MEMORABLE CLASSICAL MUSIC COMPETITIONS IN HINDI FILMS (2) RANI ROOPMATI (1959)

रानी  रूपमती  (1959) was a period movie,belonging to sixteenth century,having classical music as its central theme.The ruler of मांडू  बाज  बहादुर  was in platonic love with रूपमती  because music was the strongest bond between them.When Mandu was to be attacked by some enemies ,to save it तानसेन ,the greatest musician of King AKBAR'S regime, came to test their real love for music.TANSEN was in disguise of an elderly musician.In the packed दरबार  of बाज  बहादुर  ,तानसेन  puts a challange before the musicians of मांडू ,to show the miracle of blossoming of lotus in night by their singing, so that insect(भ्रमर )trapped inside the petals of lotus may get free to fly away.When तानसेन  himself is requested to show it,he starts singing राग  दरबारी  " उड़  जा  भंवर  माया  कमल  का  आज  बंधन  तोड के,उड़ जा .| रंग इसका लाल है और रूप भी क्या कमाल है ,जिन पंखुरियों में तू झूमे वो तेरा जंजाल तेरा जाल है | कहीं और जा के दिल लगा कलियों की गलियाँ छोड़ के || उड़ जा ...|| देख वो सूरज की किरणे आ रही है झूमती , चल गगन की ओर तेरा मुख हवाएं चूमती || बावरे उठ  जाल से मखमल का घेरा दूर कर, तन है काला इसलिए मन का अँधेरा  दूर कर | तुझको बुलाये ....तुझको बुलाता है सवेरा देख मुखड़ा मोड़ के || उड़ जा भंवर , उड़ जा .... ..."(मन्ना  डे   gave the playback Taansen singing with perfection).The lotus is now shown blossoming due to  powerful and magical singing of तानसेन  and  भ्रमर trapped inside its petals flies away. Seeing this miracle रानी  रूपमती  stands up and starts rendering राग  सारंग:  "छोड़  चला  क्यों  ओ  निर्मोही  कैसा  तेरा  प्यार ,रो  रो  करे  पुकार  कमलिनी  बीती  जाए  बहार || आजा  आजा  भंवर  सूनी  डगर  सूना  है  घर  आ || न न जा  रे आ रे आ रे ,मोरी अँखियाँ उदासी तोरे दरस की प्यासी , पल पल छिन छिन देखे राह तिहारी || आ जा आ जा भंवर सूनी डगर ..|| गुन गुन धुन सुन सुन तेरी हरजाई , तन मन की न  रही  सुध बिसराई ||  आ रे आ ,  आ जा आ जा भंवर ." to call that भ्रमर  back to get itself trapped inside the lotus again.The effective singing of रानी  रूपमती (playback given by लता  मंगेशकर ) brings back the insect(भ्रमर )and it is trapped inside the closing petals of the lotus.Seeing this miracle तानसेन  discloses his identity and praises for the musical talent of Rani Rupmati.This competition's video clip is in two parts:first showing राग  दरबारी  and second राग  सारंग .Both in sequence present this competition which is enjoyable and worth listening too.The Music Director of this film श्री  नाथ  त्रिपाठी  was also the Director of this film.He was a great genious,who scored music for many memorable and hit film songs based on the classical ragas.The poetic and beautiful lyrics of the songs of this competition were penned by Poet भरत  व्यास .

