Friday, 22 May 2015

Tanu Weds Manu Returns - Movie Review

The movie carries forward the plot of Tanu Weds Manu (2011), and we can see all the actors reprising their original roles. The film begins with Tanuja Trivedi (Kangana Ranaut) getting married to Manu Sharma (R. Madhavan), and what follows is an instant time leap of 4 years.The couple is now settled in London, but much has changed in the 4 years of their marriage. Both husband and wife are unhappy with the way their married life is shaping up. They visit a counselor, and get into a fight mid-session. The whole hullabaloo with the counsellor lands Manu Sharma in the mental asylum, while Tanu returns to her house in Kanpur. Enter Chintu (Mohammed Zeeshan Ayyub), a final-year law student who lives in Tanu’s house. He is attracted to Tanu and wants to marry her. On the other hand, Manu Sharma is now out of the asylum and is on his way back to his own house in Delhi. Unhappy with Tanu’s behaviour and the fact that she left him alone in London, Manu sends her a divorce notice. Meanwhile in Delhi, he comes across Kusum Sangwan aka Datto, who looks just like Tanu. One thing leads to another and romance starts blossoming between Manu and Datto, who soon decide to get married. Tanu gets wind of this marriage, and starts seeking Manu out. What follows is a roller-coaster ride that involves Tanu meeting Manu and Datto, hauntings of the past, and a delightful cinematic experience full of dance, drama, and comedy.
Full marks to writer Himanshu Sharma for making sure that the movie is filled with hilarious punctuations throughout. Last but not the least, after Tanu Weds Manu (2011) and Raanjhanaa (2013), director Aanand L. Rai has scored a hattrick with Tanu Weds Manu Returns. He has managed to make the movie completely different from the original, and still managed more than considerable relevancy to the 2011 prequel. The film caters to audiences across all age groups and mindsets. A complete package with edge-of-the-seat entertainment. Tanu Weds Manu (2011) was a film worthy of a sequel and Rai doesn’t disappoint.

Rating - 4/5

Saturday, 16 May 2015

Bombay Velvet - Review

The film, that's set in the era of 1949, welcomes the audiences with a track by Raveena Tandon Thadani (special appearance). On the other hand, while a young Balraj (Ranbir Kapoor) is busy taking his baby steps in this man-eat-man world, he also spends his time in the red light district nursing frustrations of seeing his mother getting slapped and abused. Youth throws him in the boxing ring of free-for-all fighting to earn some ready cash. He then comes across Chiman (Satyadeep Misra), who not just becomes his partner in crime, but also his friend for life. As they march ahead in life, they, gradually land up becoming the henchmen for Kaizad Khambata (Karan Johar), editor of the tabloid 'Torrent' and also a top wheeler-dealer. Impressed with his dare devil attitude, Kaizad appoints Balraj to manage his club named 'Bombay Velvet'. In addition to this, Kaizad also entrusts him with the task of wiping out the 'Communist's opposition to this 'Capitalist' plan. But he meets with a roadblock called Jimmy Mistry (Manish Chaudhury), editor of pro-labour class tabloid 'Glitz'. It is then, that the beautiful jazz singer Rosie (Anushka Sharma) is sent as a honey trap to lure Balraj by Jimmy. But the duo consummate their passionate romance and become inseparable. The henchman wants to have his share of the pie in the new money-order and that's when the drama turns bloody and what-happens-after. Meanwhile, Kaizad tries to adopt the policy of divide and rule between Balraj and Chiman. Does Rosie become successful in her role of a honey trap, does Kaizad become successful in separating the Balraj-Chiman duo and what ultimately happens to 'Bombay Velvet'... is what forms the rest of the story. 

The flip side of the film is that it tends to be way too lengthy in its first half. But the damage control of the first half's drag takes place in the film's enticing second half. It is in the second half the film's pace picks up with dramatic twists and turns, culminating it into a chilling and nail biting climax. The irony of the film is that while its length (148 minutes) plays a spoilsport, there is hardly anything in the film which could have been edited or snipped! In that case, one just cannot place the blame on the film's editors (Thelma Schoonmaker & Prerna Saigal). Besides the grandeur on which the film has been mounted, there are a handful of scenes in the film which are bound to catch your undivided attention. The introduction (bank) scene of Karan Johar and the sequences which follow it sets the tone and the direction of the movie. In addition to that, Ranbir Kapoor's fight sequences also form the highlight of the film. 

