kishore always wanted to be a singer, but acting was thrust upon him, and he did his best to live up to it.

A Leo, Kishore was also known for his mad-cap comedy movies, and for his eccentricity as he used to ‘talk’ to his trees in his home, and having put up a sign ‘Mental Hospital’ right outside his residence in Khandwa.

He was also parsimonious, so much so that he was in arrears to the Indian Income Tax authorities, yet never missed a chance to make fun of them (Aur Peechey Pad Gaya Income Taxum, Jai Govindam Jai Gopalam).

When he refused to endorse former Indian Prime Minister’s 20 point Programme during the 1975-1977 Emergency, he was banned from the Government-controlled media namely All India Radio and Vividh Bharati. Even duets with his voice were censored.

He refused to lend his voice to Bollywood mega-star Amitabh Bachchan, when the later refused to do a guest appearance in a Kishore-produced film.

He introduced his son, Amit, to sing, often along with him, and then amazed his fans by marrying widowed Leena Chandavarkar, who was just two years older than Amit.

In the comedy ‘Badti Ka Naam Dadhi” he included the song ‘Karne Chaley Shaadi Meri, Khud Ban Baithey Dulha’, sung by Amit in the movie hilariously chastising his dad for getting married, instead of searching for a bride for his son.

Birthplace: Khandwa
Profession: Playback Singer, Bollywood.

Kishore Kumar’s was the second golden male voice that the film industry produced. , the first being that of Kundan Lal Sehgal. Besides being a singer, Kishore was a talented actor and comedian who stood out for his performances. He made his mark as an accomplished film and music director.

The traditional concept of a comedian has always been one of lowly stature, that of a sidekick. It was Kishore Kumar who successfully became Hindi cinema’s comic hero whose popularity relied primarily on his comic talents. Add to that his phenomenal acting talent and amazing singing voice and you have a performer who bordered on the genius. And like most geniuses he was notoriously eccentric!

He was born as Abhas Kumar Ganguly in Khandwa. As a child, he had been mischievous and loved playing pranks on everyone around him. His penchant for effortless comedy perhaps, came from his early days of pranks and mimicry. And there were directors like Kalidas (Half Ticket) and Satyen Bose (Chalti Ka Naam Gaadi) and actor-director Keshto Mukherjee (co-star in Padosan) who realised this potential and cashed in on his unusual brand of humour with stupendous success.

At the age of 18, he came to Bombay where elder brother Ashok Kumar was a major star. He got his first opportunity as a singer in Bombay Talkies Ziddi (1948) where he sang the song Marne ki Duayen Kyon Mangu for Dev Anand. Being an ardent admirer of K.L. Saigal, the song was sung in the style of the legend. But in spite of Ziddi’s success, Kishore found few offers forthcoming and did the odd singing assignment with bit roles making a rather tepid acting debut as hero in the forgettable Andolen (1951). At the age of 18, he came to Bombay where elder brother Ashok Kumar was a major star. He got his first opportunity as a singer in Bombay Talkies Ziddi (1948) where he sang the song Marne ki Duayen Kyon Mangu for Dev Anand. Being an ardent admirer of K.L. Saigal, the song was sung in the style of the legend. But in spite of Ziddi’s success, Kishore found few offers forthcoming and did the odd singing assignment with bit roles making a rather tepid acting debut as hero in the forgettable Andolen (1951). After his marriage to Ruma Devi resulted in a split in the family, Kishore approached S.D. Burman who had given him an opportunity in Pyar (1950) where interestingly he had sung for Raj Kapoor. Burmanda gave him the song Qusoor Aapka in Bahar (1951) which became a hit. As he got more singing assignments, he also began being offered leading roles in films. Kishore was initially taken quite lightly as a singer and was given mainly lighter songs by Burmanda and other music directors. But with the soulful Dukhi Man Mere from Funtoosh (1956), Kishore was now taken seriously as a singer. Though he was formally untrained, he assimilated jazz-scat fragmented musical notes into a rhythmic sequence and once its beat was established, departed from the pattern and combined notes and words/ syllables into new kinds of musical harmony.

Kishore reached his peak as an actor with the zany comedy Chalti ka Naam Gaadi (1958) which starred all the three Ganguly brothers and Madhubala. Kishore and Madhubala matched each other step for step in this comic caper with Burmanda composing such lighthearted ditties as Haal Kaisa Hai Janaab Ka and Paanch Rupaiya Barah Anna. After Kishore’s marriage to Ruma Devi disintegrated, he married Madhubala. The two starred in Jhumroo (1961), which Kishore produced and directed. He also composed the music of the film. The riotous Half Ticket (1962) with the two of them saw Kishore at his madcap best impersonating a 12 year old!