MEMORABLE CLASSICAL MUSIC COMPETITIONS IN HINDI FILMS(1)BAIJU BAWRA

USTAD AMEER KHAN

D.V.PALUSKAR

In certain Hindi films having music as its central theme, we find very interesting situations of presenting the classical music skills of two stalwarts of music.Audience always enjoy such compositions.I would like to discuss a few musical competitions from the films like:BAIJU BAWRA,RANI RUPMATI,BASANT BAHAAR,KOHINOOR,DIL HI TO HAI,etc. बैजू  बावरा (1953):The story of this musical film at its climax shows a singing competition between तानसेन ,the famous singer and navratna of Akbar's court and BAIJU ,a disciple of Swami Haridas.Tansen also learnt music from स्वामी  हरिदास ,a saint musician of वृन्दावन  and devotee of Banke Bihari ji(Lord Krishna).In the competition, the condition was that,winner will be the singer,whose singing is so effective that a piece of stone kept before them melts also looser will loose his life and winner will get his any three wishes fulfilled.Both of them sing राग  देसी  TODI, a morning melody.The role of तानसेन  was played by famous hero of forties,सुरेन्द्र नाथ  and उस्ताद  अमीर  खान  gave playback for him.The role of बैजू  was played by भारत भूषण ,hero of the film,his playback was given by PT.D.V.PALUSKAR.Both singers sing the same song ,and start with praying to God:"तुम्हरे  गुन  गाऊं  रे  बिगरी  बना  दो  दाता  हमरी.Then Baiju sings;"आज  गावत  मन  मेरो  झूम  के , तेरी  तान  भगवान "These lines are repeated by Tansen alsoand further he sings;"हार गया सो जीवन जावे,जीता गायक दुनिया पावे,रखियो अब मोरी शान रे,आज गावत मन मेरो झूम के.Then Baiju sings:"प्रेम के कारन प्रेमी गावे,तानों से पत्थर पिघलावे,जगत में रहे मान रे,आज गावत मन मेरो झूम के.Near the climax of singing competition तानसेन  sings" सात  सुरों  के  मधुर  मिलन  में  जादू  आज  जगा  दे " and बैजू  continues with singing"बैजू  के  संगीत  सिधाता  जल  में  आग  लगा  दे ."Taking beautiful taans both singers reach the climax ,but a string of Tansen"s taanpura splits off and Baiju's taans flow like a fountain.The singing of both vocalists,was superb, reflecting the finesses of ग्वालियर-घराना  of पंडित डी.वी.पलुस्कर  and इंदौर  घराना  of उस्ताद  अमीर  खान  साहेब .In the end Baiju is shown as winner.This is one of the best singing composition created for films.Music director नौशाद  did a great job alongwith lyricist शकील  बदायूनी .Attached video clip gives a glimpse of it and keeps you spell bound.

