Kishore Kumar: The all-rounder

Kishore "Baba" Kumar (born Kishore Kumar Ganguly) was one of India's greatest performers of late 20th century. Although he had no formal training as a singer, Kumar became one of India's best-loved vocalists, actors, and comedians. Kishore Kumar Ganguly, was a versatile/talented singer/actor and a man of different moods. He became a legend of sorts in Hindi film industry, which we fondly called Bollywood, due to his eccentricity while performing, romanticism, emotion, superb tonal quality of his voice and natural acting. He had an upper middle class background and a great pedigree.

Kishore Kumar inherited his love of music from his mother, a classical singer. His earliest influence came from K.I. Saigal, a well-known Indian vocalist and actor. Hoping to meet Saigal, Kumar traveled to Bombay in the late '40s. Although the meeting failed to materialize, Kumar was invited to join a chorus under the direction of Saraswati Devi and his singing soon attracted the attention of composer Khemchand Prakash. In 1948, Kumar was chosen by Prakash to sing "Marne ki Duayen Kyon Mangu" in the film Ziddi starring Dev Anand. Prakash later provided Kumar his first hit with "Jagmag Jagmag Karta Nikla Chand Poonam Ka Pyara.

During formative years he would ape the songs of another legend of his time, Mr.K L Saigal ("Babul mora......"--fame).

Kishore Kumar's first success as an actor came with the 1953 film Ladki. In addition to the commercial film Badhti Ka Naam Dadhi, he appeared with his brothers Ashok and Anup in the hit films Chalti ka Naam Gadi and Chalti Ka Naam Zindagi.

Kumar reached his peak in the mid-'60s. After achieving commercial success in the 1965 film Teen Deviyan, he followed it in 1969 with his most popular film, Anandhana.

Though Kishore Kumar hated being ordered around by directors, (who according to him didn't know their jobs most of the time) his films started to generated good revenues in the box office: New Delhi (1956), Asha (1957), Chalti Ka Naam Gadi (1958), Jhumroo (1961), Half Ticket (1962), Shreeman Funtoosh (1956) and Padosan (1968) are all time blockbusters, that managed to tie down Kishore to a busy acting schedule, so much so, that for a song in Sharaarat, Mohd Rafi, actually had to provide playback for him. In an industry, where comedy was seen as a filler or diversion from the main plot, there emerged in the form of Kishore, a hero who made comic acting an evolved art. Most of his films revolved around comedies and still gives enough entertainment, even today. Laughing, singing and dancing, Kishore was the complete comic hero, comparable to the likes of Bob Hope and Danny Kaye.

Moreover, his unconventional looks and personality only added to the fun to his attributes and could spellbound the audiendces. Even while playing second fiddle to the hero, Kishore added an extra zing to films: whether it was the pan chewing ustad of Padosan, who takes on the carnatic music maestro Mehmood in a musical duel or in his usually funny song and dance routine in movies like Miss Mary--all done with immaculate perfection and style unheard during those days. As a singer, he was unparalleled and virtually had an unchallenging career as far Mr.Bachchan's or Mr.Rajesah Khanna's moves are concerned: his songs coming as naturally as his laughter. His superb voice quality accompanied by innovating style took his music and singing to the new groove. His attempted semi-classical number, "Ke Page Ghunghuroo baje meera nache" gained him enough accolades during his time. Even after 20 years of his passing away, this song is still popular.

His ability to “yodel perfectly”, freak off into nonsense rhyme and still return to the original tune was exhilarating and could cast a spell among the audiences. For those are used to straightforward singing, this was heady wine. Mr. Sachin Deb Burman, the talented music director, made him do constant playbacks for Dev Anand during early days.

Who does not hum those tunes even today? From Paying Guest (Mana janab ne pukara nahin) to Nau Do Gyarah (Hum hain raahi pyar ke) to Funtoosh (Ai meri topi palat ke aa), he weaved his magic. And in the films in which he starred, from Bandi, Bhai Bhai, Looko Chhori (Bengali), Shararat, New Delhi, he yodelled his way through; Eena meena deeka, Mera naam Abdul Rahman, CAT Cat, Hum to muhabbat karega and the list endless to recollect at this point of time. He is, of course, best remembered for his own production Chalti ka Naam Gadi, where he starred with his brothers Ashok Kumar and Anoop Kumar and his wife then, the fabulous, Charming and Bollywood heart-throb-Madhubala.

