title: Dijkstra's algorithm

text: From the current intersection, "update" the distance to every unvisited intersection that is directly connected to it. This is done by determining the "sum" of the distance between an unvisited intersection and the value of the current intersection and then relabeling the unvisited intersection with this value (the sum) if it is less than the unvisited intersection's current value. In effect, the intersection is relabeled if the path to it through the current intersection is shorter than the previously known paths. To facilitate shortest path identification, in pencil, mark the road with an arrow pointing to the relabeled intersection if you label/relabel it, and erase all others pointing to it. After you have updated the distances to each neighboring intersection, mark the current intersection as "visited" and select an unvisited intersection with minimal distance (from the starting point) – or the lowest label—as the current intersection. Intersections marked as visited are labeled with the shortest path from the starting point to it and will not be revisited or returned to.


title: Dijkstra's algorithm

text: Continue this process of updating the neighboring intersections with the shortest distances, marking the current intersection as visited, and moving onto a closest unvisited intersection until you have marked the destination as visited. Once you have marked the destination as visited (as is the case with any visited intersection), you have determined the shortest path to it from the starting point and can "trace your way back following the arrows in reverse". In the algorithm's implementations, this is usually done (after the algorithm has reached the destination node) by following the nodes' parents from the destination node up to the starting node; that's why we also keep track of each node's parent.


title: Dijkstra's algorithm

text: This algorithm makes no attempt of direct "exploration" towards the destination as one might expect. Rather, the sole consideration in determining the next "current" intersection is its distance from the starting point. This algorithm therefore expands outward from the starting point, interactively considering every node that is closer in terms of shortest path distance until it reaches the destination. When understood in this way, it is clear how the algorithm necessarily finds the shortest path. However, it may also reveal one of the algorithm's weaknesses: its relative slowness in some topologies.


title: Dijkstra's algorithm

text: In the following pseudocode algorithm, is an array that contains the current distances from the to other vertices, i.e. is the current distance from the source to the vertex . The array contains pointers to previous-hop nodes on the shortest path from source to the given vertex (equivalently, it is the "next-hop" on the path "from" the given vertex "to" the source). The code , searches for the vertex in the vertex set that has the least value. returns the length of the edge joining (i.e. the distance between) the two neighbor-nodes and . The variable on line 14 is the length of the path from the root node to the neighbor node if it were to go through . If this path is shorter than the current shortest path recorded for , that current path is replaced with this path.


title: Dijkstra's algorithm

text: If we are only interested in a shortest path between vertices and , we can terminate the search after line 10 if .


title: Dijkstra's algorithm

text: Now sequence is the list of vertices constituting one of the shortest paths from to , or the empty sequence if no path exists.


title: Dijkstra's algorithm

text: A more general problem would be to find all the shortest paths between and (there might be several different ones of the same length). Then instead of storing only a single node in each entry of we would store all nodes satisfying the relaxation condition. For example, if both and connect to and both of them lie on different shortest paths through (because the edge cost is the same in both cases), then we would add both and to . When the algorithm completes, data structure will actually describe a graph that is a subset of the original graph with some edges removed. Its key property will be that if the algorithm was run with some starting node, then every path from that node to any other node in the new graph will be the shortest path between those nodes in the original graph, and all paths of that length from the original graph will be present in the new graph. Then to actually find all these shortest paths between two given nodes we would use a path finding algorithm on the new graph, such as depth-first search.


title: Dijkstra's algorithm

text: A min-priority queue is an abstract data type that provides 3 basic operations: , and . As mentioned earlier, using such a data structure can lead to faster computing times than using a basic queue. Notably, Fibonacci heap or Brodal queue offer optimal implementations for those 3 operations. As the algorithm is slightly different, we mention it here, in pseudocode as well:


title: Dijkstra's algorithm

text: Instead of filling the priority queue with all nodes in the initialization phase, it is also possible to initialize it to contain only "source"; then, inside the codice_1 block, the becomes an operation if the node is not already in the queue.


title: Dijkstra's algorithm

text: Yet another alternative is to add nodes unconditionally to the priority queue and to instead check after extraction that no shorter connection was found yet. This can be done by additionally extracting the associated priority codice_2 from the queue and only processing further codice_3 inside the codice_4 loop.


title: Dijkstra's algorithm

text: These alternatives can use entirely array-based priority queues without decrease-key functionality, which have been found to achieve even faster computing times in practice. However, the difference in performance was found to be narrower for denser graphs.