The connoisseurs will love the jazz music (masterfully put together by Amit Trivedi), but, somehow it won't find resonance with the regular film going audience in India that's grown up on simpler more relatable forms of music. The remix of the Geeta Dutt number 'Jaata Kahan Hai Deewane' from the yesteryear's CIDis the only song that will sway the mass audience. Wouldn't it have been better if Anurag had tried to rediscover Geeta Dutt brand of singing instead of the very niche jazz? All songs in the film are very situational. On the other hand, the film's dialogues (Gyan Prakash, Thani, Vasan Bala & Anurag Kashyap) are refreshing and their bunch of one liners are bound to hold your attention. The film's engaging and entertaining screenplay and neat cinematography (Rajeev Ravi) only add to the glitter of the film. 

Ranbir Kapoor has delivered one of his career's best performances in BOMBAY VELVET. There is a crazy energy around his madness that gets you hooked from start to finish. In spite of his roguish ways, there is an impetuous innocence in him that strikes you as an audience. The relentless attempts to rise from being a mere thug (laughed off by his masters) to almost-being a 'big shot' has a Jonathan Livingstone Seagull intensity that carves a place in your heart-n-mind. Anushka Sharma, on the other hand, looks beautiful and delectably sensuous. She manages to say a lot through her silences and deep tear-laden-eyes. There is a mischievous side to her as well and also the one that learns to dominate the domineering men. She excellently portrays the singing-on-screen. The gigantic emotion in 'Dhadaam Dhadaam' has been brilliantly portrayed by her. The love story between Rosie and Johnny is heartwarming and endearing, but there's too much of blood that's spilled to really savor the romance. After PK and NH10, Anushka seems to be coming of age with the selection of the right script and also the character driven association. She gets into the skin of the character she is playing. By the time the film ends, you almost forget Anushka, because your mind is already filled with the memories of Rosie. If you thought that Karan Johar was only about making larger than life candy floss romantic films, BOMBAY VELVET is bound to change the way you look at him. He is bound to stun everyone with his acting debut. He gets into his character so effortlessly that you can't think of anyone else having played that role so effortlessly. He is outstanding in a scene where he goes out of the room to laugh uncontrollably at Balraj's demands. There is a sharp comment on Johar's sexual preferences. He coins the name Johnny for Balraj while looking at a strategic location in Ranbir's anatomy. 

Special brownie points to the film's production designer (Sonal Sawant) for having created the 'Bombay' of the 1960's. The vintage cars, the buses, the trams, the roads, the building spare no efforts in transporting you in a different world altogether. Niharika Bhasin has tirelessly crafted authentic costumes and the detailing is bang on. 

On the whole, BOMBAY VELVET is a visual masterpiece that is rich in form. If you want to be wowed by the detailing of the 1960s, superb performances of Ranbir Kapoor, Karan Johar and Anushka Sharma, then go ahead and watch this film.