CLASSICAL MUSIC MAESTRO OF HINDI FILM SCREEN: PADMABHUSHAN MANNA DEY

In Hindi Films,whenever any classical raga based song was to be recorded in male voice, by any music director in the years after 1950,the first name which would have come to his mind was of great playback singer श्री मन्ना डे |.He is going to complete the 90th year of his life.The great blind singer of Hindi Films श्री के .सी डे was his uncle.He got popularity by singing two songs in film 'राम राज्य (1943)' (1) त्यागमयी तू गयी तेरी अमर भावना अमर रही ... (2) अजब विधि का लेख ...But his singing style was noticed with his song 'ऊपर गगन विशाल नीचे गहरा पाताल ...". फिल्म :मशाल {1950},having S.D.Burman as its music director.Amongst all male playback singers of Hindi films only Manna Dey is capable of singing all types of complicated or simple classical raga based compositions ,gracefully expressing its Bhav and Ras with correct treatment of the Raga like Pandits and Ustads of music.He sang maximum number of classical raga based songs,message songs and qawwalis.Even then he sang all male lead songs in many films like:श्री 420,उजाला , परदेसी , नरसी भगत , बसंत बहार , चोरी -चोरी ,हिंदुस्तान की कसम ,दिल की राहें etc.He gave playback for many heroes of Hindi film screen like:अशोक कुमार , राज कपूर , देव आनंद ,भारत भूषण , प्रदीप कुमार,शम्मी कपूर, राज कुमार ,राजेश खन्ना etc.He is the only playback singer who has been making classical raga based songs of Hindi film popular hits.A few examples are:सुर ना सजे क्या गाऊं मैं ...( फिल्म :बसंत बहार ),कौन आया मेरे मन के द्वारे पायल की झंकार लिए ...(फिल्म :देख कबीरा रोया ),लागा चुनरी में दाग छुपाऊ कैसे ...(फिल्म :दिल ही तो है ),फूल गेंदवा न मारो लगत करेजवा में चोट ...(फिल्म :दूज का चाँद ),पूछो न कैसे मैंने रैन बिताई ...(फिल्म :मेरी सूरत तेरी आँखें ),झनक झनक तोरी बाजे पायलिया ...(फिल्म :मेरे हुज़ूर ), तेरे नैना तलाश करें जिसे ...(फिल्म :तलाश ),etc. In singing a रागमालिका comprising of a number of ragas in a sequence,a singer's versatility is at real test and Manna Dey always proved his calibre at its best by singing maximum number of ragmalikas in Hindi films such as;हमदर्द ,झनक झनक पायल बाजे ,कवि कालिदास ,फूलों की सेज ,सौ साल बाद ,राम राज्य ,दिल की राहें . Manna Dey also sang the selections from डा. हरिवंश राय 'BACHCHAN'S famous मधुशाला .He also got recorded Four Long Play Records of अदि - खंड of राम चरित मानस in his melodious singing style. He also sang beautifully some poems and geets in a LP record. He has sung many hit songs to his credit like:तू प्यार का सागर है (फिल्म :सीमा ),दिल का हाल सुने दिलवाला ..(फिल्म :श्री 420),तू छुपी है कहाँ ..(फिल्म :नवरंग ),ऐ मेरे प्यारे वतन ...(फिल्म :काबुलीवाला ),मत रो माता ...(फिल्म :बंदिनी ),कसमे वादे प्यार वफ़ा सब बातें है ..(फिल्म :उपकार ),यारी है ईमान मेरा ...(फिल्म :ज़ंजीर ),ऐ मेरी जोहरा ज़बीं ..(फिल्म :वक़्त ),उमरिया घटती जाये रे ...(फिल्म :मदर इंडिया ),येही पैगाम हमारा ..(फिल्म :पैगाम ),अपने लिए जिए तो क्या जिए ...(फिल्म :बादल ),ऐ भाई जरा देख के चलो ..(फिल्म :मेरा नाम जोकर ),ज़िन्दगी कैसी है पहेली हाय ...(फिल्म :आनंद ), etc. He has a unique style of singing expressing the deep feelings of the poetry.Manna Dey is a gem of classical singing in Hindi Cinema.Manna Dey has been awarded 'दादा साहेब फाल्के अवार्ड -2009' .I wish him a long life and he may be awarded with the title of 'भारत रत्न 'in near future.

KALIDAS'S 'MEGHDOOT' AS A RAAGMALIKA IN FILM:KAVI KAALIDAS(1959)