title: Dijkstra's algorithm

text: "Invariant hypothesis": For each visited node , is the shortest distance from to , and for each unvisited node , is the shortest distance from to when traveling via visited nodes only, or infinity if no such path exists. (Note: we do not assume is the actual shortest distance for unvisited nodes, while is the actual shortest distance)


title: Dijkstra's algorithm

text: The base case is when there is just one visited node, namely the initial node , in which case the hypothesis is trivial.


title: Dijkstra's algorithm

text: Next, assume the hypothesis for "k-1" visited nodes. Next, we choose to be the next visited node according to the algorithm. We claim that is the shortest distance from to .


title: Dijkstra's algorithm

text: To prove that claim, we will proceed with a proof by contradiction. If there were a shorter path, then there can be two cases, either the shortest path contains another unvisited node or not.


title: Dijkstra's algorithm

text: In the first case, let be the first unvisited node on the shortest path. By the induction hypothesis, the shortest path from to and through visited node only has cost and respectively. That means the cost of going from to through has the cost of at least + the minimal cost of going from to . As the edge costs are positive, the minimal cost of going from to is a positive number.


title: Dijkstra's algorithm

text: In the second case, let be the last but one node on the shortest path. That means . That is a contradiction because by the time is visited, it should have set to at most .


title: Dijkstra's algorithm

text: For all other visited nodes , the induction hypothesis told us is the shortest distance from already, and the algorithm step is not changing that.


title: Dijkstra's algorithm

text: After processing it will still be true that for each unvisited node , will be the shortest distance from to using visited nodes only, because if there were a shorter path that doesn't go by we would have found it previously, and if there were a shorter path using we would have updated it when processing .


title: Dijkstra's algorithm

text: After all nodes are visited, the shortest path from to any node consists only of visited nodes, therefore is the shortest distance.


title: Dijkstra's algorithm

text: Bounds of the running time of Dijkstra's algorithm on a graph with edges and vertices can be expressed as a function of the number of edges, denoted formula_3, and the number of vertices, denoted formula_2, using big-O notation. The complexity bound depends mainly on the data structure used to represent the set . In the following, upper bounds can be simplified because formula_3 is formula_9 for any graph, but that simplification disregards the fact that in some problems, other upper bounds on formula_3 may hold.


title: Dijkstra's algorithm

text: where formula_12 and formula_13 are the complexities of the "decrease-key" and "extract-minimum" operations in , respectively.


title: Dijkstra's algorithm

text: The simplest version of Dijkstra's algorithm stores the vertex set as an linked list or array, and edges as an adjacency list or matrix. In this case, extract-minimum is simply a linear search through all vertices in , so the running time is formula_14.


title: Dijkstra's algorithm

text: For sparse graphs, that is, graphs with far fewer than formula_15 edges, Dijkstra's algorithm can be implemented more efficiently by storing the graph in the form of adjacency lists and using a self-balancing binary search tree, binary heap, pairing heap, or Fibonacci heap as a priority queue to implement extracting minimum efficiently. To perform decrease-key steps in a binary heap efficiently, it is necessary to use an auxiliary data structure that maps each vertex to its position in the heap, and to keep this structure up to date as the priority queue changes. With a self-balancing binary search tree or binary heap, the algorithm requires


title: Dijkstra's algorithm

text: time in the worst case (where formula_17 denotes the binary logarithm formula_18); for connected graphs this time bound can be simplified to formula_19. The Fibonacci heap improves this to


title: Dijkstra's algorithm

text: When using binary heaps, the average case time complexity is lower than the worst-case: assuming edge costs are drawn independently from a common probability distribution, the expected number of "decrease-key" operations is bounded by formula_21, giving a total running time of


title: Dijkstra's algorithm

text: In common presentations of Dijkstra's algorithm, initially all nodes are entered into the priority queue. This is, however, not necessary: the algorithm can start with a priority queue that contains only one item, and insert new items as they are discovered (instead of doing a decrease-key, check whether the key is in the queue; if it is, decrease its key, otherwise insert it). This variant has the same worst-case bounds as the common variant, but maintains a smaller priority queue in practice, speeding up the queue operations.


title: Dijkstra's algorithm

text: Moreover, not inserting all nodes in a graph makes it possible to extend the algorithm to find the shortest path from a single source to the closest of a set of target nodes on infinite graphs or those too large to represent in memory. The resulting algorithm is called "uniform-cost search" (UCS) in the artificial intelligence literature and can be expressed in pseudocode as


title: Dijkstra's algorithm

text: The complexity of this algorithm can be expressed in an alternative way for very large graphs: when is the length of the shortest path from the start node to any node satisfying the "goal" predicate, each edge has cost at least , and the number of neighbors per node is bounded by , then the algorithm's worst-case time and space complexity are both in .


