Madan Mohan Kohli Net Worth

Madan Mohan Kohli Net Worth is
$2 Million

Madan Mohan Kohli Bio/Wiki, Net Worth, Married 2018

Madan Mohan (Devnagari: ??? ????) is a form of the Hindu god, Krishna. Krishna is celebrated as Madan Mohan, who mesmerises everyone. His consort, Radha is glorified as Madan Mohan's Mohini, the mesmeriser of the mesmeriser for spiritual aspirants. Radha is known as the mediator without whom access to Krishna is not possible.Originally from Shri Vrindavan, Madan Mohan ji went to Amer in Jaipur with Raja Sawai Jai Singh II - the founder of Jaipur and from there was brought to Karauli in Rajasthan by Maharaj Gopal Singh after he conquered the battle of Daulatabad

Date Of Birth	1924
Place Of Birth	Baghdad, Iraq
Profession	Composer, Soundtrack, Music Department

#	Trademark
1	He used string instruments in all his compositions, especially the sitar
2	His favourite form of poetry was the Persian "ghazal," and so his music is modelled in the style and form of the ghazals, earning him the title of the ghazal king.

#	Quote
1	One must remember that a sad song, once it gets popular, has more chances of surviving and remaining popular for a long time than a light song. A light song, even the most popular one, hardly lasts for a year while a sad song survives for decades.
2	Unlike the foreign films, we don't have films made as purely musicals. Here every film is made with all the entertaining ingredients, music being the major one, whereas it is not so in the case of films made in other countries. Seventy percent success of our films depends solely on the merits of the musical score. But it is still very exciting to be a music director.
3	Mohammad Rafi's song "Meri Awaz Suno" from Naunihal (1967) was very popular with the public as a disc even before the release of the picture. As the lifeless body of Pandit Jawaharlal Nehru is carried to cremation, his message is given in this song. It is a message from one of the greatest world leaders to his countrymen whom he loved and for whom he had lived and died. The very novelty of the situation and the context of the song and the beauty of the message itself provided me with an inspiration which made me do my best and my very best. The song has become a unique creation and will remain evergreen in the minds of people for long. The song deserved all the respect due to it and had to be treated with the same reverence as to the great-departed leader. As we all loved him and as an Indian first and last, I was emotionally moved and inspired to do something which I had never done before in my career as a music director. This was also the first time I ever composed a song in a situation like this, which demanded every ounce of patriotism.
4	About his term in the army: I was serving in the army as a lieutenant. I was physically fit to serve the army, but temperamentally my heart was somewhere else. Once, on my way from Bangalore to Bombay, I dropped in at Prabhat Studios and met the famous music director Husanlal Bhagatram, who were then on the threshold of a glorious career. I sat at the organ and played some melodies for them. I took a pledge, there and then, that one day I would be a music director myself. I mention this to explain that the creation of film music is not a mere mechanical and business proposition, but has its roots deep down in the past of a man - in his very sensibilities, upbringing, emotions, ambitions, hopes, loves and desires... all of which go into making the man he is. If I had not taken my pledge at Prabhat Studios seriously, in those days of army life, I would not be what I am today.
5	When Aankhen (1950) was being produced, everyone discouraged us - the studio staff, even the technicians working in the film. I approached Lata Mangeshkar to sing for me. I don't know the full details, but I believe some people went to her and said that I was no good as a music director and she should not sing for me. I failed to persuade her to accede to my request. Later, she sung my compositions in Madhosh (1951) and she was so pleased with the songs and the music that she complimented me and apologized for not singing in my first film.
6	About his early years in Bollywood: At one time, I was doing so badly that I had to starve for five days at a stretch. But not for once did I think of going to my people for help.
7	When I was doing Madhosh (1951), J.B.H. Wadia came up with a situation where he wanted a powerful lyric depicting the emotions of a betrayed lover. Raja Mehdi Ali Khan was writing the lyrics for the film. He was also sitting with us, he mentioned that he had written a song some time earlier and that may suit the requirements of the situation. He took out his notebook from his pocket and recited the lines. In less than five minutes, I tuned the song and played it to Mr. Wadia. He was extremely happy with it and the song went on to become very popular. It was "Mere Yaad Mein Tum Tum Na.
8	The situation for a song should inspire the music director to compose original tunes. If the song situation is good, any music director whose compositions are usually of a good standard will be able to do full justice to it and turn in a tune which has every chance of becoming a hit. Basically I am an emotional man and any song with an emotional approach inspires and spurs me to do something great.
9	A song gets a very big push from a genuine situation and even an average song correctly placed and picturised has chances of becoming very popular. If the song situation is good, then the people too who are seeing the film feel the necessity of the song and become emotionally attached to it.
10	It is usually very difficult for a music director to get unusual song situations and one is quite thrilled and inspired for better composition when a novel song situation turns out to be a novel situation.
11	The mysteries of the mind, the interpretations of dreams and the monumental probing into certain aspects of my thoughts provoked me to concentrate on film music. Music was in my blood. Nothing could curb it from coming out. Destiny decided that I part with my musical gift to music lovers.
12	I remember the day I came to Bombay - unemployed, in search of a job, any job. A producer refused to even see me. Years later, the same producer signed me for his picture and when I reminded him of the day when I first came to seek an interview from him, he didn't remember or perhaps he didn't want to remember.
13	In a film where three minutes is all the time given to a song, the foremost requirement of a song is only one thing; it should be capable of capturing the interest of the listeners in a short period and sustaining it in the years to follow.
14	Working at a stretch, day after day, is not my way of working. I need at least an interval of two months to abandon the mood of one film and take up another.
15	Though knowledge of the principles and basic rules of music is essential, it is not necessary to learn music in a conventional way, at the feet of a master. I believe that music can be learned by the ear, provided one has the desire to learn. Music, much more than any other art, can never be hammered into reluctant pupils or doled out in daily tuition classes. The opportunity of working with stalwarts of classical music gave me a closer knowledge and understanding of music. Very subtly but insidiously, music strengthened its grip on me. Without quite knowing when or how, my ears began to echo with the rich melodies I heard everyday. And that was how I actually learnt music.