For all his eccentricity, Kishore married some of the most beautiful women in India. First Ruma Guha-Thakurta (the mother of his singer son Amit Kumar), then the beautiful Madhubala (whom he literally nursed for years till her death), Yogita Bali (niece of the great Geeta Bali) and finally Leena Chandavarkar. There are any number of Kishore Kumar tales to be heard in Mumbai. The best is how when he was shooting for a Satyen Bose film in Mahableshwar, he was supposed to come out of a bungalow, get into a car and go past the gate. After a couple of retakes, Kishore got into the car and drove past straight to Bombay while the entire unit waited for him to return. Night fell, but there was no sign of the man. To make matters worse, the car belonged to the producer. He was a miser, screamed that the taxmen took away all his earnings. And considerable earnings they were too: he charged Rs 15,000 per song. He charged one rupee less than Lata Mangeshkar to show his respect for her and her seniority. And he talked of going back to Khandwa to become a farmer.

He shunned people, never smoke or drank and had no friends. Once when a lady gossip writer asked him who his friends were, he took her to his backyard and introduced her to half-a-dozen trees. There they are, he said, Janardhan, Raghunandan, Gangadhar, Jagannath, Budhuram and Jhatpatjhatpat-jhatpat! The lady wrote that he was mad.

Door Gagan ki Chaon Main (1964) further confirmed Kishore’s acting talent as he scored heavily in a rather serious film. But the 60s also saw Kishore fall from grace as beset by tax problems he was reduced to doing B-films with the likes of Kum Kum. He had the odd singing assignment for Dev Anand in Guide (1965) and Jewel Thief (1967) but that was all. The turning point came with Aradhana (1969).Though Burmanda used Kishore as what he called his second service, his songs for Rajesh Khanna – Mere Sapnon ki Rani and Kora Kagaz Tha Yeh Man Mera proved super duper hits ahead of the Mohd. Rafi songs for the same film. It was a second coming and there was no turning back. Kishore formed a solid hit pairing with Rajesh Khanna and in the early 70s the duo churned out hit after hit. He overtook all competition and was the undisputed number one male playback singer of Hindi films, his voice pulsing with verve and exuberance.

As his fame grew so did stories of his eccentricities. He put up a board outside his house saying ‘THIS IS A LUNATIC ASYLUM.’ He reportedly spoke to his trees in his backyard addressing eachMby a special name. He zipped through a marriage with Yogita Bali which lasted just about a month and then married his fourth wife Leena Chandavarkar who was two years older than his son, Amit!

Kishore remained at the top till the very end succumbing to a major heart attack in 1987. The singer left for Mumbai when he was 18 years old but never failed to tell people that he hailed from Khandwa. But his wish to spend the twilight of his life here was never fulfilled. He succumbed to a heart attack in Mumbai on October 13, 1987. His body was subsequently brought to Khandwa. It was placed in the room where he was born.
Awards And Honors :
Award    Song – Movie
Filmfare Award – 1985    Saagar kinare – Saagar
Filmfare Award – 1984    Manzilen apni jageh – Sharabi
Filmfare Award – 1983    Agar Tum Na Hote – Agar Tum Na Hote
Filmfare Award – 1982    Pag Ghungroo – Namak Halal
Filmfare Award – 1980    Hazar rahen – Thodisi Bewafayi
Filmfare Award – 1978    Khaaike Paan Banaaras Wala – Don
Filmfare Award – 1975    Dil ayesa kisi ne mera toda – Amanush
Filmfare Award – 1969    Roop tera mastana – Aradhana

Best Of Kishore Kumar:
Song    Movie
Nahin Nahin Abhi Nahin     Jawani Deewani
Aane wala pal jane wala hai     Gol Maal
Mere Saamne Waali Khidki Mein     Padosan
Chingari koi bhadke     Amar Prem
Raat Kali Ek Khwaab Mein Aayi     Budda Mil Gayaa
Dekha Ek Khwaab     Silsila
Aa Chal Ke Tujhe, Maein Leke Chalun     Door Gagan Ki Chaaon Mein
Humain tumse pyaar kitna     Kudrat
Yeh Jeevan Hai     Piya Ka Ghar
Tere Mere Milan Ki Ye Raina     Abhimaan
Zindagi Ka Safar Hai Ye Kaisa Safar     Safar
Tum aa gaye ho noor aa gaya hai     Aandhi
Sach Mere Yaar Hai, Bas Wohi Pyaar Hai     Saagar
Pal Pal Dil Ke Paas Tum Rehti Ho     Blackmail

Who do you call a legend – an original inimitable warbler, who refuses to be wiped off one’s memory even after 12 years of his passing away, a singer unsurpassed, an incomparable actor and a genius who could script, write lyrics, raise ludicrous situations in films with his one liner punches and characteristic humour along with enacting grief and pity with equal ease.