S.N.TRIPATHI

MANNA DEY

LATA MANGESHKAR

BHARAT VYAS

FILM POSTER

In the year 1959, veteran music director of Hindi films एस. एन.त्रिपाठी ,directed as well as composed music for the film कवि  कालिदास .This film was based on the life of great Sanskrit scholar and poet Kalidas.He composed very appropriate and melodious music in this period film.He composed two raagmalikaas in this film ,which was a tough job. This movie was partly coloured, showing the great creations of Kalidas such as:ऋतु  संहार ,अभिज्ञान  शाकुंतलम  and मेघदूत  in colour.Music director S.N.Tripathi(श्री नाथ त्रिपाठी)   composed one रागमालिका  for the narration of Ritu Samhaar and the other for the narration of Meghdoot. Here we will discuss the superbly composed raagmalika for the narration of मेघदूत , in which raagas मेघ  मल्हार , मियां  मल्हार , भूपाली  and ललित  were used in a sequence.The first part composed in मेघ  मल्हार is sung by मन्ना  डे .Here poet is  sending the clouds(MEGH) as his messanger (DOOT), saying to them:
ओ अषाढ़ के पहले बादल, ओ नभ के काजल ||
विरही जनों के  करुण  अश्रु जल ,रुक जा रे एक पल ||
दूर दूर मेरा देश जहाँ बिखराए केश, विरहन का बनाये वेश||
प्रिया मेरी विदेश,कैसे काटे कलेश,उसे देना मेरा ये सन्देश रे||
ओ अषाढ़ के पहले बादल !!
जा रे जा ओ मेघ ओ मेरे दुःख के साथी,
चल एसे ज्यों गगन मार्ग में चलता हाथी|
मंद पवन मुह खोले चातक बोल रहा है|
बाँध कतार बगुलियों का दल डोल रहा है|
राजहंस भी उड़ते है पंखों को ताने,
मित्र विदा के समय हो रहे शगुन सुहाने|
ओ आषाढ़  के  पहले बादल .......||
जाते जाते तुम्हें मार्ग में मिलेगा मालव देश,
जहाँ मोहिनी मलिनियों का मधुर मनोहर वेश!
Now लता  मंगेशकर  and chorus sings further:
मेघवा झिर झिर लागे बरसन,
जाय कहो तुम छाये कित सन|
तुम तो रहे परदेसन बरसन,
हम तुम्हारे दर्शन को तरसन,
प्रीत लगी तुम्हारी औरन सन ,
मेघवा झिर झिर ...||
The second part is composed in  राग  मियां  मल्हार  and the narration of मेघदूत  is further sung  by मन्ना  डे :
"आगे तुमको मित्र मिलेगी कुरुक्षेत्र की भूमि विशाल |
 महाभारत के महा युद्ध की जहाँ जली थी एक दिन ज्वाल ||
कोटि कोटि जहाँ बरस पड़े थे रिपु दल पर अर्जुन के बाण |
कमल दलों पर बरसें ज्यों तेरी बरखा के अगणित  बाण ||
लता  picks up the singing:
मत  मार  मत  मार मोहे बरखा के बाण,
गोरे गाल हुए लाल अब कहना मेरा मान |
मत मार मत मार .......||
सनन सनन पवन चले,
झनन झनन  झांझर बोले:
झन झना झन,झन झना झन..|
कजरा भीगे अंचरा भीगे ,भीगे रे मन की जान..||
मत मार मत मार........||
बसंत बीता बरखा आयी, अब तो विदेशिया चेत|
मेघवा  अंग लगत है मेरे, लिपट लिपट रस लेत|
हाय मैं क्या करूँ? मत मार मत मार ...||
Now in third part of मेघदूत  राग  भूपाली  has been used . मन्ना  डे  now reads the message of poet given to clouds:
चल आगे हिमगिरि शिखरों पर, जहाँ बांस के वृक्ष महान ||
जिनके तन को छूकर  छेड़े ,पवन हठीला मीठी तान ||
उस संगीत के साथ गरजकर, जागे पशुपति नाथ महान ||
जिनकी तान में तान मिलाकर, गाती हैं किन्नरियाँ गान ||
Then लता मंगेशकर  sings in राग  भूपाली  a melodious शिव -स्तुति :
ॐ नमः शिवाय ||
शंकर त्रिलोचन अर्धांग गौरी, शिर गंग धारी || 
गले मुंड की माल ,कटी  सोहे मृग छाल |
हर हर महादेव कल्याण कारी || शंकर त्रिलोचन ......||
The first video clip attached shows upto here.
The second clip shows the last part composed in राग  ललित ,singers being the same.It is:
दूर देख अलकापुरी  जहाँ मेरी प्रिया नार,
झुकी हुई बैठी थकित  लिए विरह का भार||
Now Lata sings:
चातकी मेरी दो अँखियाँ बार बार पुकारती ||
विरहिणी रो रो उतारे आंसुओं की आरती ||
तुम बसे परदेस प्रीतम प्राण भी संग ले गए ||
क्या हुआ अपराध जो बदले में ये दुःख दे गए ,सुख ले गए ||
जग लगे अंगार सा, श्रृंगार मैं न संवारती ||
चातकी मेरी दो अँखियाँ बार बार  पुकारती ...||
This is one of the most typical रागमालिका  in which the whole poetry of this great संस्कृत Epic'मेघदूत ' written by कालिदास is expressed in हिंदी. Poet भरत  व्यास  has done a masterpiece work for Hindi Film Screen.One will enjoy poetry,music and dance all the three together in this presentation.       .                                                  