Rating - 2/5

Saturday, 9 May 2015

Piku - Movie Review

Courtesy: Piku, Facebook.
Piku is a story of a highly educated architect played by Deepika Padukone whose life is centered more around her father Bhaskar Banerjee (Amitabh Bachchan) than her own life and ambitions. Bhaskar suffers from constipation which is more in his head than in his body. He drives Piku mad with all his bodily concerns. A frustrated Piku vents out all her anger on the driver of the taxi which takes her to and fro her office hired by the company. Resultant? Every day the taxi reaches its spot badly destroyed. The taxi rental service is manned by Rana Chaudhury (Irrfan Khan) who tries to make Piku understand the ills of rushing his driver but she is determined. None of the drivers agree to take them to Kolkata next when Bhaskar decides to go to his ancestral home after a life-threatening medical situation. Rana is forced to take them to Kolkata by road since Bhaskar insists he wouldn’t go by train or plane. Thus begins a journey of self-discovery, subtle love and ah yes… emotion behind this motion!
Juhi Chaturvedi has managed yet again to come up with a tight script that never loses its plot. It has always been a story about constipation and bowels and she keeps the ball rolling till the end. The punches are hilarious and uncannily relatable. Deepika perhaps have landed the best role of her career with this film. Sircar really knows how to look for a gem and polish it. Her casual appeal is extremely likable. She spoke sporadically in Bengali, which sounded little rehearsed but was effective. Amitabh Bachchan mirrors every Bengali who has a pretty weird way of talking in Hindi. It’s Hindi with Bengali twang which sounds fabulously funny because it’s a fact. Irrfan Khan is wonderful and his subtle chemistry with Deepika wets your heart. Gestures are the biggest tool of conversation in this film. Follow them and you will love it all! What I liked the most is the relatable nuances that a Bengali will identify more with. Say, for example, the sudden excitement of finding a Bengali in a place far away from West Bengal. So when Amitabh Bachchan lights up at the mention of the name Rana Chaudhury (the surname is common in Bengalis as well), you know it’s all true. We have an incessant urge to connect with a person instantly and if you are a bong, hallelujah!!! There are more such small instances which will crack you up! Also, throughout the film Bachchan batted for his independent daughter. He even rebuffs his dead wife for giving up everything after marriage for her husband and child calling all such women doing so low IQ people! And guess what? Bongs believe it to the core!
Bengali or not, Piku is a mass family entertainer. This weekend, it will be a mistake not to catch up with her and her Baba’s shitty problems. It is a film that will leave you with tears in your eyes and smile on your lips towards the end.

Rating - 3.5/5

Saturday, 2 May 2015

Gabbar Is Back - Movie Review

GABBAR IS BACK is an official remake of the southern hit RAMANAA. It has the South Indian stamp of filmmaking written all over it. Ear-splitting-background-score, over-the-top action and humour emanating from strange food references like samosa-and-laal-chatni. One can also draw references with the recently released UNGLI which appointed a somewhat similar modus operandi for tackling corruption. GABBAR IS BACK's director Radhakrishna Jagarlamudi aka 'Krish' needs to be applauded for making a topical film at a time when the country is being swept by the corruption wave. Despite the fact that the film is a remake of the hit Tamil film RAMANAA, Krish makes all the possible efforts to give GABBAR IS BACK a feel that will surely touch everyone's heart alike. Despite this being his debut film, his story telling through his direction is praiseworthy! He does reasonable justice to the film's story (A. R. Murugadoss) and vice versa. 

The film starts off with the very righteous man Professor Aditya (Akshay Kumar) and his tryst with corruption. He is on a mission to infuse a sense of purpose and hope amongst his students in 'National College', the place where he teaches the five elements of survival, in both, theory as well as practicals! Besides being a professor, he is also a vigilante who functions under the name of 'Gabbar'. He and his team inject fear amidst the corrupt officers. The main mission of his team is to eliminate the corrupt individuals, from all the spheres of life, but... in a systematic manner. When he's not bashing up the bad guys, Prof. Aditya also finds time to go on coffee dates with Devaki (Shruti Haasan). There is also a back story of Aditya that finds him romancing his wife (Kareena Kapoor Khan in a cameo) and how tragedy strikes him, courtesy industrialist Digvijay Patil (Suman Talwar). While the laidback police officials are unable to nab Gabbar, it takes an enterprising 'English speaking' constable Sadhu (Sunil Grover) to get the vital clues and leads about the whereabouts of Gabbar and his team. The only problem with Sadhu is that, because he is a 'driver', none of his superiors take him seriously and always belittle him. Amidst all this, when the police and the government land up in a very tight spot because of their inability to nab Gabbar, they hire a razor-sharp topcop, who vows to nab Gabbar at any cost. And when he sees Sadhu's clues of nabbing Gabbar, he immediately offers him all the support that he needs. Do the police and government ever get to know the real 'Gabbar', do they decipher the reason behind these killings, will Sadhu land up playing a spoilsport in Gabbar's master plans or does Gabbar who has been exposing the corrupt, will himself come out before everyone and 'expose' himself... is what forms the rest of the film. 

