Sunday, June 29, 2014




With me is a Book Published by J&K Academy of Art Culture And Languages titled “ PRATINIDHI KASHMIRI KAVITAAYEIN ” . The Book has been edited by Dr Mohd Ayoob Khan “ Premi ” who has also done wonderful Hindi translation of Select Poems representing a cross section of kashmiri poets From Laleshwari ( Lal Ded ) to Sajood Sailani .The Book Has been published in 1975 and accordingly the later generation of kashmiri poets do not find a place in this Book . I am impressed by Dr Ayoob Premi’s Scholarship and deep knowledge of kashmiri culture and ethos .The foot notes at some pages are commendable . In his detailed foreword to the book ,The author expresses deep gratitude to Shri Dina Nath Naadim and Prof Rehman Rahi , Both progressive and Modern poets of kashmiri Language . Both poets have immeasurably helped Dr Premi in compilation of this Book.
Between Lal Ded and Sajood Sailani , Dr Premi has covered almost all other poets namely Sheikh Noor Ud Din ( Nund Reshi ), Habba Khatoon, Arinmaal ,Sochh Kraal ,Mahmood Gaami ,Rasul Mir ,Maqbool Shah Kralwari,Prakash Ram , Parmanand , Mirza kak ,Wahab parray , Wahab Khaar ,Ahmed Batwaari ,Muhammed waza ,Krishen joo Razdan,Abdul Ahad Azad ,Mehjoor ,Rasa Javidaani ,Master Zinda Kaul,Amar Chand wali ,Samad Mir ,Ahad zargar ,Mir Ghulam Rasool Nazki ,Dina Nath Naadim,Mirza Arif ,Gh. Nabi Ariz , Gh Nabi Firaq ,Amin kaamil ,Rehman Raahi ,Mohi Ud Din Nawaz Rattanpuri ,Makhan Lal Bekas , Mohi Ud Din Gowhar and Chaman Lal Chaman . At least two poems of each poet have been incorporated this compilation .
I have liked the compilation and the superb translation . I quote some select translation done by Dr Mohd Ayoob Khan Premi ..
Lines from a Kashmiri Poem of Haba Khatoon
(Tcholhamaa Roshe roshe 
Valo Myaani poshe madano
Valaai Veiss Gatchhavayee Aabus 
Duniyaa chhu Nendre Khwaabus 
Chhus Praaran jawaabus 
Valo Myaani poshe madno )
Hindi translation of Dr Ayoob Premi 
( Bhaage aankh Micholi Kar Ke
Meray Madan Suman Priya Aao
Aao Mast Chalein Panghat par 
Duniya mast Swapan Mein Pal Bhar 
Raah Nihaaruun Kyaa ho Uttar 
Meray Madan suman Priya aao )
Lines from a Kashmiri Poem of Abdul Ahad Azad

(Ghulama Chhussa Na Kaanh thhaaveium
Me Panjarunn Haankalan andhar 
Ivaan chum Zindagi Hundh Soz
Safarun Manzilunn andhar )
Hindi translation of Dr Ayoob Premi
(Daas Nahin Huun Bandh Jaaon 
Zanjeeron mein Hathakadiyon mein 
Jeevan Ka sangeet Mila Hai 
Puthh mein manzil ki Garriyon mein )

I request J&K Academy of Art Culture and languages to reprint the book and ensure its availability for a vast section of lovers of kashmiri poetry more particularly the apt Hindi translation of Dr Mohd Ayoob Khan Premi .
( Autar Mota 29.06.2014 )

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VASANT   DESAI  ( 1914 -1975 )

He was perhaps the only musician in  Mumbai’s  film world  who  had thorough knowledge of film technique and classical music.  A tragic  lift accident outside his flat , cut short  the life of this gifted  musician who  gave some memorable , haunting and melodious composition . Yes I mean  VASANT DESAI  ( 1914- 1975 )   ) who  joined Prabhat Film Company  in 1940 as a music assitant.
To describe his music , I shall only discuss four  movies . My mind goes to the 1959 super hit  GOONJ UTHI SHEHNAI. Thanks to Vasant Desai , the viewers were also made to enjoy the Shehnai of great Bismillah Khan   Sahib apart from a Jugal Bandhi  between him and the Sitar mastero Ustad Halim Jaffer Khan . The movie had some classical  vocal patches sung by Ustad Amir khan .The  comforting   tunes are still fresh in my mind . How can one forget the melody of almost all the songs that he composed  for this movie ? I quote some
(1 )  Jeevan Mein Piya tera saath Rahe
(2) Tere sur aur mere geet
(3) Akhiyaan bhool gayee hain sona
(4)  Haule haule goongat pat Khole
(5) Dil ka  Khilona haaye toot gaya
(6) Keh do koyi na kare Yahaan Pyaar

