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.
Please send us the full text in romanised version of. Ay katib taqdeer mujhay itna bata day
I, H.Narayanan have a good collection of K L S’s songs in the form of C Ds.
Kundan Lal Saighal is undoubtedly God in human form and figure. Mr. Pran Neville’s book on this divine soul throws a lot of facts about His life and His immortal contributions to the universe. I have been a very enthusiastic listener of most of the hits of K L S. for the past sixty years or so and have written short articles about him in some of the leading newspapers. I look upon K L S as God and not a human being taking into account all his superhuman traits , instinct, qualities and dispositions. My son, Mr. N.Suresh Kumar too is extremely fond of the songs of K L S. He got me a book from the railway bookstall at Allahabad railway station on K L S written by Mr. Raghava S Menon when we had gone there in the year, 1988 and I am keeping this book and also that written by Mr. Pran Neville presented by my nice and nephew before a few years.
Sri, K L S’s songs will keep ringing in the corridors of time for ever . The greatest contribution to mankind, if at all by any human being is only that of Sri.. K L Saighal.
H.Narayanan.
What Saigal sang during his New Theatre days in Calcutta was and is for which the maestro is known. His ghazals of Ghalib, Seemabh, Arzu and others besides his soul stirring bhajans and geets are truly matchless. Then how about his dhrupad rendering for ‘Tansen’ – simply fabulous! I feel that songs of Shahjahan though popular were of an average quality.
Radio Ceylon (SLBC Asia Hindi Service now) plays this even today at end of its Purani Filmon Ka Sangeet one of his songs. You can listen it at around 7:55 am everyday from Website link on http://www.slbc.lk or via Tune in App/site
I will add “PANCHHI RE
Piya Milan Ko Jana is a Pankaj Mullick song. Not Saigal.