As far as the performances are concerned, no prizes for guessing that the captain of the ship is none other than Akshay Kumar, the man who mouths the eternal dialogue 'Naam villain ka, kaam hero ka'. He is having a role befitting larger than life persona suiting a typical Bollywood Hero. He is earnest and it is clear that he believes in the actions of the protagonist. It is a departure from the comedies that Kumar has been associated with but it is no patch on the intelligent roles he has portrayed in SPECIAL 26 and BABY. Shruti Haasan, on her part, has this silly obsession with 'Google' facts that stops being funny after a point of time and lands up being irritating. At the same time, one cannot deny the fact that even though she has a small role, she looks beautiful. Sunil Grover is impressive. After being caught up in the garb of 'Gutthi' since a long time, he successfully creates an impact as an actor in this film. One just hopes that this film opens the proverbial door for this talented guy. Suman Talwar in the villainous role is too loud. The rest of the characters help in moving the film forward. 
On the whole, GABBAR IS BACK is an average entertainer which will draw huge footfalls over the weekend due to catchy massy title, action drama and the fact that it is releasing on a holiday. Post the weekend, the film will have to rely on 'PWD' (Performance on Week Days) to see it sail through. If you are sick and tired of corruption in India, then, you shall find GABBAR IS BACK inspiring, else you may find it boring and preachy.