title: Dijkstra's algorithm

text: Further optimizations of Dijkstra's algorithm for the single-target case include bidirectional variants, goal-directed variants such as the A* algorithm (see ), graph pruning to determine which nodes are likely to form the middle segment of shortest paths (reach-based routing), and hierarchical decompositions of the input graph that reduce routing to connecting and to their respective "transit nodes" followed by shortest-path computation between these transit nodes using a "highway".


title: Dijkstra's algorithm

text: Combinations of such techniques may be needed for optimal practical performance on specific problems.


title: Dijkstra's algorithm

text: When arc weights are small integers (bounded by a parameter formula_23), specialized queues which take advantage of this fact can be used to speed up Dijkstra's algorithm. The first algorithm of this type was Dial's algorithm for graphs with positive integer edge weights, which uses a bucket queue to obtain a running time formula_24. The use of a Van Emde Boas tree as the priority queue brings the complexity to formula_25 . Another interesting variant based on a combination of a new radix heap and the well-known Fibonacci heap runs in time formula_26 . Finally, the best algorithms in this special case are as follows. The algorithm given by runs in formula_27 time and the algorithm given by runs in formula_28 time.


title: Dijkstra's algorithm

text: The functionality of Dijkstra's original algorithm can be extended with a variety of modifications. For example, sometimes it is desirable to present solutions which are less than mathematically optimal. To obtain a ranked list of less-than-optimal solutions, the optimal solution is first calculated. A single edge appearing in the optimal solution is removed from the graph, and the optimum solution to this new graph is calculated. Each edge of the original solution is suppressed in turn and a new shortest-path calculated. The secondary solutions are then ranked and presented after the first optimal solution.


title: Dijkstra's algorithm

text: Dijkstra's algorithm is usually the working principle behind link-state routing protocols, OSPF and IS-IS being the most common ones.


title: Dijkstra's algorithm

text: Unlike Dijkstra's algorithm, the Bellman–Ford algorithm can be used on graphs with negative edge weights, as long as the graph contains no negative cycle reachable from the source vertex "s". The presence of such cycles means there is no shortest path, since the total weight becomes lower each time the cycle is traversed. (This statement assumes that a "path" is allowed to repeat vertices. In graph theory that is normally not allowed. In theoretical computer science it often is allowed.) It is possible to adapt Dijkstra's algorithm to handle negative weight edges by combining it with the Bellman-Ford algorithm (to remove negative edges and detect negative cycles); such an algorithm is called Johnson's algorithm.


title: Dijkstra's algorithm

text: The A* algorithm is a generalization of Dijkstra's algorithm that cuts down on the size of the subgraph that must be explored, if additional information is available that provides a lower bound on the "distance" to the target. This approach can be viewed from the perspective of linear programming: there is a natural linear program for computing shortest paths, and solutions to its dual linear program are feasible if and only if they form a consistent heuristic (speaking roughly, since the sign conventions differ from place to place in the literature). This feasible dual / consistent heuristic defines a non-negative reduced cost and A* is essentially running Dijkstra's algorithm with these reduced costs. If the dual satisfies the weaker condition of admissibility, then A* is instead more akin to the Bellman–Ford algorithm.


title: Dijkstra's algorithm

text: The process that underlies Dijkstra's algorithm is similar to the greedy process used in Prim's algorithm. Prim's purpose is to find a minimum spanning tree that connects all nodes in the graph; Dijkstra is concerned with only two nodes. Prim's does not evaluate the total weight of the path from the starting node, only the individual edges.


title: Dijkstra's algorithm

text: Breadth-first search can be viewed as a special-case of Dijkstra's algorithm on unweighted graphs, where the priority queue degenerates into a FIFO queue.


title: Dijkstra's algorithm

text: The fast marching method can be viewed as a continuous version of Dijkstra's algorithm which computes the geodesic distance on a triangle mesh.


title: Dijkstra's algorithm

text: From a dynamic programming point of view, Dijkstra's algorithm is a successive approximation scheme that solves the dynamic programming functional equation for the shortest path problem by the Reaching method.


title: Dijkstra's algorithm

text: is a paraphrasing of Bellman's famous Principle of Optimality in the context of the shortest path problem.


title: Dijkstra's algorithm

text: Least-cost paths are calculated for instance to establish tracks of electricity lines or oil pipelines. The algorithm has also been used to calculate optimal long-distance footpaths in Ethiopia and contrast them with the situation on the ground.