RAAGMALIKA IN HINDI FILM:DIL KI RAAHEN(1973)

NAKHSH LAYALPURI

MANNA DEY,MADAN MOHAN and REHANA

MADAN MOHAN

MANNA DEY

In this article I am giving the details of a unique रागमालिका , composed by veteran music director मदन  मोहन  in the film दिल  की  राहें  (1973).The lyrics were written by नखश  लायलपुरी  and singer was मन्ना  डे .The situation shows the chain of vocal singing programmes presented by the hero of the film :राकेश पाण्डेय   on his radio broadcast.
 First song was:
 “मस्त  मयूरा  नाचे ,
   आयी  बसंती  ऋतु रसवंती ,
   स्वप्न हुए सब सांचे,
   मस्त मयूरा नाचे..||”
   framed in early morning melody,राग  :तोड़ी . 
 The next song 
 “हरि  गुन  गा  ले  व्याकुल  मनवा|
   हरि का नाम सदा सुखदाई ,
   हरि गुन  गा ले ....” 
  was composed in राग : अहीर -भैरव .
 Third song was composed in the morning melody, राग : असावरी ,.The lyrics were
 "भोर  आयी  मधुमासी ,
   पंछी  चहके वन वन में ,
   गुन गुन पवन गाती |
   भोर आयी मधुमासी .....”.
 The concluding number of this रागमालिका was:
 “नैना  ढूंढें  तोहे  श्याम रे ,
   अब और नहीं कछु काम रे ,
   हाय राम ,
   नैना ढूंढे तोहे श्याम रे ….” 
  a popular composition framed in evening राग  :काफी . 
 All these songs were superbly sung by मन्ना  डे  as a perfectionist Classical Vocalist.

RAAGMALIKA IN HINDI FILM 'SAU SAAL BAAD'(1966)

LAXMIKANT - PYARE LAL

ANAND BAKSHI

MANNA DEY

LATA MANGESHKAR

The movie सौ  साल  बाद  got released in the year 1966.Though it was not much successful on the screen, but it had very good music compositions given by its music directors लक्ष्मीकांत  and प्यारेलाल .Its Raagmalika is one of the best to be composed for Hindi films.The first song of the Raagmalika
 ‘एक  ऋतु  आये , एक  ऋतु  जाए,
  दीप जलाये,दीप बुझाए ,
  कभी हंसाये ,कभी रुलाये|  ..’ is sung by मन्ना  डे  in the beginning.Later लता  मंगेशकर  also joins him and both sing it as a duet.It is composed in a  very rare राग धन्य धैवत  in तीन  ताल। The second composition
'जिया नाहीं लागे का करूँ सजना,
 तुझ बिन सूना लागे अंगना |
 आये न मोरे नैनों में निंदिया ,
 साजे न मोरे माथे पे बिंदिया |
 बाजे न मोरी बाहों में कंगना।..' is sung beautifully by लता  मंगेशकर  in राग  आभोगी.
The next composition is in the form of a duet,sung by लता  and मन्ना  डे :
‘घिर आयी कारी कारी बदरिया ,
 धड़के जियरा,चमके बिजुरिया |
 ऐसे लागे कजरे बदरा,
 जैसे तोरे नैनों का कजरा |
 छोडो सांवरिया |..’
 in राग  मेघ  मल्हार  in रूपक  ताल .
The last number 
‘खिल  गयीं  कलियाँ ,
 नैना ढूंढे साजन की गलियां |
 सामा मापा गामा |
 नीधा नीसा  सा नी सा ..,
 खिल गयीं खिल गयीं ....।।’
was also a duet sung by them in raaga बसंत  बहार  in तीन  ताल  .All these songs were written in beautiful wordings by lyricist आनंद  बख्शी .Whenever anyone will listen to this रागमालिका , I am sure, will get hypnotized.After a long effort I could get only first two compositions on an audio track from my friend Dr.R.P.Singh and now it is before you.The impressive violin  piece in raga आभोगी  after the first part ,was played by Pt.Husna Lal, who gave hit music in many Hindi films of Forties and Fifties era, with his brother.Their team was known as:' हुस्न  लाल - भगतराम 