Rating - 3.5/5

Friday, 1 May 2015

Manna Dey

Prabodh Chandra Dey (1 May 1919 − 24 October 2013), known by his stage name Manna Dey,  debuted in the film Tamanna in 1942, and went on to record more than 4000 songs from 1942 to 2013. The Government of India honoured him with the Padma Shri in 1971, the Padma Bhushan in 2005 and the Dadasaheb Phalke Award in 2007.
Dey sang in all the major regional Indian languages, though primarily in Hindi and Bengali. His peak period in Hindi playback singing is from 1953 to 1976.
Dey was born to Mahamaya and Purna Chandra Dey on 1 May 1919.  In 1943  he got his first solo break with Ram Rajya. Incidentally, the producer of the film Vijay Bhatt and its composer Shankar Rao Vyas had approached K C Dey with an offer for playback in the film. When K C Dey refused the offer on the grounds that he would not lend his voice to other actors, they spotted Manna Dey sitting in the corner of the room and offered him the opportunity.
His songs like "O Prem Diwani Sambhal Ke Chalna" from 1944 film Kadambari composed by Anil Biswas, "Dil Churaney Ki Liye from Dur Chaley" (1946) composed by Jafar Khurshid, his duets with Amira Bahee like "E Diniya Jara Suney" from Kamala (1946) and duet song "Aaj Bor Aayee" with Meena Kapoor from 1947 filmChaltey Chaltey became chartbusters in respective years. Between 1945-47 many Manna Dey-Rajkumari duets like "Hay Gagan Me Badal Tharey" in 1945 for the film Vikaramaditya, "Aowji Morey" from Insaaf (1946), all 4 duets from the film Geet Govind composed by Pandit Indra - "Kit Ho Nando Kumar", "Chorr Sakhi Aaj Laj", "Apney Hi Rang", "Lalit Labang Lata" from Geet Govind became popular.
He sang for first time songs composed by Sachin Dev Burman, Upar Gagan Vishal and Duniya Ke Logo in the 1950 movie Mashal, which became popular and from here his association with S.D.Burman began. Its lyrics were written by Kavi Pradeep.
His first duet with the then upcoming singer Lata Mangeshkar was "Lapat Ke Pot Pahaney Bikral" composed by Vasant Desai for Narsingh Avtar (1949) & with the then struggling singer Asha Bhosle was "O Raat Gayee Fir Din Aya" from 1953 film Bootpolish.
Manna Dey established his verstality between 1948 to 1954 by singing not only the classical based film songs but also singing such film songs which were fusion of Indian classical music and pop music and by giving classical music concerts. His experimentation with western music too produced many unforgettable melodies resulting in an increase in singing offers in films from 1955. 
By 1954, Manna Dey became popular among musical circle across film industries of various Indian languages. He became nationally famous after release of Do Bigha Zamin (1953) where two of the songs sung by him and composed by Salil Choudhury became hits.His association with Shankar-Jaikishan and producer Raj Kapoor had begun while working for Awara, but their combination became famous while working together for Boot Polish in 1954. The trio worked in many films together from 1954-1971 whose musical scores were appreciated, irrespective of their box-office fate, like Shree 420Chori ChoriMera Naam Joker.
His career reached in peak form when he recorded 95 Hindi songs in single year 1957 and 64 in 1958. His peak period in Hindi film industry is considered to be from 1953 to 1969 where he recorded 758 Hindi songs of which 631 came between 1957 and 1969.
New age composers like Kalyanji-Anandji started recording songs with Manna Dey from 1958 and Laxmikant Pyarelal from 1964. Rahul Dev Burman made Manna Dey sing the westernised songs – "Aao Twist Karen" and "Pyar Karta Ja" which became chartbusters in 1965. But the composers who gave Manna Dey consistent popular song numbers in commercially successful films from 1955-1969 were S.D.BurmanC.RamachandraRavi, Avinash Vyas, Vasant DesaiAnil BiswasSalil Choudhury and Shankar Jaikishan. The solo songs sung by Manna Dey like "Lapak Jhapak Tu Aa Re" from Boot Polish(1954), "O Gori Tori Tu Pyar Ka Sagar Hai" from Seema(1955), "Yeh Kahani Hai Diye Aur Toofan Ki" from Diya Aur Toofan (1956) composed by Vasant Desai, "Humdum Se Gaye" from