#	Fact
1	Daughter Sangeeta Kohli born in 1954.
2	Son Sanjeev Kohli born in 1956.
3	Son Sameer Kohli born in 1961.
4	His sisters daughter is actress Anju Mahendru.
5	When Madan arrived in Bombay to make a mark on his own, he initially shared rooms with various friends, including producer Ramanand Sagar, Sajjan, O.P. Dutta and Chandrashekhar.
6	His father, Rai Bahadur Chunilal Kohli, had no confidence in his son's ability. However, one day, Madan invited him to a preview of a completed Aankhen (1950). Afterwards, he didn't say a word until he was about to leave: "Son, you have proved that you not only know music, but have musical feelings. I am convinced that you have chosen the right career. I shall pray for your success." Two months later, Rai Bahadur passed away - he claimed that while he never regretted anything in life, in those few moments he expressed a genuine regret for not giving his son a chance in one of his own productions.
7	He was a remarkable sports enthusiast, developing interest in boxing, billiards, football, cricket and swimming. He attended any major sporting event whenever possible, sitting at the ringside to get a full view of the action. He also developed good friendships with the top sportsmen of the time.
8	He owned a Studebaker automobile, custom-painted (in white and blue) to his specifications, and which he always drove and maintained with care. He called it his "baby.".
9	Madan inherited his love and talent of music from his mother, Bhagwanti Devi, who was a poet and great admirer of music. Her father, Hakim Yograj, was a famous doctor in Chakwal (a town in the Jhelum district of Pakistani Punjab) who was also a music connoisseur.
10	A few months before he passed away, he had a near-fatal accident: his car skidded off the Western Ghats and was fully destroyed. He narrowly escaped by jumping out of the car. Even though he was in a state of shock, and suffered minor bruises, he took a taxi to Bombay and went straight to the studio for the scheduled recording.
11	He had a younger brother, Prakash Kohli, who also had a career in the film industry.
12	Madan's father was Rai Bahadur Chunilal Kohli, who worked as an accountant with the Iraqi Police in Baghdad, and later founded Bombay Talkies, the first major Bollywood studio.
13	Madan originally wanted to do music composition after leaving school. At his father's insistence, however, he underwent a year at Colonel Brown's Military High School in Dehradun. He later joined the army in 1943 as a Second Lieutenant/artillery man, and was stationed in Bangalore for two years (till the end of World War II). He considered his service in the army as a fruitful period of his life as he learned personal traits like courtesy, endurance, discipline, physical fitness and punctuality.
14	Even while he was in the Army, he would follow his musician's heart, and would organize small programmes to entertain his troops.
15	One day, at the A.I.R. (Bombay) studio, he met a boy who was the center of attraction; they became good friends and participated in many programmes. The boy was a young Raj Kapoor.
16	Once, a young Madan brought to the A.I.R. (Bombay) studio a nine-year-old girl to audition for a radio programme. He told the executive that the girl could sing well, but when she was in front of an audience, she broke down sobbing. Madan wiped her tears and took her away. The next week, he brought the girl back with him and this time, she sang well and got a standing ovation. The girl was a young Suraiya, who would go on to become a landmark singer in Bollywood.
17	On his second birthday, Madan was gifted a small drum by his parents. That same day the Iraq Police Band was marching down the streets outside his house. Madan took his little drum, joined the band and started marching with the musicians. When his absence was discovered, his parents set out on a vigorous search and after two hours tracked him down at the police depot.
18	Originally, Madan planned on being an actor. Unfortunately, his first film as a hero got shelved after completing almost 8-9 reels of shooting, and his subsequent efforts at acting were no less a flop. However, he made appearances in the films Shaheed (1948), Aansoo (1953) and Munimji (1955).
19	The sitar was his favourite musical instrument, but despite using it so well in his songs, he had not learnt to play it. It was only in the early 1970 that he began formally learning the sitar from musician Ustad Shamim Ahmed.
20	He kept two dogs: an Alsatian named Sugar and a collie named Romeo. He was so devoted to them that when they fell ill and died he was utterly devastated. He never took any more pets, and he forbade his children from doing so as he didn't want them to experience the loss and pain that he went through.
21	Mohan possessed a Grundig 2 tape recorder and later an Akai 4 tape recorder. These were (in the 1960s) the most sophisticated tape recording equipment, and he considered them his most cherished possessions and handled with loving care.
22	Madan was fond of all kinds of cuisine, but especially Chinese cooking. He was one of the earliest Indians to be a regular patron at the Nankings/Fredericks/Shanghai restaurants, all at Colaba at that time.
23	Madan was known to be an extremely talented cook. On occasions when he had composed an excellent tune (to his mind), he would prepare celebratory meals for his family; he himself would go purchasing vegetables/meat/spices through the bazaars (according to his son, he took the same care with his dishes as with his songs). His family/friends claim that his food was of the same excellent quality as his music was. Regular guests to these feasts were Lata Mangeshkar, Chetan Anand and his wife Priya Anand, and Kaifi Azmi.
24	Started composing career as assistant to C. Ramchandra