RELATION BETWEEN 22 'SHRUTIS' AND 7 'SWAR' OF MUSIC

राग पेंटिंग्स 

वाद्य यन्त्र 

According to following 'श्लोक 'of संगीत  शास्त्र  ,twenty two श्रुतियां are divided into seven swaras : सा ,रे ,गा , म  ,प् ,ध ,नि .
"|| चतुश्च  तुश्च  तुश्चैव | षडज  मध्यम  पञ्चमः ||                                      द्वो द्वो  निषाद  गांधारो | तिस्त्री  रिषभ धैवतः||".

Thus musical notes स  ,म  ,प्  have been allotted four श्रुतियां  each,नि  and ग  two श्रुतियां  each and रे  and ध  are allotted three श्रुतियां  each.In this way 22 श्रुतियां  are divided between 7 स्वर  of सरगम |. We may now discuss the location of these Shrutis in the human body.Near the joint of neck with two shoulder bones,lie four nerves ,related to 4 shrutis of swar 'सा '.These are named as : मंद ,तीव्र ,कुमुदवंती and छान्दोवती. Around the base of throat are 3 nerves related to Shrutis of swar 'रे ', named as : रंजनी ,रक्तिका  and दयावती.The two nerves connected to lips are related to 2 shrutis of swar 'ग ' named as: रौद्री  and क्रोध .Through the spine four vertically directed nerves reach to the top of human brain, called ' ब्रह्मरंध्र '.These nerves are related to 4 shrutis of swar 'म ',named as:वज्रिका ,प्रसारिणी ,प्रीति  and भार्जनी .Similarly 4 shrutis of swar 'प् ': क्षिति ,रक्ता ,अलोचित्री  and संदीपनी  are related to 4 nerves lying in the neck region of human body.Between the top and bottom of the mouth cavity a set of 3 nerves are located,representing shrutis of swar 'ध ':भदंती ,रम्या  and रोहिणी .Lastly 2 nerves lying around the lips are related to shrutis of swar 'नि ': छोभिणी and उग्र . When thrust of generated in the naval region strikes with the minute openings of these nerves,then different Swar are produced with the combinations of their respective shrutis.The naval region is most significant place in human body for producing 'नाद '.According to theory of योग , a ten petalled 'मणिपूरक  चक्र ' is present in the naval region of human body.The संगीत  is based on स्वर  and स्वर are based on वायु  and this वायु  is related to मणिपूरक चक्र.Basically शब्द ,नाद and ब्रह्म are interrelated and they originate due to vibrations.That is why,it is said that :
"|| न नादेन बिना गीतम | न नादेन बिना स्वरः ||

 न नादेन बिना नृत्यम | तस्य तप्रात्मकम जगत ||".     

