Mangeshkar recorded songs in over thirty-six Indian languages and a few foreign languages, though primarily in Hindi, Bengali and Marathi.[15][16] She received several accolades and honors throughout her career. In 1989, the Dadasaheb Phalke Award was bestowed on her by the Government of India.[17] In 2001, in recognition of her contributions to the nation, she was awarded the Bharat Ratna, becoming only the second singer to receive India's highest civilian honour.[18] In 2007, France made her an Officer of the National Order of the Legion of Honour, the country's highest civilian award.[19]
Her mother, Shevanti (later renamed Shudhamati), was a Gujarati woman[28] from Thalner, Bombay Presidency (now in northwest Maharashtra). Shevanti was Deenanath's second wife; his first wife Narmada, who had died before his marriage to Shevanti, was Shevanti's older sister.[29] Her maternal grandfather, Seth Haridas Ramdas Lad, was from Gujarat, a prosperous businessman and landlord of Thalner. She learned Gujarati folk songs such as garbas of Pavagadh from her maternal grandmother.[30]
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Initially, she is said to have imitated the acclaimed singer Noor Jehan, but she later developed her own style of singing.[31] She brought a new signature style of singing to Indian film music, moving away from mehfil-style performances to suit both 'modern' and 'traditional' female protagonists. A soprano range voice with less volume or amplitude, she had enough weight in her voice to give definite shape to the melody of Indian film songs.[45] Although she had limited coloratura skills in her early career, she developed better tone and pitch as she progressed in her playback career.[46] Lyrics of songs in Hindi movies were, in those days, primarily composed by Urdu poets and contained a higher proportion of Urdu words, including the dialogue. Actor Dilip Kumar once made a mildly disapproving remark about her accent while singing Hindi/Urdu songs; so for a period of time, she took lessons in Urdu from an Urdu teacher named Shafi.[47] In subsequent interviews she said that Noor Jehan heard her as a child and had told her to practice a lot. The two stayed in touch with each other for many years to come.[48]
In the 1950s, Mangeshkar sang songs composed by various music directors of the period, including Anil Biswas (in films such as Tarana (1951) and Heer (1956)),[51] Shankar Jaikishan, Naushad Ali, S. D. Burman, Sardul Singh Kwatra, Amarnath, Husanlal, and Bhagatram (in films like Bari Behen (1949), Meena Bazaar (1950), Aadhi Raat (1950), Chhoti Bhabi (1950), Afsana (1951), Aansoo (1953), and Adl-e-Jehangir (1955)), C. Ramchandra, Hemant Kumar, Salil Chowdhury, Datta Naik, Khayyam, Ravi, Sajjad Hussain, Roshan, Kalyanji-Anandji, Vasant Desai, Sudhir Phadke, Hansraj Behl, Madan Mohan, and Usha Khanna.[52] She sang "Sri Lanka, Ma Priyadara Jaya Bhumi", a song in Sinhala, for the 1955 Sri Lankan film Seda Sulang.[53] Lata Didi recorded her first Telugu song Nidhurapora Thammudaa in 1955 Telugu film Santhanam for music director Susarla Dakshinamurthi. She made her debut in Tamil playback singing with Vanaradham in 1956 (Uran Khotala dubbed in Tamil) with the Tamil song Enthan Kannalan for Nimmi in the dubbed version composed by Naushad.[54]
She won a Filmfare Award for Best Female Playback Singer for Salil Chowdhury's composition "Aaja Re Pardesi" from Madhumati (1958). Her association with C. Ramchandra produced songs in movies such as Albela (1951), Shin Shinkai Bublaa Boo (1952), Anarkali (1953), Pehli Jhhalak (1954), Azad (1955), Aasha (1957), and Amardeep (1958).[55] For Madan Mohan, she performed for films like Baagi (1953), Railway Platform (1955), Pocketmaar (1956), Mr. Lambu (1956), Dekh Kabira Roya (1957), Adalat (1958), Jailor (1958), Mohar (1959), and Chacha Zindabad (1959).[56]
In 1963, she returned to collaborate with S. D. Burman.[61] She had sung in R. D. Burman's first film, Chhote Nawab (1961), and later in his films such as Bhoot Bungla (1965), Pati Patni (1966), Baharon ke Sapne (1967), and Abhilasha (1969).[62][63] She also recorded several popular songs for S. D. Burman, including "Aaj Phir Jeene Ki Tamanna Hai", "Gata Rahe Mera Dil" (duet with Kishore Kumar) and "Piya Tose" from Guide (1965), "Hothon Pe Aisi Baat" from Jewel Thief (1967), and "Kitni Akeli Kitni Tanhaa" from Talash.[64][65][66][67]
During the 1960s, she continued her association with Madan Mohan, which included the songs "Aap Ki Nazron Ne Samjha" from Anpadh (1962), "Lag Jaa Gale" and "Naina Barse Rim Jhim" from Woh Kaun Thi? (1964), "Woh Chup Rahen To" from Jahan Ara (1964), "Tu Jahan Jahan Chalega" from Mera Saaya (1966) and "Teri Aankho Ke Siva" from Chirag (1969),[68] and she had a continuing association with the maestros Shankar Jaikishan, who got her to sing in various genres in the 1960s.[69][70]
