIVE PEOPLE EVERYWHERE, IS A HYPERSENSITIVITY TO LIFE . AND THE AB
LUMINARIES HOLD LESSONS FOR TODAY 'S GENERATION OF STARS . M ANY TO THE LUMINARIES HAVE HAD UNFORTUNATE ENDS TO THEIR RICH LIVE

THIS SEASON 'S DAFFODIL ,

SHE NEVER HEARS WHAT CHANGE,
WHAT CHANCE , WHAT CHILL
CUT DOWN LAST YEAR 'S;
BUT WITH BOLD COUNTINUANCE ,
AND KNOWLEDGE SMALL , ESTEEMS HER SEVEN DAY CONTINUANCE
TO BE PERPETUAL
NO DOUBT THE LUMINARIES SUCCESS HAS A LIFE SPAN LIKE ALL THINGS MORTAL. B UT WHAT THE HUNDRED L UMINARIES OF HINDI CINEM
AUDIENCE 'S PSYCHE-THE MOMENTS IN WHICH THEY REMAIN PERENNIALLY ALIVE . WE ARE INDEBTED TO THE LUMINARIES BECAUSE THROUGH T
HAPPINESS TO MILLIONS OF INDIANS FOR WHOM EVEN THE RIPPED THEATRE SEAT IS A PEW FROM WHICH THEY PRACTICE THEIR RELIGION OF CIN

THE WIZARD OF ODD MARCHED TO THE TUNE OF A DIFFERENT DRUMMER . A MULTI-TALENTED ACTOR-SINGER , KISHORE KUMAR WAS NOTORIOU
HAD THE COURAGE TO DEFY THE I NDIAN GOVERNMENT . A SKED TO PERFORM FREE, HE REFUSED , AND WAS CONSEQUENTLY BANNED FROM NATIO

KISHORE HAD ALWAYS BEEN FAMILIAR WITH THE VICISSITUDES OF FATE . WHILE LAUGHTER WAS HIS LEITMOTIF , IT HAD TO TIDE HIM OVER A LIFE

AT 18, KISHORE STARTED OUT AS A SINGER DESPITE NOT KNOWING EVEN THE RUDIMENTS OF MUSIC. ABHAS KUMAR GANGULY CHANGED HIS N
WHERE HIS ELDER BROTHER (BY 19 YEARS ), A SHOK K UMAR , HELD SWAY. BUT K ISHORE FOUND FEW OPPORTUNITIES COMING HIS WAY. H E SAN
BIT ROLES IN SEVERAL FILMS AND ACTED AS THE MAIN LEAD IN THE EMINENTLY FORGETABLE ANDOLAN .

AFTER HIS MARRIAGE TO RUMA DEVI RESULTED IN A SPLIT WITH HIS FAMILY , KISHORE APPROACHED MUSIC DIRECTOR S.D. BURMAN FOR HEL
BEING A PLAYBACK SINGER IN V YJANTHIMALA 'S FILM , HE BECAME HER HERO IN L ADKI (1953). I T WAS K ISHORE'S UNINHIBITED COMIC ANTICS A

KISHORE 'S AMUSINGLY ASKEW VIEW OF LIFE FOUND FAVOUR WITH THE AUDIENCES AND HE NOW HAD A FLOURISHING ACTING CAREER. THE CO
HITS LIKE N EW DELHI AND ASHA (E ENA MEENA DEEKA ). A LSO , HE COULD NOW YODEL BETTER THAN THE ORIGINAL YODELLER , D ANNY KAYE .

FROM KING LEAR'S FOOL TO INDIAN CINEMA'S CRETINOUS CARICATURES , THE TRADITIONAL CONCEPT OF COMEDIAN HAS ALWAYS BEEN ONE OF
MIXING WIT WITH DRAMA AND ROMANCE , BECAME H INDI CINEMA 'S ONLY MAJOR HERO WHOSE POPULARITY RELIED MAINLY ON COMEDY .

EVEN A REVERED ACTRESS LIKE NARGIS WAS MOVED TO NAME KISHORE AS HER FAVOURTIE ACTRESS . THIS POWER -HOUSE OF TALENT BECAME SO
UPON TO PLAYBACK FOR K ISHORE KUMAR IN THE AJAB HAI DASTAAN TERI SONG FORM SHARARAT .

AFTER CHALTI KA NAAM GAADI (1958), WHERE KISHORE AND MADHUBALA MADE GREAT FOILS FOR EACH OTHER'S FOIBLES , KISHORE'S M
MADHUBALA .

TAKING MADHUBALA AS HIS HEROINE , KISHORE PRODUCED, DIRECTED, ACTED IN, COMPOSED THE MUSIC AND WROTE THE LYRICS FOR JHUMRO
UNCHARACTERISTICALLY SERIOUS SUBJECT ON THE RELATIONSHIP BETWEEN FATHER AND HIS DUMB SON , WAS ACCLAIMED FOR ITS SENSITIVIT
REGULAR INFUSIONS OF LAUGHTER . COMMERCIALLY , HOWEVER , THE SIXTIES SAW A PRECIPITOUS FALL FROM GRACE FOR K ISHORE. BESET BY T
HAVING EARLIER GIVEN UP PLAYBACK SINGING , HE HAD TO NOW ACCEPT THE ODD SINGING ASSIGNMENT IN DEV ANAND 'S GUIDE OR JEWEL TH
SONGS IN ARADHANA . A S THE PERMANENT OF VOICE SUPERSTAR RAJESH K HANNA, K ISHORE NUDGED ASIDE ALL COMPETITION . T HEREAFTER
KISHORE 'S RANGE MADE HIM THE UNCROWNED KING OF PLAYBACK SINGERS .