Composer

Title	Year	Status
Veer-Zaara	2004	as The Late Madan Mohan
Sultana Daku	1982
Chaal Baaz	1980
Laila Majnu	1979
Jalan	1978
Saheb Bahadur	1977
Sharafat Chod Di Maine	1976
Mausam	1975
Chowkidar	1974
Asliyat	1974
Dil Ki Rahen	1973
Ek Mutthi Aasmaan	1973
Hanste Zakhm	1973
Hindustan Ki Kasam	1973
Prabhat	1973
Koshish	1972
Bawarchi	1972
Parwana	1971
Maharaja	1970
Heer Raanjha	1970
Dastak	1970
Maa Ka Aanchal	1970
Chirag	1969
Ek Kali Muskai	1968
Dulhan Ek Raat Ki	1967
Jab Yaad Kisi Ki Aati Hai	1967
Ghar Ka Chirag	1967
Naunihal	1967
Nawab Sirazuddaula	1967
Ladka Ladki	1966
Mera Saaya	1966
Neend Hamari Khwab Tumhare	1966
Bombay Race Course	1965
Naya Kanoon	1965
Neela Aakash	1965
Rishte Naahte	1965
Dak Ghar	1965
Aap Ki Parchhaiyan	1964
Gazal	1964	music
Haqeeqat	1964
Jahan Ara	1964
Pooja Ke Phool	1964
Sharabi	1964
Suhagan	1964
Woh Kaun Thi?	1964
Akeli Mat Jaiyo	1963	music
Anpadh	1962
Man-Mauji	1962
Sanjog	1961	music
Bahaana	1960
Duniya Na Mane	1959
Jagir	1959
Mohar	1959
Bank Manager	1959
Chacha Zindabad	1959
Aakhri Dao	1958/I
Adalat	1958
Chandan	1958
Jailor	1958	music
Khazanchi	1958
Khota Paisa	1958
Night Club	1958
Chhote Babu	1957
Dekh Kabira Roya	1957
Sheroo	1957
Samundar	1957
Bhai-Bhai	1956
Ek Shola	1956	music
Mem Sahib	1956	music
Pocket Maar	1956
Fifty Fifty	1956
Railway Platform	1955	music
Ilzam	1954
Baghi	1953
Chacha Chowdhury	1953
Dhoon	1953
Ashiana	1952
Khubsurat	1952
Adaa	1951
Madhosh	1951
Shabistan	1951
Aankhen	1950