Kishore – the actor or Kishore the singer, whose school of individualistic technique remains unparalleled till today despite as many as a score of imitations spawning the musical brigade.

Well, if one is Kishore Kumar- born Abhas Kumar Ganguly at Khandwa in Madhya Pradesh – whose rich masculine (if it doesn’t sound too crude a word) and sonorous singing did not merely follow music composer’s instructions to interpret the deep rooted emotions in the lyrics but added his own verve, style and zest to any playback that he called to perform, one could just about attempt anything.

In a way, his renditions made it simpler for some of the lead actors to lip sync and walk away with all the accolades for their easy manners. Kishore Kumar, a die hard K L Saigal fan, would originally, model his singing on his mentor and idol’s singing pattern, little realizing that the erstwhile ‘guru’ of the then modern singing (the only forms of music popularized those days were either Bhakti or classical style of music, had a unique pathos ridden twang that swept millions of fans across the land.

But Kumar recovered early enough to pattern himself on some of the western influences he had had and soon after emerged a distinct voice that enthralled every music aficionado.

Strangely, it wasn’t music that brought him to the world of films- his elder brother, an established name in Mumbai, had recommended his name to producers to allow him to try his hand at acting initially. Though acting in films did prove to be hugely successful, it’s true glory and recognition came much later when the film industry woke up to his immense talent as a writer, actor and of course a singer.

As a child, he had been mischievous and loved playing pranks on everyone around him. His penchant for effortless comedy perhaps, came from his early days of pranks and mimicry. And there were directors like Kalidas (Half Ticket) and Satyen Bose (Chalti Ka Naam Gaadi) and actor-director Keshto Mukherjee (co-star in Padosan) who realised this potential and cashed in on his unusual brand of humour with stupendous success.

One rare quality attributed to him is the exceptional and matchless style of yodeling which he brought in on his own. The robustness, stylistic and dulcet range that he displayed in the songs with his voice breaking to create a novel listening experience has yet to find a replacement.

Kishore Kumar would have been 78 Saturday, but chances are that the irrepressible, versatile playback singer-actor would still have been yodelling away like he did so many decades ago in the title track of “Jhumroo” had he been alive.

His was the voice that gave us unforgettable moments in the joyous “Paanch Rupaiya Baara Aana”, the soulful “Zindagi Ka Safar”, the romantic “Pal, Pal Dil Ke Pas” and the foot tapping “Eena Meena Deeka” that has people doing the twist even 50 years later.

They say there can never be another Kishore Kumar, and they are probably right. Where else would you get not just the voice but also the actor who made you laugh and cry with his tomfoolery and intensity. Just take the hilarious theatre guru in “Padosan” and the sombre “Door Gagan ki Chaon Mein” as cases in point.

The singer-actor died of a heart attack on Oct 13, 1987, leaving behind legions of followers – and imitators.

Music composer Bappi Lahiri gets emotional when talking about the legend, often known to be mercurial particularly in his later years.

“He is an irreplaceable and immortal singer-composer-actor-comedian-performer. There won’t be any Kishore Kumar ever again. He cannot be compared to anyone. Just like legendary singers like Elvis Presley, Mohammad Rafi and Lata Mangeshkar, he has no comparisons,” Lahiri told in an inerview.

Many budding composers wish they had a chance to work with him.

Said Neel Dutt, music director of “The Bong Connection”: “I regret I will never get a chance to compose a song for him. Though he is not with us today, Kishore Kumar lives in every singer. He has been an inspiration for anyone and everyone related to music.”

Kishore Kumar was a multi faceted genius of the Indian film industry. He was an inimitable comedian, a melodious composer, a perfect director, a sensitive lyricist and above all a brilliant and matchless play back singer. So immense has been his contribution that even after 20 years of his death he is still remembered with great admiration and reverence.

