| 1 | '''Kishore Kumar (1929-87)''' |
| 2 | |
| 3 | |
| 4 | Actor, singer, director, music director and |
| 5 | producer born in Khandwa, MP. Moved to |
| 6 | Bombay and featured occasionally in |
| 7 | Saraswati Devi’s chorus at Bombay Talkies |
| 8 | where elder brother Ashok Kumar was the |
| 9 | top star. Imitated his hero, K.L. Saigal, e.g. in |
| 10 | the Khemchand Prakash song in Rimjhim |
| 11 | (1949). Early reputation as an actor who sang |
| 12 | his own songs mostly in slapstick comedies, |
| 13 | often playing the unemployed youth (Musafir, |
| 14 | Naukri). After New Delhi and Chalti Ka |
| 15 | Naam Gaadi, gained recognition for off-beat |
| 16 | humour and for providing a new musical |
| 17 | sound. His career as India’s most famous male |
| 18 | playback singer, certainly in the 70s, was |
| 19 | effectively launched when he became Dev |
| 20 | Anand’s singing voice with Ziddi (Marne ki |
| 21 | duaayen) and Munimji (1955: Jeevan ke |
| 22 | safar). Formally untrained, he assimilated jazzscat |
| 23 | fragmented musical notes into a rhythmic |
| 24 | sequence and, once its beat was established, |
| 25 | departed from the pattern and combined notes |
| 26 | and words/syllables into new kinds of musical |
| 27 | harmony in the 50s (largely restricted to |
| 28 | melody with the singer following the |
| 29 | instrumentation). Composer Kalyanji, with |
| 30 | whom Kishore Kumar pioneered the use of |
| 31 | electronic music, said that his riyaz (practice) |
| 32 | lay more in his skills as a mimic rather than in |
| 33 | technique. His songs spanned many genres: |
| 34 | Ina mina dika was the pinnacle of a USderived |
| 35 | popular song introduced by C. |
| 36 | Ramchandra in the 50s; he sang several ‘sad’ |
| 37 | numbers, esp. in films he directed and which, |
| 38 | contrary to his image, were often tragedies |
| 39 | (e.g. the song A chal ke tujhe in Door Gagan |
| 40 | Ki Chhaon Mein); practised yodelling in the |
| 41 | title song of Jhumroo and continued in later |
| 42 | films; sang about his income-tax harassment |
| 43 | during the Emergency and once, the legend |
| 44 | goes, he set the Malthusian theory of |
| 45 | population to music. Also evoked a tradition of |
| 46 | Bengali comic songs of e.g. comedians |
| 47 | Nabadwip Haldar and Tulsi Chakraborty, |
| 48 | some of Kazi Nazrul Islam’s compositions, |
| 49 | and later music of Ranjit Roy. The |
| 50 | unpredictability of his musical sequencing was |
| 51 | translated into his performances where the |
| 52 | slapstick comedy of Baap Re Baap, Half |
| 53 | Ticket, New Delhi and Chalti Ka Naam Gaadi |
| 54 | have been seen as one of the Hindi cinema’s |
| 55 | precedents of postmodernism: the apparently |
| 56 | ‘tribal’ music of Jhumroo is a pastiche of |
| 57 | Tequila; in Half Ticket, the classic chase |
| 58 | sequence has hero and villain dancing in |
| 59 | Nautanki garb and in a freewheeling Slavic |
| 60 | harvest number. His approach echoes Danny |
| 61 | Kaye’s style of comedy, but the performative |
| 62 | idiom is largely original although he refused to |
| 63 | claim auteur status. The songs, however, fall |
| 64 | into two fairly distinct periods: one as Dev |
| 65 | Anand’s singing voice, the other as Rajesh |
| 66 | Khanna’s playback voice after Aradhana |
| 67 | (1969), leading to classic Bachchan numbers |
| 68 | including the Don (1978) song, Khaike pan |
| 69 | banarasvala. In the 80s gave huge public |
| 70 | concerts in India and abroad. His Madison |
| 71 | Square Garden concert became a best seller on |
| 72 | cassette. His son, Amit Kumar, is currently a top |
| 73 | singer in Hindi films. |
| 74 | |
| 75 | |
| 76 | '''FILMOGRAPHY''' (* also d & music d/** also |
| 77 | music d): 1946: Shikari; 1947: Shehnai; 1948: |
| 78 | Sati Vijaya; Ziddi; 1950: Muqaddar; 1951: |
| 79 | Andolan; 1952: Cham Chama Cham; |
| 80 | Tamasha; 1953: Faraib; Ladki; Lehren; 1954: |
| 81 | Adhikar; Dhobi Doctor; Ilzaam; Miss Mala; |
| 82 | Naukri; Pehli Jhalak; 1955: Baap Re Baap; |
| 83 | Char Paise; Madh Bhare Nain; Rukhsana; |
| 84 | 1956: Aabroo; Bhagambhag; Bhai Bhai; |
| 85 | Dhake Ki Malmal; Mem Sahib; Naya Andaz; |
| 86 | New Delhi; Parivar; Paisa Hi Paisa; 1957: |
| 87 | Miss Mary; Aasha; Bandi; Begunah; Musafir; |
| 88 | 1958: Chalti Ka Naam Gaadi; Chandan; |
| 89 | Delhi Ka Thug; Kabhi Andhera Kabhi Ujala; |
| 90 | Ragini; Lookochuri; 1959: Chacha Zindabad; |
| 91 | Jaalsaaz; Shararat; 1960: Apna Haath |
| 92 | Jagannath; Bewaqoof; Girl Friend; Mehlon Ke |
| 93 | Khwab; 1961: Jhumroo**; Karodpati; |
| 94 | Madhya Rater Tara; 1962: Bambai Ka Chor; |
| 95 | Half Ticket; Manmauji; Naughty Boy; |
| 96 | Rangoli; 1963: Ek Raaz; 1964: Door Gagan |
| 97 | Ki Chhaon Mein*; Baghi Shahzada; Mr X In |
| 98 | Bombay; Daal Mein Kala; Ganga Ki Lehren; |
| 99 | 1965: Hum Sub Ustad Hain; Shriman |
| 100 | Funtoosh; Ek Tuku Chhoya Lage; 1966: |
| 101 | Akalmand; Ladka Ladki; Pyar Kiye Jaa; 1967: |
| 102 | Hum Do Daku*; Dustu Prajapati; Albela |
| 103 | Mastana; Duniya Nachegi; 1968: Do Dooni |
| 104 | Char; Hai Mera Dil; Padosan; Sadhu Aur |
| 105 | Shaitan; Shrimanji; Payal Ki Jhankaar; 1970: |
| 106 | Aansoo Aur Muskaan; 1971: Door Ka Rahi*; |
| 107 | Hangama; 1972: Pyar Diwana; Bombay To |
| 108 | Goa; Zameen Aasmaan**; 1974: Badhti Ka |
| 109 | Naam Daadhi*; 1978: Ek Baap Chhe Bete; |
| 110 | Shabash Daddy*; 1981: Chalti Ka Naam |
| 111 | Zindagi*; 1982: Door Wadiyon Mein Kahin*; |
| 112 | 1989: Mamata Ki Chhaon Mein (d only, |
| 113 | completed by Amit Kumar). |
| 114 | |
| 115 | [[Actor]] |
| 116 | |
| 117 | [[Music]] |
| 118 | |
| 119 | [[Director]] |
| 120 | |
| 121 | [[Producer]] |