Manzil (1960), "Aye Mere Pyare Watan" from Kabuliwala (1961), "Laga Chunari Mein Daag" from Dil Hi Toh Hai (1963), classical songs like "Sur Na Saje" from Basant Bahar (1956), "Kaun Aya Mere Mann" from Dekh Kabira Roya (1957), "Pucho Na Kaise Maine Rain" from Meri Surat Teri Aankhen (1963), "Jhanak Jhanak Tore Baje Payalia" from Mere Huzoor (1965); folk based songs like "Kisi Chilman Se" from Baat Ek Raat Ki (1962), "Ae Meri Zohra Jabeen" from Waqt (1965), "Chalat Musafir Moh Liya" from Teesri Kasam (1967), "Aao Aao Sawariya", and duets with Lata like "Masti Bhara Yeh Sama" from Parvarish(1958), "Nain Mile Chain Kahan" from Basant Bahar(1956), "Kehdoji Kehdo Chupaona Pyar" from Kismat Ka Khel (1956), "Tum Gagan Ke Chandrama" from Sati Savitri (1964), "Dil Ki Girah" from Raat Aur Din(1966), "Chunari Sambhal Gori" from Baharon Ke Sapne (1967), were chartbusters in their respective year of release. Credit is also given to Manna Dey for popularising classical based solo and duet songs to the masses like the duet with Lata – "Pritam Daras Dikhao" from Chacha Zindabad (1959), became a popular song though it was based on classical Raag Lalit. His rendition of "Kasame Vaade Pyar" from Upkar (1967) pictured on Pran and composed by Kalyanji Anandji won accolades for Dey, and was also significant in Pran’s career as he began to do positive roles.
Manna Dey gave playback for Raj Kapoor in Shree 420 (Mud Mud Ke Na Dekh), Chori Chori (Yeh Raat Bheegi, Jahan Main Jati and Aja Sanam), Parvarish (Masti bhara hai sama), Dil Hi To Hai (Laga chunari mein daag), Mera Naam Joker (Ae bhai zara dekh ke chalo) and "Ek Paon Chal Raha Hai" from Kal Aaj Aur Kal(1971). R.D.Burman recorded hit songs with Manna Dey regularly from 1965 with films like Bhoot BanglaGomti Ke KinareChandan Ka PalnaBaharon Ke Sapne,Padosan, in late 60’s. He sang for Balraj Sahni in many films from 1950 till 1969 and was voice of Mehmood and Anoop Kumar in many films from 1960-1975.
Among the new breed of singers which emerged after 1956, Manna Dey's duets with Suman Kalyanpur were popular making them a celebrated team. Their first duet was "Prem Bada Balwan Jagat" from Maayaa Nagri (1957) composed by B.N.Bali and since then have sung around 45 songs together. Their popular duets include "Tum Jo Aao" from Sakhi Robin (1962) composed by Robin Bannerjee, "Dil Se Jo Baat" from Al Hilal (1958) composed by C.Ramachandra, "Na Jane Kahan" from Zindagi Aur Khwab (1963), "Ye Din Hai Khushi Ke" from Jab Se Tumhe Dekha Hai (1963) and "Bheegi Hawaon Mein" from Shriman Sataywadi (1960)- all 3 composed by Dattaram Wadkar, "Aankh Mein Shokhi" from Reshmi Roomal (1960) composed by Babul, "Aao Hilmil Ke Nacho Re" from Jaane Anjaane (1970) composed by Shankar-Jaikishan and "Dil To Dil Hain Phool Bhi" from Dafaa 302 (1975) composed by Laxmikant Pyarelal.
Dey recorded popular duets with Mohd. Rafi, Dey sang 101 Hindi songs along-with Rafi which include 58 duets with Rafi such as "Ishq Ishq" (Barsaat Ki Raat) "Tu hai mera prem Devta" (Kalpana), "Mama o mama" (Parvarish), Duniyaan ke liye from Maan Gaye Ustaad (1981), "Main Hoon Tera Prem Aur Tu Ho Meri Pran" fromRahu Ketu (1979), the song "Hindustan Ki Kasam" from Hindustan Ki Kasam (1973), "Hum To Tere Hai Deewane" from Johar Mehmood in Hong Kong, "Badey Miya Diwane" from Shagird, "Ye Do Diwane Dil Ke" from Johar Mehmood in Goa, "Agar Dil Dil Se" from Shola Aur Shabnam (1961).
With Asha Bhosle, Manna recorded around 160 Hindi songs from 1953–1982 though their duets kept releasing till 1986 and their last song sung together was inTeri Maang Sitaaron Se Bhar Doon (1982). Popular duets of Asha-Manna Dey include "Ye Hawa Yeh Nadi Ka" from Ghar Sansar (1958), "Tu chupi hai kahan" from Navrang (1959), "Jodi Hamari Jamegi" from Aulad(1968), "Sanjh Dhali Dil Ki Lagi" from Kala Bazar (1960), "Aye Kash Chalte Milte" from Manzil (1960), "Na Tohh karvan Ki Talash Hai" from Barsaat Ki Raat (1960), "Jane Na Doonga" from Dadimaa (1966), "Re man sur me ga" from Lal Patthar (1971), "Zindegi hai khel" from Seeta Aur Geeta (1972) and "Paisa Daulat" from Dharkan (1972). Dey sang around 27 Hindi