Soundtrack

Title	Year	Status
Veer-Zaara	2004	writer: "Tere Liye", "Main Yahaan Hoon", "Aisa Des Hai Mera", "Yeh Hum Aa Gaye Hain Kahaan", "Do Pal", "Kyon Hawa", "Hum To Bhai Jaise Hain", "Aaya Tere Dar Par", "Lodi", "Tum Paas Aa Rahe Ho", "Jaane Kyon"
Chaal Baaz	1980	music: "Raat Ujiyari Dil Andhera Hai"
Hanste Zakhm	1973	music: "Betaab Dil Ki Tamanna Yehi Hai"
Koshish	1972	music: "Soja Baba Mere", "Humse Hai Watan Hamara"
Bawarchi	1972	writer: "Tum Bin Jeevan Kaisa Jeevan", "Mast Pavan Dholey Re", "Morhey Naina Bahaye Neer", "Bhor Aayee Gaya Andhera", "Kahhey Kanha Karat Bijori"
Parwana	1971	music: "Chale Ladkhada Ke", "Jis Din Se Maine Tumko Dekha Hai", "Piya Ki Gali", "Simti Si Sharmai Si", "Yun Na Sharma Phailade"
Dastak	1970	music: "O Balma, Baiyan Na Dharo O Balma", "Mai Ri, Maah Kahse Kahoon Peed, Apne Jiya Ki, Mai Ri", "Tumse Kahoon Ek Baat Paronse Halki, Halki, Halki, Halki", "Hum Hain Matay-E-Kuchao Baazar Ki Tarah, Uthti Hai Har Nigaha Karidhar Ki Tarah"
Naunihal	1967	music: "Tumhari zulf ke saaye me shyam kar lunga, safar ik umra ka pal me tamam kar lunga", "Patthar ke Bhagwan pigalja, aaj pigalna hoga", "Meri awaaz suno, pyar ka raaz suno, meri awaaz suno"
Mera Saaya	1966	music: "Tu Jahan Jahan Chalega Mera Saaya Saath Ho", "Jhumka Gira Re, Bareli Ke Bazaar Mein", "Nainon Mein Badra Chhaye", "Aap Ke Pehloo Mein Aakar Roh Diye", "Nainonwali Ne Haye Mera Dil Loota"
Rishte Naahte	1965	music: "Mujhe Yaad Karnewale"
Aap Ki Parchhaiyan	1964	music: "Main Nighahen Tere Chehre Se Hataon Kaise", "Kabhi Itlake Chalte Ho, Kabhi Valkake Chalte Ho", "Yehi Hai Tamanna, Tere Dhar Ke Samne", "Jab Takte Hai Akash Pe Chand Aur Sitare, Bhagwan Salamat Rakhe Maa Baap Hamare", "Ek Matwale Aa Chala Apni Manzil Ko"
Gazal	1964	music: "Dil Khush Hai Aaj Unse Mulaqat Ho Gai", "Mujhe Yeh Phool Na De", "Yun Bhi Hai Aur Yun Bhi" / writer: "Naghma O Sher Ki Saughat Kisse Pesh Karoon", "Ishq Ki Garmiye Jazbaat Kisse Pesh Karoon", "Mere Mehboob Kahin Aur Mila Kar Mujhse", "Unse Nazre Mili Aur Hizaab Aa Gaya", "Rang Aur Noor Ki Baraat Kise Pesh Karoon"
Haqeeqat	1964	writer: "Zara Si Aahat Hoti Hai", "Mast Mein Chhed Ke Tarana", "Mein Yeh Sochkar", "Aayi Ab Ke Saal Diwali", "Hoke Majboor Mujhe", "Ab Tumhare Hawale Watan Saathiyo"
Sharabi	1964	music: "Sawan Ke Mahine Mein", "Kabhi na kabhi, kahin na kahin, koi na koi toh ayega" / writer: "Sawan Ke Mahine Mein"
Woh Kaun Thi?	1964	music: "Naina Barse", "Tiki Riki Tiki Riki Thakori, Kal Jo Mila Tha Khaba Mein", "Chhod Kar Tere Pyar Ka Daman", "Lag Ja Gale Ke Phir", "Jo Humne Dastaan Apni Sunayi", "Shokh Nazar Ki Bijliyan"