Kishore Kumar was born in Khandwa, Madhya Pradesh, on the 4th of August 1929. When he was in college, his elder brother, Ashok Kumar was already an established actor. After passing out, he decided to make a foray into the film industry. While he did small roles, renowned music director Khem Chand Prakash spotted the singing talent in him.

He began to hone the hidden talent in the young boy. Later on he was roped in by S.D. Burman. Kishore in the meanwhile managed to carve out a niche for himself as an upcoming comedian. In 1958 he produced and directed a movie named Chalti Ka Naam Gaadi. The movie was a block buster. Kishore Kumar had finally established himself as a number one comedy actor.

While acting he also sang many super hit songs for the then super star Dev Anand. After a string of failures( except for Padosan 1968) he decided to give up acting as a career and instead concentrate on play back singing. Then came the first major break as a play back singer. The song Mere Sapno Ki Rani from Aradhana, swept the nation. Kishore Kumar-the singer had arrived. Like a giant he strode over the music industry, thereafter. His songs became such a rage that star cast hardly mattered in films. Almost all the famous directors, music directors, music companies and producers relied heavily on him to deliver hits. So touching and soulful was his rendition that a trained classical singer like Rafi was relegated to the second spot. Kishore Kumar’s rich mellifluous voice and matchless style helped him retain his number one spot till his premature death in 1987.

Died he may have, but the legend lives on…..!

Original Name: Abhas Kumar Ganguly
Date of Birth (Birthday): 4 August, 1929
Date of Death: 13/10/1987
Eye Color: Black
Hair Color: Black
Birth Place: Khandwa, Madhyapradesh
Religion: Bengali
Marital Status: Married – Four Times
Languages: Hindi, Bengali
Family Background
Mother’s Name: Gouri Devi
Brother(s): Ashok Kumar and Anup Kumar
Sister(s): Sati Devi
Spouse: Yogeeta Bali, Leena Chandavarkar, Ruma, Madhubala
Son: Amit Kumar Ganguly, Sumit Kumar Ganguly

Film Background (Filmography)
Film Career: He was one of the best comedy actor as well as one of the best singer, music composer, script writer
Debut Film: As an Actor – Shikari
Famous Movies: As an Actor – Sun Sajna, Door Wadiyon Mein, Chalti Ka Naam Zindagi, Shabash Daddy, Ek Baap Chhe Bete, Love In Bombay, Badti Ka Naam Dadhi, Pyar Diwana, Door Ka Rahi, Hungama, Aansoo Aur Muskan, Beti, Do Doni Char, Haye Mera Dil, Padosan, Payal Ki Khankar, Sadhu Aur Shaitan, Shrimanji, Albela Mastana, Duniya Nachegi, Hum Do Daku, Devar, Akalmand, Ladka Ladki, Pyar Kiye Jaa, Hum Sab Ustad Hain, Shreeman Funtoosh, Baghi Shahzada, Daal Mein Kala, Door Gagan Ki Chhaon Mein, Ganga Ki Laharen, Mr.X In Bombay, Ek Raaz, Manmauji, Naughty Boy, Rangoli, Bombay Ka Chor, Half Ticket, Jhumroo, Karorepati, Apna Haath Jagannath, Bewaqoof, Girl Friend, Mehlon Ke Khwab, Chacha Zindabad, Jaalsaaz, Shararat, Chalti Ka Naam Gaadi, Chandan, Dilli Ka Thug, Kabhi Andhera Kabhi Ujala, Raagini, Miss Mary, Musafir, Aasha, Bandi, Begunah, Aabroo, Bhagambhag, Bhai Bhai, Dhake Ki Malmal, Mem Sahib, Naya Andaz, New Delhi, Paisa Hi Paisa, Parivar, Baap Re Baap, Char Paise, Madh Bhare Nain, Rukhsana, Teen Tasveeren, Dhobi Doctor, Ilzam, Miss Mala, Naukri, Pahli Jhalak, Adhikar, Fareb, Laharen, Cham Chhama Chham, Andolan, Muqaddar, Sati Vijaya, Ziddi, Shehnai
Film Awards: Award for Best Male Playback Singer for his songs in Sagar, Sharabi, Agar Tum Na, Namak Halal, Thodisi Bewafai, Don, Amanush, Aradhna

The traditional concept of a comedian has always been one of lowly stature, that of a sidekick. It was Kishore Kumar who successfully became Hindi cinema’s comic hero whose popularity relied primarily on his comic talents. Add to that his phenomenal acting talent and amazing singing voice and you have a performer who bordered on the genius. And like most geniuses he was notoriously eccentric!