DR. SITARA DEVI:A UNIQUE KATHAK DANCER OF BANARAS GHARANA

COVER OF HER KATHAK LP-RECORD

SITARA JI

HER AUTOGRAPHED SNAP

A COMPOSED SNAP

SITARA JI BEING HONOURED BY THE PRESIDENT OF INDIA IN 2009

Recently in July 2009,President of India honoured Dr. Smt. सितारा  देवी  with संगीत  नाटक  अकादेमी  फेलोशिप  अवार्ड  for her great contribution in the development of KATHAK form of dancing.
She belongs to बनारस  घराना  ऑफ़  कत्थक  नृत्य ,which was originated by her father पंडित  सुखदेव  महाराज  ऑफ़  बनारस.Perhaps in the year 1936-37 when she was only in her teens,seeing her wonderful dance performance Gurudev Rabindra Nath Tagore conferred her with the title of 'नृत्य सम्राज्ञी '. Now she has crossed the age of 90 years and still she is active in dancing.
I got opportunity of enjoying her live performances of kathak- dance,three times in the years of 1973 and 1974.One was performed in Ravindralaya,Lucknow and the other two were in Kanpur.Even today after so many years,I remember her artistry and finesse in kathak dancing which is unique.
The dance ballets 'द्रौपदी  चीर  हरण ','जटायु  उद्धार ','कालिया  मर्दन ' created by her, come alive with their each character played by सितारा  देवी  herself.She can keep the spectators spell bound for hours and hours, by her magnificent kathak-dance.I have seen people wiping their tears  during her presentation of 'जटायु -उद्धार'.We get astonished on her calibre of very frequent mixing of the three characters of श्री  कृष्ण ,द्रौपदी  and दुस्साशन  without any error in their facial expressions,in the climax part of 'द्रौपदी-चीर-हरण '.
She has a record of continuous dancing for more than 12 hours, in 'Birla Matushree Sabhagar',in Mumbai.She was honoured with the titles of  पद्मश्री in the year 1973 and later  with पद्मभूषण , by the President of India.She was also honoured with a Ph.D. Degree by the vice-chancellor of इंदिरा संगीत विश्वविद्यालय , खैरागढ़ ,मध्य-प्रदेश.
सितारा  देवी has also acted in about 33 Hindi Films between the years 1938 and 1957 as heroine and also in supporting roles.She has also sung about 44  her own songs in the films. Some of her popular films were:वतन,बागबान  (1938),पागल (1940),स्वामी (1941),दुःख-सुख ,कलयुग ,रोटी (1942),आबरू, अँधेरा ,छेड़ छाड़ ,नजमा ,भलाई, पगली,सलमा (1943),चाँद (1944),फूल (1945), हलचल (1951),लेख (1953),अंजलि (1957) etc. 
Later she also gave'Dance-Direction' in some of the Hindi films like:कोहिनूर ,अमर ,हलचल ,अंजलि ,सावन  को  आने  दो  etc.
   Famous Kathak dancer and film actor Late गोपीकृष्ण was the son of Sitara Devi's real elder sister तारा.I have mentioned her basic contribution in the making of V.Shantaram's famous film 'Jhanak Jhanak Payal Baje' in my other article on  this film .She still deserves more honours for her art.At present she is living with her daughters Jayantimala and Priyamala in Mumbai.I wish her to live  more than 100 year's life.She is really a 'Bharat-Ratna'.
 
Here is a 'snake-dance' number from Chetan Anand's  film 'ANJAJI' in which she played as the mother of heroine Nimmi.