Prior to this he had also scored music for V Shantaram’s DO ANKHEIN   BAARAH   HAATH ( 1953 ). Can we forget his songs like “ Aey maalik tere bandhe hum “ , “Ho ummad ghumad ke aayi re ghata “and " Saiyaan  jhoothon ka bada sartaj nikla ”. For   the song “Sainyaan jhoothon ka badaa sartaj notikla”  ,  picturized on  talented Sandhya  ,he used wonderful  Ektaara  notes .
   ( Blessing Vijayantimala )

   ( With Bade Ghulam Ali Khan sahib)
Jhanak Jhanak Payal Baaje (1955 ) was purely based on dance theme, so he composed classical dance tunes. He used the voice of great vocalist Ustad Amir Khan for the title song  ( Jhanak jhanak payal baaje ) of the film. The movie had  talented actress  Sandhya and classical dancer  Gopi Krishna  in lead roles . Some memorable  classical tracks that he composed for this film are
(1) Jo tum todo piya
(2) Nain so nain nahin milaao
(3) Saiyan jaao
(4) Murli manohar
(5) Suno Suno Suno Ji

And then the 1968 “ Aashirwaad ” under  Hrishikesh Mukherjee’s banner . What a memorable music he scored for this movie?  “ Ek thha bachapan  ” remains my faourite to this day. Other songs that he  composed for this movie are  " Hum Ko mun Ki shakti dena " ,“ Rail gaadi chhuk chhuk chhuk  “, Jeevan se lambe hain bandhu yeh jeevan ke raste ” and “ Jhir jhir barse saawan akhiyaan saanwariya ghar aa “

He also scored music for many more films that include  Parvat Pe Apna Dera (1944), Subhadra (1946), Jivan Yatra (1946), Dr. Kotnis Ki Amar Kahani (1946), Matwala Shaayar Raam Joshi (1947), Uddhar (1949) , Pyaar ki Pyaas, Toofan Aur Diya (1956 ) , Yaadein (1964 ) , Guddi ( 1971 ) and Achanak (1973 ). He introduced Vani Jairam  ( Bole Re Papihara )in Guddi.

Though a highly talented musician, Vassnt ji could not market his immense talent in Mumbai's glitter  to join the  celebrity  group.  Add to that , he remained away from parties, liquor and tobacco. .This is the story of many a talented artists and musicians in  Mumbai's film world. Does  work and recognition travel by being a part of the system  that operates through networks,  brokers and lobbies ? .


                       ( Right to left  Vasant Desai , O P Nayyar and mangeshkar sisters )

Like Sahir Ludhinavi  ,  he was a bachelor passionately wedded to his Art and creativity.

Though a Maharashtrian , he  was proficient  in   Gujrati , Marathi , Hindi and Konkani  .

I end this  brief post on Vasant Desai  with a couplet of poet  Makhdoom ..

Bazm se door woh gaata raha tanhaa tanhaa
So gaya saaz pe  sar rakh ke sehar se pehley

( Avtar Mota)

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Saturday, June 28, 2014




TALAT   MEHMOOD (1924-1998 )

Although he started as a Gazal singer at AIR Lucknow, he moved to  Kolkata and then to Mumbai  to try his luck in films . Looking handsome and elegant ,he  also got offers to act in films  apart from singing under some renowned music directors that included  Anil Biswas ,C Ramchandra , Chitragupt , Madan Mohan , Khayyam, Naushad ,Shanker Jaikishen and Kalyan Ji Anand Ji.

About working in Calcutta and Mumbai ,  Talat once said:

 “ I  noted the difference between filming in Bombay and Calcutta. Unlike the more artistic Calcutta where movies were made at a slow pace, Bombay was commercial. Life was hectic. Everyone was  in his own world and was, of course, very professional.”

He   acted in more than 12 films with some  leading heroines  of those days  that included kanan Bala ,  Suraiya , Nutan , Mala Sinha and Nadira . His last acting performance   was  for  a 1958 movie  'SONE KI CHIDIYA  'with Nutan  . For this movie , O P Nayyar  had brought in Asha  and  made  the hero Talat Mehmood   sing some memorable songs .One song that became all time hit is  'PYAAR  PAR  BUSS   TO   NAHIN  HAI  MERA   LEKIN   PHIR   BHI .  '
After hearing the final recording of the song , O P Nayyar told Talat Mehmood :
“  Kyaa baat bhai ? Sahir Sahib ki  nazm ki saari  tanhaayi aur udaasi  aap ne  gaane mein  Nikhaar di  “.

