His getting the Dadasaheb Phalke award only told a part of the story about Hrishikesh Mukherjee’s great contribution to Hindi cinema. This well liked, well educated Bengali gentleman started his career in New Theatre and then, moved on to assist the legendary director Bimal Roy in films like Do Bigha Zameen, Devdas and Madhumati.

In 1957, he directed his first film – Musafir – a story about three families, renting a house in quick succession. The theme depicted the ongoing cycle of birth and death in life. It was a flop. Laagi Naahi Chhote Ram- Lata Mangeshkar’s historic duet with Dilip Kumar is the only memorable thing about that film.

From his second film – Anari, his style of film-making – sensitive and sensible, a balanced mix of art and commerce, started wooing one and all. He captured the depth of human emotions with ease and had a special flair for comedy. Plus, his superb skill as film editor came in handy. That’s why so many of his films are considered forever classics.

On August 27, 2006, he breathed his last- three decades earlier on the same day, playback singer Mukesh had left for heavenly abode. Though their films and songs, both these great artists had woven rainbow of dreams for their audience and that’s why this Anand-song, a combined presentation from this pair rings so true with conviction –

Maine Tere Liye Hi Saat Rang Ke Sapney Chune, Sapney Sureele Sapney! 

Here’s a look at some of Hrishida’s milestone films.

Anari (1959) is a musical tale of a struggling simpleton artist (Raj Kapoor), falling in love with a rich heiress (Nutan), without knowing her true identity. The girl’s outwardly exemplary businessman uncle (Motilal) is actually a dealer of counterfeit medicines and when cornered, he tries to push the blame onto his niece’s lover. Finally conscience awakens and love triumphs. Lalita Pawar as the sharp tongued, warm hearted landlady Mrs. D’sa is the real show- stealer.

Anuradha (1960) was a sensitive story looking into the mind of a housewife (Le