She also sang several playback songs for Marathi films, composed by Marathi music directors including Hridaynath Mangeshkar, Vasant Prabhu, Srinivas Khale, Sudhir Phadke and herself, under the pseudonym Anandghan. During the 1960s and 1970s, she also sang several Bengali songs composed by music directors like Salil Chowdhury and Hemant Kumar.[72]
She made her Kannada debut in 1967 for the film Kranthiveera Sangolli Rayanna by recording two songs for the music director Lakshman Berlekar.[73] The song "Bellane Belagayithu" was well received and appreciated.[74]
In 1972, Meena Kumari's last film, Pakeezah, was released. It featured popular songs including "Chalte Chalte" and "Inhi Logon Ne", sung by Mangeshkar, and composed by Ghulam Mohammed. She recorded many popular songs for S. D. Burman's last films, including "Rangeela Re" from Prem Pujari (1970), "Khilte Hain Gul Yahaan" from Sharmeelee (1971) and "Piya Bina" from Abhimaan (1973)[b] and for Madan Mohan's last films, including Dastak (1970), Heer Raanjha (1970), Dil Ki Rahen (1973), Hindustan Ki Kasam (1973), Hanste Zakhm (1973), Mausam (1975) and Laila Majnu (1976).[79]
She also released an album of Mirabai's bhajans, "Chala Vaahi Des", composed by her brother Hridaynath Mangeshkar. Some of the bhajans in the album include "Saanware Rang Ranchi" and "Ud Jaa Re Kaaga".[91] In the early 1970s, she released other non-film albums, such as her collection of Ghalib ghazals, an album of Marathi folk songs (Koli-geete), an album of Ganesh aartis (all composed by her brother Hridaynath) and an album of "abhangs" of Sant Tukaram composed by Shrinivas Khale.[92][93]
From the 1980s onward, Mangeshkar worked with music directors such as Shiv-Hari in Silsila (1981), Faasle (1985), Vijay (1988), and Chandni (1989) and Ram Laxman in Ustadi Ustad Se (1981), Bezubaan (1982), Woh Jo Hasina (1983), Ye Kesa Farz (1985), and Maine Pyar Kiya (1989). She sang in other movies, such as Karz (1980), Ek Duuje Ke Liye (1981), Silsila (1981), Prem Rog (1982), Hero (1983), Pyar Jhukta Nahin (1985), Ram Teri Ganga Maili (1985), Nagina (1986), and Ram Lakhan (1989).[99][52] Her song "Zu Zu Zu Yashoda" from Sanjog (1985) was a chartbuster.[100][99] In the late 1980s, she made a comeback to Tamil films with two back-to-back renditions of composer Ilaiyaraaja's songs "Aaraaro Aaraaro" and "Valai Osai", for the films Anand (1987) and Sathya (1988), respectively.[101]Lata Didi Recorded her second Telugu Song "Thella Cheeraku" for Director K. Raghavendra Rao 1988 film Aakhari Poratam .
Rajesh Roshan's collaboration with Dev Anand in Lootmaar and Man Pasand resulted in songs such as "Paas Ho Tum Magar Qareeb" and "Sumansudha Rajni Chandha" respectively. Lata had duets with Rafi such as "Mujhe Chhoo Rahi Hain" in Swayamwar (1980), "Kabhi Kabhi Bezubaan" in Johny I Love You (1982), "Tujh Sang Preet" in Kaamchor (1982), "Angrezi Mein Khete Hai" in Khud-Daar (1982), "Ankhiyo Hi Ankhiyo Mein" in Nishaan (1983), "Dushman Na Kare" in Aakhir Kyon? (1985) and "Wada Na Tod" in Dil Tujhko Diya (1987), later featured in the soundtrack of the 2004 film Eternal Sunshine of the Spotless Mind.[103]
Bappi Lahiri composed some songs for Lata, such as "Dooriyan Sab Mita Do" in Saboot (1980), "Baithe Baithe Aaj Aayi" in Patita (1980), "Jaane Kyun Mujhe" in Agreement (1980), "Thoda Resham Lagta Hai" in Jyoti (1981), "Dard Ki Ragini" in Pyaas (1982), and "Naino Mein Sapna" (duet with Kishore Kumar) in Himmatwala (1983).[104]
Mohammed Zahur Khayyam continued to work with her during the 80s and composed songs such as "Hazaar Rahein Mud" (duet with Kishore Kumar) in Thodisi Bewafai (1980), "Simti Huyi" from Chambal Ki Kasam (1980), "Na Jane Kya Hua" in Dard (1981), "Chandni Raat Mein" in Dil-e-Nadaan (1982), "Dikhayi Diye" in Bazaar (1982), "Chand Ke Paas" in Dil-e-Nadaan (1982), "Bhar Lein Tumhe" and "Aaja Nindiya Aaja" from Lorie (1984) and "Kiran Kiran Mein Shokhiyan" in Ek Naya Rishta (1988).[105]
In 1991, Indonesian dangdut singer, Rhoma Irama invited Mangeshkar to collaborate on several of his songs, album title "Album Khusus Soneta Volume 1 - Ratu Dangdut Dunia Lata Mangeshkar" the songs are entitled Mawar Merah, Orang Asing, Datang Untuk Pergi, Di Tepi Pantai, Musim Cinta and Wahai Pesona.[117][120] Irama also called Mangeshkar as Ratu Dangdut Dunia (World Dangdut Queen).[119]
From 1998 to 2014, A. R. Rahman recorded a few songs with her, including "Jiya Jale" in Dil Se.. (1998), "Ek Tu Hi Bharosa" in Pukar (2000), "Pyaara Sa Gaon" in Zubeidaa (2000), "So Gaye Hain" in Zubeidaa, "Khamoshiyan Gungunane Lagin" in One 2 Ka 4 (2001), "O Paalanhaare" in Lagaan (2001), "Lukka Chuppi" in Rang De Basanti (2006) and Laadli in Raunaq (2014).[127] She made an on-screen appearance in the film Pukar singing "Ek Tu Hi Bharosa."[128] 0852c4b9a8
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