AS HIS FAME GREW , SO DID STORIES OF HIS ECCENTRICITIES . HE PUT UP A BOARD OUTSIDE HIS HOUSE SAYING , `THIS IS A LUNATIC ASYLUM '. H
EACH BY A SPECIAL NAME . H E SURPRISED EVERYONE BY MAKING A SONGLESS FILM , D OOR WADIYON M EIN K AHIN . HE ZIPPED THROUGH A SH
FOR THE FOURTH TIME WITH FILM STAR L EENA CHANDRAVARKAR - WHO WAS ONLY TWO YEARS OLDER THAN HIS SON, A MIT KUMAR . I NCIDENT
BE LIVING IN BANDRA WHEN THEY MARRIED HIM . T ILL THE MID -EIGHTIES , K ISHORE RETAINED HIS POSITION AT THE TOP. HIS VOICE STILL PU
THINKING OF OF RETIREMENT , HE SUFFERED SETBACKS IN HEALTH AND IN 1987, HE SUCCUMBED TO MAJOR HEART ATTACK. REPORTEDLY , H
KUMAR ." IT WAS TYPICAL OF KISHORE TO BE UNCONVENTIONAL , TO THE LAST.
Back to Kishore Kumar

KISHORE KUMAR -

FILMFARE NOVEMBER
(KISHORE KUMAR PASSED AWAY ON OCTOBER 13 1987)
"Z INDAGI KO BAHUT PYAR HUMNE DIYA, MAUT SE BHI MOHABBAT NIBHAYENGE HUM " HE SANG. YOU BET HE IS DOING JUST THAT , KEEPING
WITH HIS COMIC ANTICS .

A COUPLE OF YEARS AGO, HE DECLARED HE WAS PLANNING TO RETURN TO KHANDWA, HIS HOMETOWN . NO ONE EXPECTED HIM TO KEEP HIS W

DID HE REALLY HATE THE WORLD OR THE FILM INDUSTRY? NOT LIKELY . FOR HATING IS SUSTAINED , MORONIC HARD WORK - OF A KIND KISHOR
AMOUNT OF WORK IN HIS FILMS . T HEY HAD TITLES LIKE "D OOR KA R AHI ", "D OOR GAGAN K I CHHAON MEIN ", "D OOR WAADIYON MEIN
PRODUCER , DIRECTOR , ACTOR , SINGER , COMPOSER , LYRICIST , AND , VERY NEARLY , CINEMATOGRAPHER AS WELL .

MORE LIKELY , HE WAS RUNNING AWAY FROM HIMSELF. NO ONE CAN REALLY SAY WHY . A SENSITIVE MAN, HE PROBABLY COULDN 'T TAKE THE
HIS EARLY INTERVIEWS TO F ILMFARE IS STILL FRESH IN OUR MINDS : "M ONEY, MONEY , THAT 'S ALL THAT MATTERS ." H E WAS OF COURSE TO MA

AFTER A PERFORMANCE TOUR OF THE US WITH LATA MANGESHKAR , HE TOLD US, "I' LL NEVER SING WITH LATA AGAIN ." SOME LITTLE P
DECLARING HOW FULL OF BROTHERLY LOVE HE WAS FOR HER . H E TOOK PRIDE IN NOT SMOKING OR DRINKING BUT HE INDULGED OTHER -WISE
HOW THE WOMEN STOOD HIM , HE WOULD SURELY HAVE SAID HE WONDERED HIMSELF . O FTEN , HE GAVE THE IMPRESSION OF A MAN WHO COU

HE DISLIKED CROWDS BUT LOVED HIS AUDIENCE . WHEN THEY WARMED UP TO HIM, HE WOULD GO ALL OUT TO ENTERTAIN THEM. HE WENT
AND A HALF . L ATER , WE LEARNT HE HAD A VIDEO RECORDING MADE FOR HIS OWN PURPOSE . BUT NEVER MIND , THAT WAS KISHORE .

A SEEMING RECLUSE AND MISANTHROPE , HE PUT SHOW INTO STAGE SHOWS . HE STARTED THEM APPARENTLY TO EARN MONEY TO PAY HIS I
FOOLING AROUND . B UT AS F ILMFARE ONCE SAID OF HIM, IT TAKES BRAINS TO BE A FOOL .

HE COULD HAVE HAD A MARVELLOUS CAREER AS AN ACTOR. WHEN OTHER AC- TORS WERE BUSY TRYING TO BE SERIOUS , HE SUCCEEDED IN BEI
NOTORIETY FOR LATE COMING OR BUNKING SHOOTINGS . T HEN ARADHANA BROUGHT HIM BACK AS A SINGER .

THEY SAY HE WAS ALWAYS DIFFICULT . IT WAS TOUGH TO GET HIM TO COME TO RECORDINGS , BUT NO PLAYBACK SINGER TOOK MORE PAINS O
THE STAR ON SCREEN - HE COULD BE A DEV ANAND , A R AJESH K HANNA, A SANJEEV K UMAR , AN AMITABH BACHCHAN .

HE WANTED PEOPLE TO KEEP A DISTANCE FROM HIM , BUT HIS SONGS BROUGHT PEOPLE CLOSE TO HIM . WHEN YOU ARE VERY HAPPY OR VERY S

ON THE VERY EVENING HE DIED , WITH MOURNERS STILL PAYING THEIR LAST RESPECTS TO HIM AT HOME, DOORDARSHAN TELECAST A KISHORE
GAATE GAATE MAR GAYE ."

GOODBYE FRIEND AND STRANGER, ALWAYS SO NEAR AND SO FAR AWAY , EXASPERATINGLY DIFFICULT YET LOVABLE , FULL OF GUILE YET TRANSPA