And Talat was a king of his own style. Loved , sought after and  respected for his mannerism , elegant dresses and social etiquettes . Some memorable songs sung by Talat  that come to my mind at the moment are :-

1 Shame Gham ki kasam                           
2 Aey sanam aaj yeh kasam khaayein         
3  Itnaa na Mujh Se Tu Pyaar Badaa                           
4  Nazar Uthaa ki yeh Rangeen samaa rahey na rahe       
5 Mein Dil Huun Ek Armaan Bhara         
6 Aey meray dil kahin Aur chal       
7 Woh  zaalim Pyaar kyaa jaane 
8 Yeh hawa yeh Raat Yeh Chandini     
9 Chal Diya kaarwaan   
10 Hain sab se Madhur woh Geet       
11 Aey gham e Dil Kyaa Karuun 
12 Ishq Mujh Ko Nahin Wahashat hi sahi     
13 jaayein To Jaayein Kahaan 
14 Bechain Nazr Betaab Jigar     
15 Raat ne Kyaa kyaa Khwaab Dikhaaye     
16  Aankhon Mein Masti Sharaab ki     
17 Dekh Li teri Khudaayi   
18 Phir Wohi  Shaam Wohi Gham  Wohi Tanhaayi Hai     
19 Chamka Chamka  Subah Ka  Tara           
20  Raahi Matwaale         
Talat has sung  solo songs,  songs , duets , non film Geets , Gazals, Bhajans and  Naats   . He sang More than 30 Bangla popular songs . He sang , Malyalam , Tamil , Telgu , oriya ,Awadhi ,Assamese . Bhojpuri , Gujrati , Maarwari , Maraathi , Sindhi , and Punjabi  songs . He worked with almost all the lyricists of the film Industry . He must have sung about 900 songs .  I need to add something more that goes as under:-

(a) He was always elegantly dressed .  A two piece suit , enviable ties , polished shoes , stylish smoking  and his  soft voice attracted attention. He got his suits stitched from England .

(b) He had the largest gan following world over .  I quote a few like Maharaja of Patiala . Pandit Nehru , King Zahir Shah of Kabul,  President Anwar Sadat of Egypt and  General Thimaaya .

(c)  He always encouraged new comers . Radio singer Suman Hemmadey's ( later Suman Kalyanpur ) first film song was a duet with Talat Mahmood in "Darwaza". A total  newcomer, she made it  to the big league when Talat agreed to sing the duet with her. The film Industry took immediate notice of her talent  .

(d) He toured  the US, UK , Gulf  and West Indies   and had successful shows tickets for which were always fully sold in advance.

(e) Doordarshan's documentary on Talat Mahmood "Sham e Gham Ki Qasam" was a wonderful production..Viewers loved "Sham e Gham Ki Qasam" and Doordarshan was  always flooded with requests for repeat telecasts of this show.

(f) He had a romantic  image and  the largest fan following amongst women of all age groups.  He  was  always a  ladies man. They loved and adored him. But inspite all this female fan following  , he was never involved in any controversy or scandal. His music directors , co singers ,  female co-stars and even Dilip Kumar , Raj Kapoor  and  Sunil Dutt have  spoken extremely highly of his noble personality. His heroines would say that he is too shy for romantic scenes . He was equally misfit for fight sequences  in his films.
I conclude this mini post on Talat Mehmood with lines from a Gazal of Majrooh Sultanpuri...

Dahar mein Majrooh koyee jaavidaan mazmoon kahaan,
Mein jissay chhootaa gayaa woh jaavidaan bantaa gayaa..
Jis taraf bhi chal pade hum aabalaa paayaan e shauq,
Khaar se gul aur gul se gulsitaan bantaa gayaa....''

So long so much ..,

( Avtar Mota )

For the above photograph, i remain grateful and indebted to Khalid Mehmood son of the legendry singer.

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Music director N Datta was a simple man. He was born at Goa and was also known as Datta Nayak . N Datta and sahir created three masterpieces with superb music and lyrics . These films are Dharmputra ( 1961 ) and Dhool Ka Phool( 1959 ) and sadhana ( 1958 ). 

sahir recommended Asha to N Datta for some songs of Dharmputra . And he was right . Asha sang the memorable song "Mein jab bhi akeli Hoti huun" for Dharmputra.. 