Kishore Kumar produced, directed, acted and composed the music for Jhumroo, which is by any standard an enormous achievement, during his time. He then made an uncharacteristically serious film on the relationship between a father and his dumb son - 'Door Gagan ki Chhaon mein'. This 1964 film that Kishore directed, produced, scripted and scored music for, was a sensitive offbeat drama about a war hero Shankar (Kishore Kumar) who returns home from battle to find that his family had perished in a fatal fire. Only his young son (played by his real life son - Amit) has survived. The film proceeds to sensitively delineate the father's efforts to draw his shell-shocked son out of his self-imposed exile. This film was a classic in the genre of war movies, that preceded a spate of Vietnam war inspired films of Hollywood.

Many critics and fans were astounded by the depth of the story of the film which had the unstoppable comedian in a serious introspective, brilliantly sensitive portrayal.

It is worth noting that his 'Door Gagan Ki Chhaon Mein' went on to win many national and international awards. Its critical success was perhaps what motivated the making of 'Door Ka Rahi', another Kishore-creation that reveals touches of stylistic tranquility of 'Door Gagan Ki Chhaon Mein'. The heightened expectations of his fans, of seeing Kishore as a director, were never ever fulfilled by his other films - 'Badhti Ka Naam Daadhi' (1978) 'Zindagi' (1981) or 'Door Wadiyon Mein' (1982).

His evergreen songs, Baboo samjho ishare (with Manna Dey), Ek ladki bheegi bhagi si, Paanch rupaiya barah anna, Jaate the Japan pahoonch gaye Cheen (again with Manna Dey) and Haal kaisa hai janab ka (with Asha Bhonsle) still conjures our mind.

In many films, his comedy dwarfed other actors in the movies. I S Johar's Bewaqoof and of course that great comedy Padosan, with Sunil Dutt, Mehmood and Saira Bano are still remembered as his all time great comedies.There are many of Kishore Kumar tales which are heard in Mumbai (Bombay). The best is how when he was shooting for a Satyen Bose’s film in Mahableshwar. In that shoot, 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.

People say he was a miser, screamed that the taxmen took away all his earnings. But very few people know that Kishore Kumar secretly sent money regularly, month after month, to the widow of Arun Kumar Mukherjee. In fact, the truth is, she depended entirely on the money Kishore sent her. She herself confessed this to a friend. If Kishore had not helped, it is likely that the family would probably have been wiped out. Incidentally, Arun Kumar Mukherjee is the same person who used to visit the Gangulys at Khandwa and who was one of the first persons to appreciate Kishore Kumar's singing talent. Kishore Kumar sent money to a few other people as well. Nobody knows who they are and he himself kept the matter under wraps.

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. There is a story of Kishore Kumar that reveals another side to him. Bipin Gupta, known for his many character-roles in the Hindi movies produced the film Dal Mein Kala that was released in 1964. Satyen Bose was its director. The film starred Nimii and Kishore Kumar. Bipin Gupta was short of money and was compelled to cancel the shooting. Kishore Kumar, seeing the plight Gupta was in, ordered his driver Abdul to go home and bring Rs.20,000 in cash immediately. That was the amount Gupta needed. As soon as the money arrived, Kishore Kumar gave it to him personally. The film incidentally flopped, practically ruining Bipin Gupta.

He had angered former Prime Minister of India, Mrs. Indira Gandhi, when he refused to sing for the "Emergency Propaganda", during the emergency, and as a result all songs sung by him were banned by the national media at that time. Kishore Kumar was a walking contradiction. Although he didn't smoke, drink, or socialize, he married four of Indian film's most beautiful and ravishing leading ladies: Ruma Guha-Thakurta (the mother of his singer son Amit Kumar) was his first wife, Madhubala, Yogita Bali, and finally Leena Chandavarkar (mother of his yongest son Summet). Although he appeared in numerous comic films, his dreams of becoming a romantic hero like his brother, Ashok Kumar, never came to fruition.