Akeli Mat Jaiyo	1963	music: "Thodi Der Ke Liye Mere Ho Jao", "Akeli Mat Jaiyo", "Raaste Mein Do Anjaane", "Yeh To Kaho, Kaun Ho Tum", "Woh Jo Milte The Kabhi", "Yeh Cycle Ka Chakkar", "Chal Chal Chal Mere Dil", "Yeh Hawa, Yeh Mastana Mausam"
Anpadh	1962	music: "Sikandar Ne Porus Se", "Rang Birangi Rakhi Lekar", "Dulhan Hai Narwad Ki", "Hai Isi Mein Pyar Ki Abroo", "Aap Ki Nazaron Ne Samjha", "Woh Dekho Jala Ghar Kisika", "Jiya Le Gayo Ji Mora"
Man-Mauji	1962	music: "Zaroorat Hai Zaroorat Hai", "Main To Tum Sang", "Murgi Ne Jhoot Bola", "Chanda Ja, Chanda Jare Ja", "Ek Tha Abdul Rehman", "Aaya Hai Kahan Se Pee Ke" / writer: "Zaroorat Hai Zaroorat Hai"
Sanjog	1961	music: "Bhooli Hui Yaadon"
Baap Bete	1959	music: "Dil Unko Uthake De Diya"
Aakhri Dao	1958/I	music: "Tujhe Kya Sunao Main Dilruba", "Tuhi Aake Sambhal Ise", "Hai Unki Woh Nigahen", "Na Darr Sanam, Laga Bhi Le", "Humsafar Saath Apna Chod Chale", "Idhar To Haath La Pyare"
Adalat	1958	music: "Jab din haseen dil ho jawaan"
Jailor	1958	music: "Hum Pyar Mein Jalnewalon Ko"
Dekh Kabira Roya	1957	music: "Laga Tose Lagi Balma", "Kaun Aaya, Mere Man Ke Dwaare", "Hum Bolate Hi Rahe, Tum Jalate Hi Rahe", "Hum Panchhi Mastaane", "Tum Meri Raakho Laaj Hari", "Humse Aaya Na Gaya, Tumse Bulaya Na Gaya", "Sajna Sajna Sajna.. Mere Veena Tum Bin Roye"
Bhai-Bhai	1956	music: "Mera Chota Sa Dekho Yeh Sansar Hai", "Is Duniya Mein Sab Chor Chor", "Ae Dil Mujhe Bata De, Tu Kis Pe Aa Gaya Hai", "Thandi Thandi Hawa Khane, Raja Gaya Gaon Mein", "Mera Naam Abdul Rehman, Pistawala Main Hoon Pathan", "Apna Hai Phir Bhi Apna", "Dil Teri Nazar Mein Atka Re Atka Re Atka", "Kadar Jaane Na", "Bhagwan Jo Tu Hai Mera Insaaf Karega, Khud Aa Ke Meri Maang Mein Sindoor Bharega", "Sharaabi Ja Ja Ja"
Baghi	1953	music: "Baharein Humko Dhoondhegi"
Madhosh	1951	music: "Meri Yaad Mein Tum"
Aankhen	1950	music: "Preet Laga Ke"

Music Department

Title	Year	Status
Dulhan Ek Raat Ki	1967	musical director
Jab Yaad Kisi Ki Aati Hai	1967	musical director
Ghar Ka Chirag	1967	musical director
Baap Bete	1959	musical director

Thanks

Title	Year	Status	Character
Laila Majnu	1979	film dedicated to
Mausam	1975	dedicated to the memory of - as late shri Madan Mohan

Won Awards

Year	Award	Ceremony	Nomination	Movie
2005	Popular Award	Awards of the International Indian Film Academy	Best Music Director	Veer-Zaara (2004)

Nominated Awards

Year	Award	Ceremony	Nomination	Movie
2006	Apsara Award	Apsara Film Producers Guild Awards	Best Music Director	Veer-Zaara (2004)
2005	Filmfare Award	Filmfare Awards	Best Music Director	Veer-Zaara (2004)
1965	Filmfare Award	Filmfare Awards	Best Music Director	Woh Kaun Thi? (1964)
1963	Filmfare Award	Filmfare Awards	Best Music Director	Anpadh (1962)

Known for movies

Source

Madan Mohan Kohli Net Worth

Madan Mohan Kohli Net Worth is
$2 Million