title: The Lost World: Jurassic Park

text: The Lost World: Jurassic Park is a 1997 American science fiction action film. It is the second installment in the "Jurassic Park" franchise and the second film in the original "Jurassic Park" trilogy. A sequel to 1993's "Jurassic Park" and loosely based on Michael Crichton's 1995 novel "The Lost World", the film was directed by Steven Spielberg from a screenplay by David Koepp. The film stars Jeff Goldblum, returning as the eccentric chaos theorist and mathematician Ian Malcolm, as well as Julianne Moore, Pete Postlethwaite, Arliss Howard, Vince Vaughn, and Vanessa Lee Chester. Four years after the original film, John Hammond (Richard Attenborough) sends a team, led by Malcolm, to Isla Sorna, the second island Hammond's company InGen used to make the dinosaurs, to study the animals while coming into conflict with a team led by InGen to bring some of the dinosaurs back to the United States.


title: The Lost World: Jurassic Park

text: After the original novel's release and the first film's success, fans pressured Crichton for a sequel. Following the book's publication in 1995, production began on a film sequel. Filming took place from September to December 1996, primarily in California, with a shoot in Kauai, Hawaii, where the first film was shot. "The Lost World"s plot and imagery is substantially darker than "Jurassic Park". It makes more extensive use of computer-generated imagery to depict the dinosaurs, along with life-sized animatronics.


title: The Lost World: Jurassic Park

text: As the sequel to the then-highest-grossing film of all time, "The Lost World" was among the most anticipated films of 1997. It was accompanied by a $250 million marketing campaign which included , comic books, and toys. Upon its release on May 23, 1997, the film received mixed reviews from critics, who praised the visual effects but criticized the character development. It earned an Academy Award nomination for Best Visual Effects, losing to "Titanic". The film grossed $618 million worldwide, becoming the second-highest-grossing film of 1997 behind "Titanic".


title: The Lost World: Jurassic Park

text: Although it broke several box-office records in its opening weekend, "The Lost World" failed to replicate the cultural impact and following of "Jurassic Park". Retrospective reviews have been mixed, with some viewing the film as an inferior follow-up to "Jurassic Park". Spielberg also expressed disappointment with the film, stating he had become increasingly disenchanted with it during production. A sequel, "Jurassic Park III", was released on July 18, 2001.


title: The Lost World: Jurassic Park

text: Four years after the events on Isla Nublar, a wealthy family docks their yacht ashore at the nearby Isla Sorna. Their daughter wanders off and is attacked by a group of "Compsognathus", but is saved. An ailing Dr. John Hammond invites chaotician Dr. Ian Malcolm to discuss the incident. InGen is now headed by Hammond's nephew Peter Ludlow, who used the incident to take control of the company from Hammond. Ian learns that InGen had created the Jurassic Park dinosaurs on Isla Sorna, and Ludlow wants to exploit the island's creatures to save InGen from bankruptcy. Hammond asks Ian to join a team who will document the dinosaurs in their natural habitat, to encourage a policy of non-interference. Ian's girlfriend, paleontologist Dr. Sarah Harding, was hired and is already on the island. Ian reluctantly agrees to go, but only to retrieve her.


title: The Lost World: Jurassic Park

text: Ian travels to Isla Sorna with Eddie Carr, an equipment specialist and engineer, and Nick Van Owen, a video documentarian and activist. They find Sarah amidst a herd of "Stegosaurus", but she insists on staying to continue her research. Ian is shocked when he discovers his daughter Kelly has stowed away in a trailer, which serves as their mobile base. Ludlow and a mercenary team arrive on the island and capture dinosaurs, with help from big-game hunters Roland Tembo and Ajay Sidhu, Roland's second-in-command Dieter Stark, and paleontologist Dr. Robert Burke. Malcolm's group realizes Ludlow and the InGen team plan to ship the captured specimens to a proposed Jurassic Park attraction in San Diego. Nick and Sarah free the captured dinosaurs, and the animals wreak havoc on the InGen team's camp. On the way back to the trailer, Nick rescues an injured "Tyrannosaurus rex" infant that Roland used as bait to hunt its father. Nick and Sarah treat the infant's broken leg, but the "Tyrannosaurus" adults arrive. They reclaim their infant, destroy the trailer, and devour Eddie during his attempt to rescue the group.


