Bollywood, a term that combines “Bombay” and “Hollywood,” is the popular name for the Hindi-language film industry based in Mumbai. Over the decades, it has grown into one of the largest and most influential film industries in the world.
Bollywood is known for its vibrant, high-energy films, which feature iconic song-and-dance sequences, dramatic storytelling, and musicality. From its early days of black-and-white films like Mughal-e-Azam and Pyaasa, which captured the essence of India’s cultural and social fabric, to blockbusters like Sholay and Kabhi Khushi Kabhie Gham, Bollywood has continued to evolve with the times. The influence of Bollywood is far-reaching, with Indian diaspora communities worldwide embracing Bollywood films, music, and actors. It has also shaped global pop culture, cementing its place as an iconic and powerful force in the entertainment world.
However, in recent years, the industry has experienced a decline in box office numbers, compounded by factors such as the rise of Over-the-Top (OTT) platforms and the global COVID-19 pandemic, which forced theatres to close for extended periods. Audiences, now accustomed to on-demand content, have gravitated toward digital platforms. This shift has led to a restructuring of how films are produced, marketed, and consumed. The focus has now shifted to a more nuanced storytelling, experimental filmmaking, and an exploration of real-world issues, aiming to propel its reach through both theatres and OTT platforms.
In addition to these challenges, Bollywood has faced major controversies, particularly after the tragic suicide of actor Sushant Singh Rajput in 2020. His death ignited widespread discussions about mental health, the pressures of the film industry, and the issue of nepotism. Many pointed to the favoritism shown to industry insiders and the lack of opportunities for outsiders, which led to accusations of a closed and biased system. Furthermore, reports of drug abuse within Bollywood, especially in the aftermath of Rajput’s death, fueled media scrutiny.
I don’t entirely agree with Sharad. He was equally good at simple numbers also, which Shankar Jaikishan and to some extent R D Burman exploited with reasonable success. I don’t understand how he could be dumped after the success of Chori Chori and Sree 420. He was for sure the most underrated singer in Bollywood. Even Shankar of SJ commented about him at the fag end of his career , “We have wasted him”. That speaks for itself.
The greatest compilation of Manna Dey is incomplete without the songs he sang for The great Anil Biswas.
I don’t entirely agree with Sharad. He was equally good at simple numbers also, which Shankar Jaikishan and to some extent R D Burman exploited with reasonable success. I don’t understand how he could be dumped after the success of Chori Chori and Sree 420. He was for sure the most underrated singer in Bollywood. Even Shankar of SJ commented about him at the fag end of his career , “We have wasted him”. That speaks for itself.
Of course sir, he sang simple songs too. One popular song of his on karaoke circuits is “zindagi kaisi hai paheli..”. Still Manna Dey leaves his trademark voice modulations in the song. I think we are both agreeing that Manna Dey was a singer par excellence who never got his due.
Manna Dey remains one of the most difficult singers to replicate in Karaoke circuits. His modulation of voice when he says “duniyawale” or “maa ka dil ban kar kabhi” will croak most voices. That is perhaps one reason why he never reached the top because most drunken party singers, bathroom singers and karaoke champs would shy away from singing his songs, for they would get stuck on the rubab modulation of “kabhi” in “ae mere pyare watan” song. Hindi film industry also found it difficult to find a hero who could render his songs convincingly on the screen, therefore many of his classical greats were picturised on comedians singing in tattered clothes and making funny (intended to be) face expressions to render his classical voice modulation.
You have forgotten Bhay Bhanjana, Sur Na Saje, Ketaki Gulab Juhi, Upar Gagan Vishal and his many great classical songs. He sang songs in almost all languages, Panjabi, Gujarati, Marathi, Assamese, Malayalam, Bhojpuri, Oriya, Nepali and others. He was top Bengali singer for many many years. His Bangla songs are a revelation. He was a better singer than all others, they were filmi singers, but he was a Complete singer. He could sing anything from tough classical raga based songs to light comedy songs, he sang ghazals also. His romantic songs are still heard on the radio. He used to daily riyaaz for 2-3 hours that is why he could give lot of performances even after crossing the age of 90. unfortunately he never got his due. Neither this article has done justice to him.