RAAGMALIKA IN HINDI FILM: RAM RAJYA (1967)

Hindi film राम  राज्य (1967) was colour version of the old hit Ram Rajya(1943)..The role of सीता  was played by actress बीना  राय  ( of film ‘ताजमहल ’ fame).The music of the film was composed by veteran music director वसंत  देसाई  and suitable lyrics were penned by poet भरत  व्यास . In the film friends of Sita try to entertain her before the birth of Ram’s son लव , by presenting a dance-drama about the origin of the birth of human child on earth.The central characters of the dance –drama were played by Kathak maestro गोपी  कृष्ण  and actress स्नेहलता .The genius music director composed a beautiful रागमालिका  depicting the whole dance-drama. The show begins with a poetical narration of the origin of human life on earth, sung by मन्ना  डे  in राग  केदार :
”था  अँधेरा  छाया  हुआ ,
  थी  दिशाएं  सुनसान |
  न  सृष्टि  थी  न  जीवन था ,
  न  देह  थी  न  प्राण ||
  अकेला था पुरुष परबह्मा पूर्ण का |
  इच्छा हुई इस पुरुष की ,
  एकोहम बहुष्यामी |
  एक  से  अनेक  होने  का  सतत  चिंतन हुआ ,
  निज प्रकृति को पुकारा और शून्य में स्पंदन हुआ ||”.
 This part shows a male figure standing in a shadow and singing the above lines.
Thereafter गोपीकृष्ण  and स्नेहलता  dance and sing a duet:
 “आ  जा  रे  आ …आजा  तुझ  बिन  साधना  मेरी  अधूरी  है||
   तेरे मेरे मिलन से ही सृष्टि पूरी है | आजा रे आ जरा ..||
   .........बता तू कौन है ,तेरे बिन क्यों मेरी धड़कन मौन है ||
   तू है धरती और मैं आकाश हूँ ,बन के सावन मैं बुझाता प्यास हूँ ||
   तू है सावन तो ये मेरा मन मयूरी है |
   तेरे मेरे मिलन से ही सृष्टि पूरी है ||
   आ जा रे आ जरा ……” composed in राग  भूप -कल्याण  and sung by मोहम्मद  रफ़ी  and लता  मंगेशकर .
After this they are shown departed and in rainy season Snehlata sings a beautiful composition in राग  सूरदासी –मल्हार :
” डर  लागे  गरजे  बदरिया |
   सावन की रुत कजरारी कारी चमके मतवारी बिजुरिया |
   अब काह  करूँ कित जाऊं, मोहे छोड़ गए सांवरिया ||
   डर लागे …।
   मेहा बरसे नैना तरसे ,प्यासा मनवा तुझको पुकारे |
   अब कहा करूँ कित जाऊं ,मोरी सूनी हाय  सेजरिया ||
   डर लागे ......” sung by लता  मंगेशकर .
  Then happy phase of their life is shown and again both dance and sing a duet :
” हटो  जाओ  मत  छेड़ो  बलम तोरे संग नहीं बोलूं रे |
   हटो छोड़ो मत रूठो दुल्हन ,आयी रे रुत बसंत की ||
   कुहू कुहू कोयल बोले ,गुन गुन भंवर डोले |
   हौले हौले पवन चले ,कलियों के घूँघट खोले |
   ऐसे में आओ चलो गले मिले हौले हौले हम ||
   आयी रे रुत  बसंत  की,...... ”,which is composed in राग  बसंत  मुखारी ( or भैरव  बहार ) sung by मोहम्मद  रफ़ी  and लता  मंगेशकर . 
This नृत्य  नाटिका  ends, showing a new born baby and from background a couplet:
”नर  नारी  के  मिलन  से ,झूम  उठा  संसार।
  नया  फूल  जग  में  खिला ,मिला  दिव्य  उपहार।” is sung by मोहम्मद  रफ़ी  composed in राग  भैरवी .
Along with very sweet songs,one can enjoy beautiful कत्थक dance pieces,performed by गोपीकृष्ण . This is one of the best Raagmalikas composed for Hindi films.वसंत  देसाई  had already composed two more Raagmalikas in Hindi films झनक  झनक  पायल  बाजे(१९५५)  and गूँज  उठी  शहनाई(१९५८) .Only a musician of VASANT DESAI'S calibre could create such beautiful musical compositions.