He was born Abhas Kumar Ganguly in Khandwa. At the age of 18, he came to Bombay where elder brother Ashok Kumar was a major star. He got his first opportunity as a singer in Bombay Talkies Ziddi (1948) where he sang the song Marne ki Duayen Kyon Mangu for Dev Anand. Being an ardent admirer of K.L. Saigal, the song was sung in the style of the legend.

But in spite of Ziddi’s success, Kishore found few offers forthcoming and did the odd singing assignment with bit roles making a rather tepid acting debut as hero in the forgettable Andolen (1951).

After his marriage to Ruma Devi resulted in a split in the family, Kishore approached S.D. Burman who had given him an opportunity in Pyar (1950) where interestingly he had sung for Raj Kapoor. Burmanda gave him the song Qusoor Aapka in Bahar (1951) which became a hit. As he got more singing assignments, he also began being offered leading roles in films.

Kishore was initially taken quite lightly as a singer and was given mainly lighter songs by Burmanda and other music directors. But with the soulful Dukhi Man Mere from Funtoosh (1956), Kishore was now taken seriously as a singer. Though he was formally untrained, he assimilated jazz-scat fragmented musical notes into a rhythmic sequence and once its beat was established, departed from the pattern and combined notes and words/ syllables into new kinds of musical harmony. And none could yodel better than he could!

On the acting front, by now Kishore was a major star acting opposite the top heroines of the day. He of course sang for himself and outside that he gave playback only for Dev Anand.

Kishore reached his peak as an actor with the zany comedy Chalti ka Naam Gaadi (1958) which starred all the three Ganguly brothers and Madhubala. Kishore and Madhubala matched each other step for step in this comic caper with Burmanda composing such lighthearted ditties as Haal Kaisa Hai Janaab Ka and Paanch Rupaiya Barah Anna.

After Kishore’s marriage to Ruma Devi disintegrated, he married Madhubala. The two starred in Jhumroo (1961), which Kishore produced and directed. He also composed the music of the film. The riotous Half Ticket (1962) with the two of them saw Kishore at his madcap best impersonating a 12 year old!

Door Gagan ki Chaon Main (1964) further confirmed Kishore’s acting talent as he scored heavily in a rather serious film. But the 60s also saw Kishore fall from grace as beset by tax problems he was reduced to doing B-films with the likes of Kum Kum. He had the odd singing assignment for Dev Anand in Guide (1965) and Jewel Thief (1967) but that was all.

The turning point came with Aradhana (1969).Though Burmanda used Kishore as what he called his second service, his songs for Rajesh Khanna – Mere Sapnon ki Rani and Kora Kagaz Tha Yeh Man Mera proved super duper hits ahead of the Mohd. Rafi songs for the same film. It was a second coming and there was no turning back.

Kishore formed a solid hit pairing with Rajesh Khanna and in the early 70s the duo churned out hit after hit. He overtook all competition and was the undisputed number one male playback singer of Hindi films, his voice pulsing with verve and exuberance.

As his fame grew so did stories of his eccentricities. He put up a board outside his house saying ‘THIS IS A LUNATIC ASYLUM.’ He reportedly spoke to his trees in his backyard addressing each by a special name. He zipped through a marriage with Yogita Bali which lasted just about a month and then married his fourth wife Leena Chandavarkar who was two years older than his son, Amit!

Kishore remained at the top till the very end succumbing to a major heart attack in 1987.

What do you call a man who can sing and dance, act and mimic, write and compose, make you laugh and cry all at one time? How do you define a person who lives by defying norms? How do you quantify a genius whose talent is immeasurable? Multi-faced, versatile, eccentric, sensitive, prankster. There has been only one such a man in Hindi filmdom, Kishore Kumar.

Kishore Da was born on August 4, 1929, in Khandwa, Madhya Pradesh as Aabhas Kumar Ganguly. Kishore Kumar’s father Kunjalal Ganguly, a lawyer by profession, was a modest man. Kishore’s mother Gauri Devi, hailed from a wealthy family. Of the four children, Ashok Kumar was the eldest, born on 13 October 1911 and was twenty years older than Kishore . He was followed by a daughter, Sati Devi,who was about 15 years older to Kishore. The next was a boy, Anoop Kumar was about 5 years older than Kishore, who was the youngest of all. Since his childhood Kishore nurtured dreams of becoming a singer and following the footsteps of his idol K. L. Saigal. He visited his by then famous star brother Ashik Kumar, in Mumbai frequently, in the hope that he would introduce him to K. L. Saigal. But destiny willed otherwise. He was forced into acting and hated every moment of it.

