She is likely one of the three prime Hindi heroines who made their debuts with songless movies. Zeenat Aman, born November 19, has entered her 55th 12 months and superceded the 2 others—Reena Roy (Zaroorat) and Parveen Babi (Charitra)—in each reputation and career-span. Her personal Hindi debut was in Hulchul (one other songless drama) after doing the English movie, The Evil Inside, which by no means launched in India.
From ‘Chura Liya Hai Tumne’ to ‘Dum Maro Dum’: 10 cult songs of birthday lady Zeenat Aman
Zeenat not solely revolutionized the picture of a Hindi movie heroine—for good—however emerged as one in all our most musical stars within the decade to return. Capturing to fame because the drug addict Jasbir-turned-Janice in Dev Anand’s Hare Rama Hare Krishna (technically her third movie after the unsung Hungama, which had the candy Vinod Khanna-Zeenat duet, ‘Suraj se jo kiran ka naata’), Zeenat’s profession is studied with a number of hits, from which we select 10 songs which have achieved cult standing.
The ‘hep’ swinging picture that fused with Zeenat Aman after Hare Rama Hare Krishna was finest vocally embellished by Asha Bhosle, who turned her most-employed voice regardless of composer. On this Indo-Russian co-production, Zeenat performed Fatima, hero Dharmendra’s ally, and sashayed seductively this scorching R.D. Burman-Anand Bakshi serenade.
‘Hum dono do premee’ / Lata Mangeshkar with Kishore Kumar / Ajanabee (1974)
R.D. Burman and Anand Bakshi held joint and particular person sway within the profession of Ms. Aman, who broke conventional conventions however could possibly be at residence in all types of roles from conventional onwards. On this music, Shakti Samanta returned to a practice, a la Aradhana, for a music, and the trio delivered this rhythmic rhapsody.
‘Dum maro dum’ / Asha Bhosle / Hare Rama Hare Krishna (1972)
This was the music and likewise the movie that made Zeenat Aman the image of youth and the trendy, rebellious Nineteen Seventies. Not solely did Zeenat herself and Asha win awards, but when ever a music lastingly styled any heroine, it was this chartbuster. The Binaca Geet Mala annual topper was re-created in 2010 and that movie—centering round medicine like this one—was even titled after the chartbuster, with Deepika Padukone enacting it. R.D.-AB once more.
‘Aap jaisa koi’ / Nazia Hassan / Qurbani (1980)
One other iconic quantity, composed by NRI Biddu and written by the legendary Indeevar. The wealthy but trendy verse was good for the scenario, and a swinging Zeenat Aman accomplished the magic. Biddu and Nazia Hassan turned a well-liked composer-singer duo for some time.
‘Laila o Laila’/ Kanchan & Amit Kumar / Qurbani (1980)
Anandji (of the Kalyanji-Anandji duo) as soon as revealed that no music for this example was pleasing producer-director-actor Feroz Khan, so he recommended to lyricist Indeevar to write down lyrics with the phrase ‘Laila’ in them as that was Feroz’s daughter’s identify! Filial sentiment appeared to do the trick and we acquired Amjad Khan’s hottest music ever, including to Zeenat’s quantum of distinguished ditties in an all-hit rating.
Zeenat has accomplished a number of rain songs in her profession, and this amorously erotic hit was in all probability the topper amongst them. Pyarelal (of the Laxmikant-Pyarelal duo) has revealed that the whole music (composition, preparations and recording supervision) was accomplished by Laxmikant alone. Verma Malik wrote this mesmerizer.
‘Major na bhooloonga’/ Lata Mangeshkar & Mukesh / Roti Kapada Aur Makaan (1974)
The longest music then recorded (18 minutes in all variations), this Lata-Mukesh evergreen comes from one other all-hit rating, composed by Laxmikant-Pyarelal. Written by Santosh Anand, this stunning and sonorous melody stays arguably Zeenat’s most melodious hit ever.
‘Satyam Shivam Sundaram’/ Lata Mangeshkar / Satyam Shivam Sundaram (1978)
Raj Kapoor made Zeenat Aman give a devotional a tantalizing tenor with the visuals, and the synergy between the composition and poetry (by Pt. Narendra Sharma) led to a milestone in movie music. Laxmikant-Pyarelal have been Raj Kapoor’s composers of selection.
‘Do lafzon ki hai’/ Asha Bhosle, Sharad Kumar and Amitabh Bachchan / The Nice Gambler (1979)
Shot as a romantic croon on a gondola in Venice, this ethereal melody gained extra consideration than the movie’s extra transient hits over time. Placid and passionate in its Latin in addition to Hindi phrases, the music showcases Amitabh Bachchan’s and Zeenat Aman’s chemistry fantastically.
‘Chura liya hai tumne’ / Asha Bhosle and Mohammed Rafi / Yaadon Ki Baraat (1973)
Arguably one of the crucial beloved duets of this phenomenal star, this timeless creation by R.D. with Majrooh speaks of not simply easy but poetic lyrics however a chic tune, whose fundamental mukhda was impressed by the theme music of the Hollywood comedy, If It Is Tuesday, It Should Be Belgium. The composer not solely customary a guitar-driven delight but in addition gave Mohammed Rafi an unforgettable entry within the second verse.