duets with Geeta Dutt from 1949 with the last being from Ziddi in 1964. The popular duets of Geeta Dutt-Manna Dey include both classical songs as well as those which have style of Twist dance, Rock & Roll, cha-cha-cha like "Aan aan milo" from Devdas, :O Mister Suno Ek Baat" from Agra Road (1957), "Karo Na Phere Gali Ke Mere" from Bengali film Gali Theke Rajpath (1959) composed by Sudhin Dasgupta, "Naya Naya Chand Hai Jee" Khuda Ka Banda (1957) starring actor Chandrashekar and composed by S.N.Tripati. The song "Picnic Me Tick Tick" from Piya Milan Ki Aas (1961) composed by S.N.Tripati is noted for Manna Dey yodeling and singing in a style which is known as forte of Kishore. With Lata Mangeshkar, Manna recorded around 103 Hindi duets of which songs like "Tere Bina Aag Yeh Chandni" from Awara, "Yeh raat bhigi bhigi" and "Aaja Sanam Madhur Chandni Mein" from Chori Chori, "Pyar hua iqrar hua" from Shree 420, "Woh Chand Muskaye" from Akhri Dao (1958), "Ritu aye", "Dil Ki Girah Khol Do" from Raat Aur Din (1966), "Aya Abdulla Aya" from Juaari (1968), "Soch Ke Ye Gagan Jhume" from the flop film Jyoti (1969) and "main buddho lambo lambo" of Buddha Mil Gaya (1971) are still extremely popular.
Kishore Kumar and Manna Dey had recorded only 6 songs together until 1968 and all proved to be hits, some of them being "Tubhi Piya Chikara Hoon" and "Tu Jaam Liye Jaa" from Bewakoof (1960), "Babu Samjho Ishaare" from Chalti Ka Naam Gaadi (1958) all three composed by S.D. Burman and "Baheta Pani Baheta Jaye" from Dhaake Ke Malmal composed by C. Ramachandra, "Joyo Joyo Mere Lal" composed by S.K. Pal in 1952 and their first duet together - "Subaho Ki Paheli Kiran" in 1951 from Andolan. In 1968, R.D. Burman brought them together for "Ek Chatur Naar" in Padosan. Reportedly the song "Ek Chatur Naar" (a duet by Kishore Kumar and Manna Dey) from Padosan (1965) was partly improvised by Kishore Kumar at the time of recording and Manna Dey, determined to show Kishore Kumar how he would sing the duet better (since Kishore had not been trained classically), got into the mood of the song and immortalised "Ek Chatur Naar". Though Manna Dey was disappointed that he loses to Kishore on-screen for the song at the time of film's release, they soon became good friends again by 1970. Later in an interview in 1987 Dey said that with the variety of songs – folk, pop, western and classical based songs sung by Kishore Kumar from 1968 to 1987, he was definitely greater than Dey himself and at par with Rafi and Mukesh. Dey recorded around 31 songs with Kishore from 1951 to 1987 and all of them became chartbusters. From 1969, after release of Aradhana, the highest in demand playback singer was Kishore Kumar, so careers of Mukesh, Rafi and Manna Dey were affected and they got lesser number of songs to sing. His peak period as a playback singer is considered to be from 1953 to 1969 and in the year 1969 it seemed that Dey’s career in Hindi films would be over due to resurgence of Kishore Kumar but he had an extended peak period till 1976. The song "Tujhe Suraj Kahun Ya Chanda" from Ek Phool Do Mali in 1969, S.D. Burman composition "Mitwa Mitwa Piya Maine Kya Kiya" from Us Paar (1974) and his duet with Shailendra Singh from Bobby – "Na Maangoon Sona Chandi" were a chartbusters in respective years. His song "Sawan Ki Rimjhim Main" was aired in non-film program section in Vividh Bharati and became popular on the radio.
He received a fresh lease of life in his playback singing career from 1971 after Rajesh Khanna allowed music directors to picturise or feature songs sung by Dey in films with Khanna in lead role beginning with Anand, composed by Salil Chowdahry. For Rajesh Khanna, Dey had sung songs "Zindagi kaisi hai paheli" (Anand, 1971), "Tum bin jeewan kaisa jeewan" and "Bhor Aaye Gaya Andhera" (Bawarchi, 1972), "Nadiya Chale Re" (song sung with Rajesh ands Dey), "Hasne ki chah ne kitna mujhe" (Avishkaar, 1973) and "Gori tori paijaniya" (Mehbooba, 1976). Later in a 2012 interview, Dey said, "I loved the way he picturised music. The success of a song depends upon how an actor picturises it. He was the number one in picturising songs. I will be ever indebted to him.From 1970-1983, he recorded around 503 songs used in Hindi films. Thereafter he became selective of the kinds of songs he sings and chose to do less work in Hindi.