In an industry, where comedy was seen as a filler or diversion from the main plot, there emerged in the form of Kishore, a hero who made comic acting an evolved art. Laughing, singing and dancing, Kishore was the complete comic hero, comparable to the likes of Bob Hope and Dany Kaye. And his unconventional looks and personality added to the fun that audiences had when watching him. Even while playing second fiddle to the hero, Kishore added an extra zing to the film.

The young Kishore’s real ambition was to become a playback singer and which became true, when, music director Khemchand Prakash called him to lend his voice for Dev Anand for the film Ziddi in 1948, the song was ‘Marne Ki Duvayen Kyon Maangoon..’. It was then that he met Lata Mangeshkar, an encounter as amusing and as strange as everything else is about Kishore Kumar. In his own words, in a rare interview with Lata he saya, “We happened to be travelling in the same local train. You got off and i got off. You got into a tonga, so did i. Both of us reached Bombay Talkies Studios. And you were convinced that i was following you.”

Kishore was unstinting in crediting his popularity to the Burmans- father and son. It was S. D. Burman who made Kishore, the superstar singer of the seventies, when he chose him to sing ‘Roop Tera Mastana..’ for Rajesh Khanna in the superhit Aradhana. S. D. Burman did more than just make Kishore Kumar a superstar singer. He helped him out when his marriage to Ruma Devi caused a split in the family, by makinghim sing, ‘Qusoor Aapka Huzoor Aapka..’ in Bahaar and the song went on to become a hit. Eventually that was the first song of Kishore with Dada Burman. Sachin Da made him the vopice of Dev Anand much before Rajesh Khanna came on the screen. In Baazi, Paying Guest, Munim Ji, Guide, Teen Deviyan, Jewel Thief etc. under S. D. Burman’s expert hands, Kishore’s talent was honed and fine tuned.

Another composer who placed implacable faith in Kishore was Sachin Da’s son, R. D. Burman. The lack of basic training in music, never hampered Kishore’s intuitive feel and enormous talent for music. R. D. Burman saw Kishore’s talent for mimicry to be the singer’s greatest advantage. His ability to mimic combined with his voice quality gave him tremendous speed and power. R. D. Burman found these qualities absymaly lacking in newer singers who blindly aped the timber of Kishore’s voice. Kishore’s ability to modulate his voice to suit the personality of the hero, and the ethos of the situation, was what made him a star. He was as much the voice of the dapper Dev, the aorable Rajesh as well as the aggressive, angry young man Amitabh Bachchan.

Kishore Kumar’s eccentricities were probably his way of defending himself from a cruel, confused world. Though laughter was his leitmotif, Kishore Kumar was buffeted on the seas of life. In private, his search for love and acceptance, made and broke his marriages. He defied his family to marry Ruma Devi and ironically never found time to spend with his wife and young son. He was entranced by the beautiful Madhubala, but illness doomed their union. His brief dalliance with the young Yogita Bali was another pained cry for companionship. And when he finally found true love with Leena Chandravarkar, cruel fate intervened and before long took him away forever.

His sudden death came as shock to everyone. He recorded his last song on october 12, 1987, a day before he died. Lata Mangeshkar’s fond and fitting tribute best describes this great personality…..”He was a sampoorna kalakar (the complete artist). He knew everthing. I call him India’s Danny Kaye. Producer, Actor, Singer, Director, Lyricist, Composer…..”

Kishore Kumar was born in to a Bengali family in the small town of Khandwa of Madhya Pradesh as Abhas Kumar Ganguly. His father Kunjilal Ganguly was a lawyer and his mother Gouri Devi was from a wealthy family. Kunjilal Ganguly had four children in all, Ashok Kumar the eldest, daughter Sati Devi, Anoop Kumar and Kishore Kumar the youngest.

Kishore was still a child, when his brother Ashok Kumar became an actor. Some time later on Anoop Kumar also ventured into the movies with the help of Ashok Kumar. Hanging around his brothers Kishore started to take a keen interest in the movies. As time went on Kishore started to show interest in the music scene too and soon became a fan of K.L Saigal. As Kishore was getting well know to copy K.L.Saigal’s songs, his parents would often persuade him to mimic songs from Ashok Kumar’s movies.