For Dhool Ka Phool sahir wrote " Tu Meray Pyaar Ka phool hai ki Koyee bhool hai " . When lata ji sang it ,the song turned immortal. Sahir requested N Datta to give a song or two to Sudha Malhotra as well. And Sudha ji sang the beautiful " Ka se Kahuun Mun Ki Baat ".

While recording songs of Sadhna , lata ji choked with emotions thrice when she sang " Aurat ne janam diya Mardon ko ". She told sahir 
' sahir sahib ,yeh kyaa Shabdh Likhein hain. Gaa nahin Pa rahi huun. Mein shayad yeh gaana nahin gaa paaoongi.' and sahir Replied " lata ji agar aap nahin ga paayeen to hindustaan mein yeh gaana koyee nahin ga saktaa. " Lata asked for a glass of water and started singing once again. 

                                                             ( sahir with Lata Ji )

For the Bhajan " Tora Manwa kyon Gabraaye Re " sahir recommended the  comforting  voice of Geeta Dutt.That proved a perfect selection.

( Autar Mota 28.06.2014 )

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                                                      ( SAHIR LUDHIANAVI )



Sardar Begum ( Died 1976 ) , mother of Sahir Ludhianavi was from a Kashmiri Muslim family that had settled in Punjab. She was the youngest child of Abdul Aziz , a Kashmiri contractor of Ludhiana . She was well known to the family of Shorish Kashmiri and during the communal frenzy of 1947 , she was brought by this family to Lahore from Ludhiana. Sahir’s father , who had divorced his mother , had also moved to Lyallpur ( Now Faisalabad )from Ludhaina where he died in 1964.

Sahir was in Delhi when his mother moved to Lahore. He went to Lahore in September 1947 to bring her back to india. At the same time , his close friend Hameed Akhtar had come to Lahore from Mumbai. Hameed insisted on Sahir’s staying in Lahore . Very reluctantly Sahir agreed and started editing a newspaper after taking up rented accommodation at Abott Road opposite Nishaad cinema in Lahore . But he had to pack back when arrest warrants were issued against him for writing anti establishment editorials including one wherein he questioned the legitimacy of the 'Two Nation Theory' and attacked leaders who supported it . His belief in Marxism did not find favour with the rulers of the new born country . Once arrest  warrants were issued against him , Sahir fled Lahore and returned to Delhi . From Delhi, he requested his friend Prakash Pandit to go to Lahore to bring back his mother . And Sahir never agreed to the idea of partition and decided to stay in India. Sahir told his close friends that the new country created out of the blood of millions of innocent human beings will unfortunately be ruled by Mullas . In Mumbai ,another poet and lyricist Raja Mehdi Ali Khan also felt so and decided to stay in India when his close friend and writer Saadat Hasan Manto left for Lahore .

Staying for some time in Delhi, Sahir moved to Mumbai. To make both ends meet in Mumbai, he even copied manuscripts for publishers that also included Krishen Chander’s poorly handwritten pages . For this he earned Rs150 . With no regular income , he once sold his mother’s bangles to pay water and electricity bills . In spite of all this, he did not lose patience .He kept moving from studio to studio for work but did not get a break or work . And Ishar Kour , the Sikh girl whom he loved during his college days had also moved to Mumbai. She tried to look for him in vain and was finally married to a distant cousin by her parents . This all happened before Sahir landed in Mumbai. No one knows what happened to her thereafter.
And then One day, his friend Mohan Sehgal recommended him to S D Burman who stayed permanently in GREEN HOTEL located at Khar . Sahir landed at the Hotel early in the morning and knocked at the door of Burman Dada 's room. Dada was gracious and made him sit comfortably. Sahir introduced himself and spoke about the purpose of his visit to the hotel . S D Burman neither knew Urdu nor was much familiar with poetic nuances. He was essentially a composer . Burman asked Sahir to listen carefully to a tune that he had prepared for a film song and then pen words to fill up the tune .And Sahir wrote:-

 “ Thandi havaayein

Lehra ke Aayein

Ruut Hai jawaan

Tum ko Yahaan

Kaise Bulaayein ….”

A visibly overjoyed Burman jumped from his seat . He took Sahir to producer A R Kardar saying that the desired poet had arrived. When Lata ji sang the song, it was instant hit. Burman ensured Sahir’s song writing in more films including Jaal,Taxi Driver ,Munim ji , Devdass , House No 44, Pyassa and Funtoosh etc. For 1957 superhit movie Pyassa , Guru Dutt ,Sahir and S D Burman pooled their heart and soul .