title: The Lost World: Jurassic Park

text: Ian, Sarah, Nick, and Kelly are rescued by Ludlow's team and are forced to work together after losing all their communications equipment. They elect to walk "en masse" inland to an abandoned InGen base to call for help. During a break, Stark goes into the wilderness alone to relieve himself and is killed by a group of "Compsognathus". After the team sets up a camp for the night, they are ambushed by the "Tyrannosaurus" adults: Burke is devoured, and everyone else flees into a field of long grass containing a pack of "Velociraptors", which kill Ajay and most of the InGen team. Ian, Sarah, Kelly, and Nick reach the InGen base, fight off three "Velociraptors", and successfully radio for helicopter extraction. After being rescued, Nick reveals that he stole Roland's ammunition to prevent him from killing his trophy, but they learn Roland sedated the male "Tyrannosaurus" with tranquilizers instead. As InGen personnel arrive on the island to secure the male and infant, Roland declines Ludlow's job offer at the San Diego park, reflecting on Ajay's death and the morality of Ludlow's scheme.


title: The Lost World: Jurassic Park

text: In San Diego, Ian and Sarah attempt to convince Ludlow to abandon his plans, but the ship carrying the male "Tyrannosaurus" suddenly crashes into the docks. The crew is found dead, and the "Tyrannosaurus" breaks free and goes on a rampage through the city. Ian and Sarah locate the infant at the planned park and use it to lure the male back to the docks. Ludlow pursues the animals onto the ship and tries to catch them within the cargo hold, but he is injured by the adult before being mauled to death by the infant. Sarah uses a tranquilizer gun to sedate the male, while Ian seals the cargo hold doors. In the aftermath, the dinosaurs are shipped back to Isla Sorna accompanied by a naval escort, while Ian, Sarah, and Kelly watch Hammond in a televised interview announce that the American and Costa Rican governments have declared the island a nature preserve.


title: The Lost World: Jurassic Park

text: After the release of the novel, "Jurassic Park" in 1990, Michael Crichton was pressured by fans for a sequel. Having never written one, he initially refused. While shooting the novel's film adaptation, director Steven Spielberg believed that if a sequel were made, it would involve the retrieval of the canister that contained dinosaur DNA lost during the events of the first film. Talk of a sequel film began after the 1993 release of "Jurassic Park", which was a financial success. Spielberg held discussions with David Koepp and Crichton, who wrote the previous film, to talk about possible ideas for a sequel. The production schedule for a second "Jurassic Park" film was dependent on whether Crichton would write a sequel to the first novel.


title: The Lost World: Jurassic Park

text: In March 1994, Crichton said there would probably be a sequel to both the novel and film, saying he had a story idea for another novel, which would then be adapted into a film. At the time, Spielberg had not committed to directing the new novel's film adaptation, as he planned to take a year off from directing. In March 1995, Crichton said that he was nearly finished writing the sequel, scheduled for release later that year, although he declined to specify its title or plot. At the time of this announcement, Spielberg had signed on to produce the film adaptation, with filming to begin in summer 1996 for release in 1997. Spielberg was busy with his new DreamWorks studio and had not decided if he would direct the film, saying, "I'd love to direct it, but I just have to see. My life is changing".


title: The Lost World: Jurassic Park

text: A production team was assembled in spring 1995, as Crichton was finishing the second novel, titled "The Lost World"; simultaneously, Spielberg and Koepp were developing ideas for the screenplay. Crichton's novel was published that September, while Spielberg was announced as director for the film adaptation in November. Spielberg and Crichton agreed to forego upfront fees for a share of the back-end. Koepp's deal was said to be the most lucrative for an adaptation at the time, with a fee in the region of $1.5 to $2 million. Joe Johnston, who offered to direct the film adaptation, eventually directed the following film, "Jurassic Park III" (2001). "The Lost World: Jurassic Park" had nearly 1,500 storyboards, which aided in the precise planning needed to shoot scenes involving action, dinosaurs, and special-effects.


title: The Lost World: Jurassic Park

text: The plot for Crichton's "Lost World" novel involves a second island with dinosaurs but no reference to the canister of dinosaur DNA, which was later used as a plot aspect in a rejected early draft for "Jurassic Park IV". After the film adaptation of "The Lost World" was announced, Koepp received letters of advice from children who were interested in the film. According to Koepp, one letter read: "As long as you have the T. rex and the Velociraptor, everything else is fine. But, whatever you do, don't have a long boring part at the beginning that has nothing to do with the island". Koepp retained the letter as "sort of a reminder". Koepp also took a suggestion from the letter to add "Stegosaurus" into the script.


title: The Lost World: Jurassic Park

text: After the novel was finished, Crichton was not consulted about the sequel film, and it was not until he declined to approve certain merchandising rights that he received a copy of the script. Kathleen Kennedy, the film's executive producer, and producer of "Jurassic Park", said: "In the same way Michael doesn't see writing as a collaboration, Steven went off and did his own movie. When Michael turned the book over to Steven, he knew his work was finished". By the time Crichton had finished his novel, Spielberg and Koepp had already been discussing ideas for the film for more than a year. For the adaptation, Koepp attempted to combine the ideas that he and Spielberg devised along with those from Crichton's novel. Spielberg said that the middle portion of the novel was lacking in story narrative, but that Crichton's set-up was excellent, and he put Spielberg and his crew on the right road. Koepp had a year to write the script before the start of filming.