The demand for Kishore-Manna Dey combination only grew after 1972. Their popular songs were "Mere Pyale Mein" from Aamir Garib (1974), "Is Ishq Mein Har" from Mr. Romeo (1974), "Yeh Dosti" from Sholay (1975), "Duniya Me Jeeney" from Naukri, "Kamal Hain" from Karz, "Phool Chaahiye Na" from Pyas (1982) and their last duet was in 1986 film Maqqar - "Tu Hi Mera Sapna". Salil Chowdhry compositions rendered by Dey from films like Ananad and Anadatta became popular as well. Also the trio of Rafi-Kishore-Manna Dey sang together hits like "Tujhme Ishwar, Allah Tujhme" from Nanha Farishta (1969) and "Band Mutthee" from Chalti Ka Naam Zindagi (1981). Kishore-Manna Dey together also sang with Asha in many films and famous among them are "Khan Chacha" from Dil Deewana (1974), "Aa Kitni Sundar Jagah" from Chandi Sona, both composed by R.D. Burman and with Lata in "Goyakechu Nanche" from Manoranjan (1974), "Logo Ke Juban Me Apna" from Nehla Pe Dehla, both composed by Pancham.
Lata and Manna Dey recorded fusion songs, which used both Indian and western instruments. Several such songs included the duets "Kaanhaa Bole Naa" and "Balma Moraa Aanchaar" for the film Sangat, composed by Salil Chowdhury in 1975, which became very popular and was picturised on Rakesh Pandey and Kajri. The song "Neela peela hara gulabi" is a famous Holi song sung by Lata with Dey in Aap Bete (1976). In 1974, Dey sang along with Lata-Kishore in the song "Goyakechu Nanche" from Manoranjan (1974) which became a chartbuster in 1974. Manna Dey continued to have hit Hindi songs to his credit from 1971 to 1986, such as "Dulhan Banungi" from Who Jo Hasina (1983), composed by Raamlaxman and sung with Lata, "Aankhon Ka Salaam Lo" with Lata-Rafi in Samraat, "Dilwaale Dilwaale" from Kranti (1981), "Yaari Hai Imaan" from Zanjeer, "Ye Duniya Hey Usi Ko" sung with Kishore-Usha from Suraksha (1979), "Tum Besahara Ho To Kisi" from Anurodh (1977), "Jo Likha Gaya Hai" from Umar Qaid (1975), among others. "Sab Kho Diya Sab Pa Liya" from Maqqar (1986), composed by Rajesh Roshan was the last duet of Lata-Manna Dey for a Hindi film and was a chartbuster. He worked with composers like Laxmikant Pyarelal, Kamlyanji Anadji, Pancham, Bappi Lahiri, Raam Laxman, Sonik Omi, S. Rajeswar Rao, Ravi, Rajesh Roshan extensively from late 70s to 1990 in Hindi films.
Since 1992, Dey withdrew himself from Hindi film music. But he continued to sing in Bengali movies, bhajans and gazals in different languages and appeared in live performances during 1992 to 2012 . His last live performance was in 2012 in Mumbai. His last recorded song in Hindi films was for the film Umar in 2006 composed by Shamir Tandon, Duniyawaalo Kee Nahee Kuchh Bhee Khabar, which he sang along with Kavita Krishnamoorthy and Sonu Nigam. He was presented the Filmfare Life Time Achievement Award in 2011.
On 8 June 2013, Dey was admitted to the ICU in a Bengaluru hospital after a chest infection gave rise to other complications. His health gradually improved and about a month later doctors took him off the ventilator support.
He died of a cardiac arrest at 3:45 pm on 24 October at Narayana Hrudayalaya hospital. Musicians, politicians, cricketers and other notable persons issued statements on his death.

May'15 Program Schedule

To 31-04-15
Old And New Hits Of BollywoodFrom 7.00 Hrs
To 7.00 Hrs
01-05-15Birth Anniversary Of Singer "Manna Dey" Listen His Songs. More Info About Him @ BlogFrom 8.00 Hrs
05-05-15Death Anniversary Of Music Director "Naushad"
Listen His Composition, Read More @ Blog
From 8.00 Hrs
09-05-15Death Anniversary Of Singer "Talat Mahmood" Listen His Songs. Read Blog for More Info About Him.From 8.00 Hrs
24-05-15Birthday Of Music Director "Rajesh Roshan"
Listen His Composition, Read More @ Blog
From 8.00 Hrs
25-05-15Death Anniversary Of Music Director "Laxmikant (Laxmikant Pyarelal)"Listen His Composition, Read More @ BlogFrom 8.00 Hrs