                 ( left to right  Sahir , his mother Sardar Begum and a cousin of Sahir )

( Left to right ..Sahir , Majrooh, Naushad Ali , Jan Nissar Akhtar , R D Burman, Akhtar ul Imaan , Faiz Ahmed Faiz , Rajinder Singh Bedi )

"PHAILEE HUYEE HAIN SAPNON KI BAAHEIN" ....."My dreams have no boundaries”

House no 44 starring  Devanand and Kalpana Kartik, an overjoyed S D Burman kissed his hands. “Komaal hai ! Komaal hai ! ”Burman kept crying. And once Lata Ji gave her voice to the song, it turned immortal. Burman had already composed the tune and Sahir just filled in the words . Sahir’s style of emoting love in the surroundings of nature was simply remarkable .It gave a broader horizon to his lyrics. He would use clouds, rain , moonlight , trees , wind, leaves , rainbow, sunset , dawn, mountains . mist   and many other things to put forth the throb of a lover’s heart . Not many film lyricists have used this skill .The song shows Kalpana Kartik – the heroine of the film swinging and dancing around the picturesque trees surrounded with mist . She certainly conveys the experience of a young girl in the first flush of love. Burman Dada begins this composition with plucking sitar and the notes swiftly cascade to make the listener believe that it shall be a song based on some Hindustani Classical Raga . But then suddenly, we find the sitar making way for chords played by a guitar and the double bass with a ¾ rhythm. It shifts  almost to   a ‘Western Melody’. Suddenly , the sitar returns to tempt once more before Lata Ji’s golden voice floats over the violins and the flutes. Very creative use of the rhythms and orchestration in the scale of Shudh Kalyan by Burman Dada. As the song starts ,Lata Ji’s voice elevates up to the sky with lilting music , and – in Sahir’s words – ‘swings on a rainbow to touch the stars’.


Sahir also wrote “ Chup hai dharti “ another beautiful song for this movie on a tune already prepared by S D Burman.

(Avtar Mota)


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Geeta Roy or Geeta Gosh Roy Chowdhary was born at Faridpur ( now Bangla Desh ) to a family of landlords on 23rd November 1930 . She was one of the ten children born to Debendranath Ghosh Roy Chowdhuri and Amiya Devi. From East Bengal, the family moved to Kolkata and finally settled in Mumbai. Geeta has been a gifted singer since her birth. A little training under Hirendernath Nandi made her an accomplished singer and she started singing at the age of 16 years.

Though some assignments as a playback singer came her way immediately, it was S D Burman who gave her a major break in DO BHAI. Burman Dada offered her six songs in Baazi thereafter. And All the six turned all-time hits. After that, she never looked back.I quote some hot songs from Baazi:-

 (1) Suno Gajar kya Gaaye

(2) Aaj Ki raat Piya

(3) Tadbeer se Bigrri huyee taqdeer Bana le

 To the song “Tadbeer se bigrri huyee “, Burman Dada gave a Western touch to the general feel of the song. That made it a super hit. Devanand once said that almost all the officers of Jodhpur Airforce Station would come to a particular cinema hall in the city, buy tickets, see the song and leave. This was a daily affair for that cinema and that was the popularity of the song.

 Baazi was directed by Devanand’s close friend Guru Dutt. During the shooting of Baazi, a serious love affair between Geeta Roy and Guru Dutt also flourished. Geeta lived with her parents at Dadar while Guru Dutt had taken up a residence at Matunga, hardly 1 km away. They would meet quite frequently.

After Baazi, another directorial venture proved a big success for Guru Dutt. It was Jaal. Thereafter, Guru Dutt formed his own production house and married Geeta Roy on 26 May 1953 in spite of stiff opposition from his family. Their eldest child Tarun was born in 1954 followed by another son Arun in 1956 and a lovely daughter Nina in 1962. That made them happy. Geeta Dutt now sang for all the movies that Guru Dutt produced or directed. She sang some all-time great songs like:-

 (1 ) Waqt ne kiya kyaa haseen sitam for Kagaz Ke Phool .

(2) Aaj sajan mohe ang lagaa lo janam safal ho jaaye for Pyaasa.