title: The Lost World: Jurassic Park

text: To prepare before writing the script, Spielberg was more insistent that Koepp watch the 1925 film, "The Lost World", than he was on having him read Crichton's novel, which Koepp also did. During an early meeting with Koepp, Spielberg determined that while the primary conflict of the original film involved herbivorous dinosaurs vs. carnivorous dinosaurs, the script for the new film should involve humans who are "gatherers" (observers of the dinosaurs) and "hunters" (who capture the dinosaurs for a zoo). Koepp said the plot of the 1962 film "Hatari!" – about African animals being captured for zoos – had "a big influence" on "The Lost World"s script.


title: The Lost World: Jurassic Park

text: Spielberg and Koepp discarded many of the novel's scenes and ideas, choosing instead to devise a new story while including the two ideas from the novel that Spielberg liked: a second island populated with dinosaurs, and a scene where half of a two-part trailer dangles from a cliff after being attacked by T. rexes. Also retained was the idea of parenting and nurturing behavior among dinosaurs, as well as a baby "T. rex" and a child who stows away in the trailer. The character of Robert Burke is based on paleontologist Robert Bakker, who believes that "T. rex" was a predator. Rival paleontologist Jack Horner, the film's technical advisor, viewed the dinosaur as being protective and not inherently aggressive. Horner requested that the character of Burke be eaten by the "T. rex", although Bakker enjoyed the scene and believed that it vindicated his theory that "T. rex" was a predator.


title: The Lost World: Jurassic Park

text: Crichton's novel revolves around Malcolm's team and a rival team led by InGen's corporate rival, Biosyn, which was written out of the film adaptation in favor of two competing InGen teams. Several characters from the novel were excluded from the film adaptation, including Lewis Dodgson, the leader of the Biosyn team, and field equipment engineer Doc Thorne, whose characteristics were partially implemented in the film's version of Eddie. Two new characters not featured in the novel were Nick and Roland. For these characters, Koepp chose the surnames Tembo and Van Owen as a reference to one of his favorite songs, "Roland the Headless Thompson Gunner", by Warren Zevon. Koepp said "since Roland is a mercenary in the song, that seemed like a good name for the hunter-for-hire in our movie. While I was at it, I thought it would be fun to make his nemesis' last name Van Owen, like in the song". Spielberg regretted excluding a scene from the script that would have depicted characters on motorcycles attempting to flee raptors, similar to a sequence in the novel. An alternate version of the scene was added to the 2015 film, "Jurassic World".


title: The Lost World: Jurassic Park

text: While Crichton's novel featured two child characters, Kelly and Arby, Koepp combined them into a single character also named Kelly. Arby is a black character, and black actress Vanessa Lee Chester was chosen to play Kelly in the film. Initially, Kelly was to be a student of Ian Malcolm's, although Koepp had difficulty making this idea work, saying that Malcolm "would never teach grade school, so I thought maybe he was tutoring her. "Why"? Maybe he got a drunk driving ticket, and he had to do community service, so he's tutoring at this inner-city high school". Koepp scrapped this idea because of its similarity to the 1995 film "Dangerous Minds". Because the film would deal with dinosaur nurturing, Koepp realized that the parenting element should also extend to the human characters. Spielberg approved Koepp's idea to have Kelly as Malcolm's daughter, although they initially were unsure about a black actress playing the daughter of a white parent. Spielberg has two adopted black children, and he and Koepp soon decided to retain the idea. Koepp wanted to write an explanation into the script about the discrepancy in skin color, but he dropped this idea as he could not think of a way to address it in a simple manner.


title: The Lost World: Jurassic Park

text: Koepp referred to Crichton's original "Jurassic Park" novel for some scenes that would be added into the film adaptation of "The Lost World". Dieter's death scene was inspired by John Hammond's death in the first novel, where "Procompsognathus" kill him. The film's opening scene came from an early chapter in the first novel that was not used in the film adaptation, where a "Procompsognathus" bites a girl on a beach. The first novel also included a scene where characters hide behind a waterfall from a "T. rex"; this scene was not used in the first film but was added into "The Lost World: Jurassic Park", for the scene in which the "T. rex" eats Burke.