Kishore Kumar was unstinting in crediting his popularity to the Burmans - father and son. It was S.D. Burman who made Kishore, the superstar singer of the seventies, when he chose him to sing 'Roop tera mastana, pyar mera diwana' for Rajesh Khanna in the superhit Aradhana. This together with the song that set the trend of wooing, 'Mere sapnon ki rani, kab ayegi tu' made Kishore the voice of the 'Chinky eyed sensation and the chocolate faced hero' Rajesh Khanna. S.D. Burman did more than just make Kishore a superstar singer. He helped him out when his marriage to Ruma Devi caused a split in the family, by making him sing 'Qusoor apka' in Bahaar and the song went to become a hit.

S.D. Burman made him the voice of Dev Anand much before Rajesh Khanna came on the scene. In Guide, Jewel Thief, Paying Guest and Munimji under S.D. Burman's expert hands, Kishore's talent was honed and fine tuned. 'Maana janab ne pukar nahin' and 'Gaata rahe mera dil' were some evergreen hits that Kishore sang for debonair Dev.

Another composer who placed implacable faith in Kishore was S.D. Burman's son, Rahul Dev Burman. The lack of basic training in music, never hampered Kishore's intuitive feel and enormous talent for music. After the decline of Rajesh Khanna, R.D. Burman and other composers were able to successfully exploit Kishore Kumar's voice for the superstar of all time Amitabh Bachchan--- Don, Sharabi, Mili, Amar Akbar Anthony, the list is endless. Kishore Kumar's ability to modulate his voice to suit the personality of his hero, and the ethos of the situation, made him a star. He was as much the voice of the dapper Dev, the adorable Rajesh as well of the aggressive angry young man Amitabh Bachchan.

Quite a few, who have known Kishore Kumar, put forward the view that he was not really eccentric but a very serious person at heart, very earnest about what he wanted to do but unfortunately, he was not always understood. As Mehmood characterizes it: "He was neither eccentric nor miserly, as many some people seem to think”. He was in fact a genius. He was a louder version of Raj Kapoor, an all-rounder who could handle every aspect of cinema but and all-rounder who enjoyed making noise and being noticed...".

Kalyanji, who takes a dispassionate view, says, "He had his moods, but that is an artiste's privilege. He had to be treated like a child if you wanted to get him to do anything...To get him to do what you wanted, you had to tell him exactly the opposite." Anandji's version is more matter-of-fact. He says: "Kishore Kumar wasn't the least eccentric. It's just that he didn't like people cheating him of his dues."

Kishore Kumar's ardent desire in his last days was to return to his native Khandwa, but that was not to be. His sudden death took everyone by surprise. Kishore Kumar's demise justify a void that imitators have failed to fill. The R.D. Burman follower and famous music director Bappi Lahiri, who looked upon Kishore Kumar, as his mentor says, 'I wouldn't be here but for him. From 'Chalte Chalte' to my last song, he sang ninety percent of my compositions. His death is not only a great personal loss to me, but a greater professional loss too. Now, I'll have to work harder to put in the fifty percent which he used to add'.

It was for Bappi Lahiri, that Kishore Kumar recorded his last song on October 12, 1987, a day before he died.

Profile of Kishore Kumar :

Name: Kishore Kumar Ganguly.

Birth: Khandwa, MP, 4th august 1929.

Death: Mumbai, Maharashtra ; 13 October 1987.

Cause: Heart attack.
Married to: Ruma Guha Thakurata, Madhu Bala, Geeta Bali & Leena Chandrawarkar.

Brothers: Anoop Kumar and Ashok Kumar .

Sons: Amit Kumar and Sumeet.

Profession: Actor, Director, Playback Singer, Composer.

Did play back for more than 200 movies, directed 8 movies and acted in more than 50 movies.

First movie acted in ‘Do Ghadi ki Mauj (1935); First song in movie: Shikari (1946)’. Last movie acted ‘Koun jeeta Koun hara (1988), last song in movie: Maalamaal (1988).