(3) Na jao saiyaan churra ke baiyaan for Sahib Bibi Au Ghulam

(4) Jaane kya tune kahi for Pyaasa

 Other memorable songs that she sang are Babu ji dheere chalna , Jaata kahaan hai deewane , Mera naam chin chin ,Thandi hawa kaali ghata aa hi gayee jhoom ke , Mera sunder sapna toot gaya ,Kaisa jaadoo balam tune dara ,Piya aiso jiya mein samaayi gayo re,Aye dil mujhe bataa de ,Aan milo shaam saanware and many more.

PYASSA ( 1957 ) had brought Guru Dutt close to Waheeda Rehman. This proximity became a cause of great unpleasantness in his family life. It created a gap that widened with the passage of time. A chapter in the book “ YEARS WITH GURU DUTT – ABRAR ALVI’S JOURNEY ” makes you believe that Guru Dutt was almost ready to perform a Nikaah and marry Waheeda Rehman but for some reason spurned the idea at the last moment.

And then Guru Dutt completed Kagaz Ke Phool. Kagaz ke phool was perhaps a movie much ahead of its time. It proved a commercial disaster for Guru Dutt. He behaved abnormally after the failure of this project. He went into bouts of depression, and started some more movies like PROFESSOR and RAAZ but abandoned the projects halfway. He turned almost bankrupt. A sensitive Geeta was saddened and depressed with all this around her. It was during this period that Geeta Dutt took to drinking. She lost interest in work. She started refusing offers to sing. She refused to sing for S D Burman and O P Nayyar who considered her as their primary playback voice. Guru Dutt somehow managed to salvage himself and create another master piece CHAUDAVI KA CHAAND followed by SAHIB BIBI AUR GHULAM in 1962 . SAHIB BIBI AUR GHULAM was a commercial success. Things appeared to be settling down for Guru Dutt but Geeta had not given up her drinking and the family tension kept mounting. By 1964, Geeta had left Guru Dutt to live separately. She took her children along. Guru Dutt died in October same year. The tragic day of Guru Dutt’s death is described in detail in the book “ YEARS WITH GURU DUTT – ABRAR ALVI’S JOURNEY ”. I quote:-

 “That day Guru Dutt had some tiff with his estranged wife Geeta. He was having his drinks with Gole an Income Tax officer. I told them to have dinner as I was busy writing a scene. Geeta had refused to send their baby daughter to Guru Dutt so that he could spend some time with her. He kept calling her again and again and with each call his anger kept mounting. At last, he delivered an ultimatum: “Send the child or you will see my dead body.” I wrote the scene and asked Gole not to serve more drinks to Guru Dutt. I left for Lekh Tandon’s house at Napean Sea Road. I never saw Guru Dutt alive thereafter. And Inspite of her refusal to send the baby, Geeta Dutt could not sleep that night. She had some premonition as to what was going to happen. She was restless. She wanted to come personally to see her husband but her mother did not allow her to go alone at 2 am. She made many calls to Guru Dutt in the morning but the maid informed that sahib was asleep . Geeta kept calling after every half hour but failed to get any satisfactory reply. She finally asked the maid to break open the door and Guru Dutt was found dead. His driver used to buy Sonoril for him from a chemist’s shop in Khar. ”

 When Geeta came to know about Guru Dutt’s death, she had a major nervous breakdown. She could not recognize her own children for six months. She was in a financial crisis. Her brother Mukul Roy stood by her like a rock during this period. Some how she started her stage shows, acted in a Bengali movie and also sang again for the Hindi Movie ANUBHAV in 1971. All the three tracks ‘Koi Chupke Se Aake’, ‘Mera Dil Jo Mera Hota’ and ‘Mujhe Jaan Na Kaho, Meri Jaan’ sung for ANUBHAV were hits once again. These were her last recorded songs .But by now she had badly damaged her liver. This great artist with a magical ,husky and charming voice , finally breathed her last in a Mumbai hospital in 1972 . She died of liver cirrhosis . She was just 42 at that time. After her death, all the three children were looked after by Mukul Roy ( Geeta’s brother ).Mukul had quite often intervened for patch up between Geeta and Guru Dutt. In an interview, Arun Dutt, her son has said this :-

 "Mummy was an extrovert, a fun-loving, happy person, extremely generous, while my father was an introvert, an intense man. She was very sentimental and would fall for any sob story. Though they had their problems, she never let us witnesses them. We were more attached to her we hardly saw him [Guru Dutt]."


Bade shauq se sun raha tha zamana

Ham hi so gaye dastaan kehte kehte

Nasheman na jalta nishaani to rehti

Hamara tha kya theek rahte na rahte


( Avtar Mota )


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