title: The Lost World: Jurassic Park

text: Early scripts had featured two "Pteranodon" sequences, including one in which Malcolm and his group would escape raptors by hang-gliding off a cliff, only to encounter a "Pteranodon". Another sequence, once planned as the film's ending, involved an aerial battle where "Pteranodons" attack the helicopter trying to escape Isla Sorna. Spielberg also considered having the Pteranodons swoop down and carry off humans and animals in their large beaks, an idea that was rejected by Horner. This version of the story featured a larger worker's village on the island, whereas the final version of the village was only a quarter of what was initially designed. For more than a year, Spielberg and Koepp were unsure whether to include a scene involving a dinosaur in a city. Koepp believed that such a scene would only work for a short period of time before becoming unbelievable.


title: The Lost World: Jurassic Park

text: Weeks before filming began, Spielberg decided to change the ending to have the "T. rex" rampage through San Diego. He was interested in seeing dinosaurs attacking the mainland, and he believed that audiences would enjoy the San Diego rampage. Initially, Spielberg wanted such a scene to be saved for a third film but later decided to add it to the second one when he realized he would probably not direct another film in the series. The sequence is similar to an attack scene involving a "Brontosaurus" in London in the 1925 version of "The Lost World", adapted from Sir Arthur Conan Doyle's 1912 novel of the same name, both of which inspired the title for Crichton's novel. For the rampage sequence, Spielberg referenced monster films such as "The Beast from 20,000 Fathoms" and "Gorgo". Koepp's first draft of the new third act was completed a week after talking with Spielberg, although it would continue to go through revisions. Koepp wrote a total of nine drafts for the film. Producers Colin Wilson and Gerald Molen wanted the "Pteranodons" to remain in the story, but the creatures ultimately received only a small appearance in the film's ending shot.


title: The Lost World: Jurassic Park

text: In November 1994, Richard Attenborough said he would reprise his role as John Hammond from the first film. In 1995, Spielberg met Vanessa Lee Chester at the premiere of "A Little Princess", in which she appeared. Chester later recalled: "As I was signing an autograph for him, he told me one day he'd put me in a film". Spielberg met with Chester the following year to discuss "The Lost World: Jurassic Park" before ultimately casting her as Malcolm's daughter, Kelly. Pete Postlethwaite was cast after Spielberg saw his performance in the 1993 film "In the Name of the Father". Art Malik turned down a role in the film.


title: The Lost World: Jurassic Park

text: In April 1996, Julianne Moore was in discussions to star in the film alongside Jeff Goldblum. Spielberg had admired Moore's performance in "The Fugitive". Two months later, Peter Stormare was in final negotiations to join the cast. Later in August, Vince Vaughn joined the cast. Spielberg was impressed with Vaughn's performance in the film "Swingers", which he saw after the filmmakers asked his permission to use music from his earlier film, "Jaws". After meeting with Spielberg, Vaughn was cast without having to do a screen test. Indian actor M. R. Gopakumar was initially cast as Ajay Sidhu in August 1996, but was unable to participate in the project because of trouble acquiring a work visa in time for filming. He was one of six people considered for the role, which ultimately went to actor Harvey Jason.


title: The Lost World: Jurassic Park

text: Production designer Rick Carter traveled to Hawaii, then Puerto Rico, New Zealand, and Australia to scout possible filming locations. Costa Rica and South America were never considered, as filming would have taken place during the local area's rainy season. However, the film ultimately did use tropical sound effects that were recorded in Costa Rica. By February 1996, northern New Zealand had been chosen as a filming location. While the first film had been shot in Kauai, Hawaii, the filmmakers wanted to shoot the sequel in a different location with new scenery. New Zealand was also chosen because it was believed to better represent a real dinosaur environment, although Crichton wanted the film to be shot on Kauai.


title: The Lost World: Jurassic Park

text: In August 1996, Humboldt County, California was chosen instead of New Zealand, where filming would have been too costly. Humboldt County offered financial incentives that would keep the film's production costs lower. Oregon had been considered before Humboldt County was chosen. Filming locations in Humboldt County would include the redwood forests of Eureka, California. This location was picked because research indicated dinosaurs did not inhabit tropical habitats, but forests like the ones in Eureka.


title: The Lost World: Jurassic Park

text: Filming began on September 5, 1996, at Fern Canyon, part of California's Prairie Creek Redwoods State Park. Production continued in northern California for two weeks at locations such as Eureka, Sue-meg State Park, and private property in Fieldbrook. Filming in Humboldt County concluded on September 19. Throughout the fall of 1996, filming continued on sound stages at Universal Studios Hollywood. The Site B workers village was also constructed there and left intact after filming to become a part of the theme park tour. Because of limited stage space in Hollywood, the production crew had to alternate between the different stages at Universal, with stages being redecorated when not in use to prepare for future filming.


title: The Lost World: Jurassic Park

text: A 1997 Fleetwood Southwind Storm RV was used to depict the mobile trailer lab. Several trailers were created for filming. Scenes involving the trailer lab were shot in Eureka, followed by filming at Universal. For shots in which half of the trailer dangles from a cliff, a whole mountainside was built over the structure of Universal's parking garage, and the trailer was dangled against the mountainside using a 95-ton crane. Before the trailer is shoved off the cliff, it is attacked by the "T. rex" adults who slam their heads into the vehicle. Animatronic versions of the adults were used for this scene, and the damage to the trailer was authentically caused by the animatronics rather than through computer effects. Shots involving both the animatronic "T. rexes" and the trailer together were filmed on Universal's Stage 24. Other shots involving the trailer were filmed on Stage 27.


title: The Lost World: Jurassic Park

text: A portion of the trailer scene was filmed in a continuous take using a crane arm. The camera would track actor Richard Schiff as his character travels through part of the trailer to throw rope down to the other characters, who are stuck in the other portion of the trailer as it dangles over the side of the cliff. This shot required precise timing to get right, and a dolly track also had to be built into the stage. While filming inside the trailer, the camera would lose focus because of interference from some piece of the electronic equipment inside the vehicle. After 15 failed takes, the film crew was close to giving up on the shot, until a remote-focus mechanism was mounted onto the camera. Ultimately, the film crew managed to get three good takes over the course of nine hours. Another issue resulted from the scene taking place during a storm, as the artificial rain fogged the camera lens, and the camera's rain deflectors failed.


title: The Lost World: Jurassic Park

text: Spielberg did not allow for cast rehearsals: "You want to capture the actors when they taste the words for the first time, when they look at each other for the first time – that's the sort of magic you can only get on a first or second take". Spielberg wanted his long-time cinematographer Dean Cundey to return for "The Lost World" after working on the previous film, although Cundey was busy preparing to direct "Honey, We Shrunk Ourselves", so Spielberg chose Janusz Kamiński instead. Kamiński had worked with Spielberg on "Schindler's List", and he gave "The Lost World" a darker, more artistic look over its predecessor, leading to a "more elegant and rich" approach focused on contrast and shadow. Much of the film takes place at night, and Kamiński looked at the films "Alien" and "Blade Runner" for visual reference. Koepp was the film's second unit director, having volunteered for the position in hopes of gaining more directorial experience. Second unit work consisted of establishing shots, such as people marching across Isla Sorna, and helicopter shots. When Spielberg was unavailable for filming because of a family commitment in New York, Koepp also took over the first unit for eight days of filming, during the shoot at Universal's sound stages. Spielberg monitored the filming process through satellite video in New York during his week off.


title: The Lost World: Jurassic Park

text: The InGen hunters' base camp was constructed on Stage 12. On Stage 23, a large ravine was constructed for a scene in which a "T. rex" chases characters into a small cave hidden behind a waterfall. Special-effects expert Michael Lantieri constructed the artificial waterfall, and the scene was shot using a Steadicam. Spielberg estimated that nearly half of the film was shot using Steadicam, as it was useful for the film's abundance of chase scenes. For the scene in which raptors attack the InGen team in a field of long grass, Lantieri and a team started growing real grass a year earlier on eight acres, located in Newhall, California. The acreage allowed for any potential reshoots to be done, as any grass that was flattened during filming would not come back up. The scene was filmed in early November 1996.


title: The Lost World: Jurassic Park

text: The "T. rex" rampage through San Diego was also filmed during November. Although the sequence takes place in San Diego, only one scene was shot there. In it, an InGen helicopter flies over the wharf and banks towards the city. The other sequences were all shot in Burbank, California. An eight-scale dock and miniature ship were created for the scene in which the "T. rex" arrives in San Diego. One scene has the "T. rex" ramming into a driving bus which then crashes into a Blockbuster Video. The video store was built as a set on an empty lot in Burbank. The San Diego scenes were shot behind barricades to maintain secrecy; Spielberg noted that "it looked like road-repair work was going on". Various members of the film crew were featured running from the "Tyrannosaurus", with Koepp credited as the "Unlucky Bastard" who is eaten during a scene set in San Diego. Scenes involving Hammond's residence were shot during the final week of filming, at Mayfield Senior School in Pasadena, California. A scene where Vaughn's character emerges from a lake was also shot in Pasadena.


title: The Lost World: Jurassic Park

text: Originally, filming was to take place over five days in December at New Zealand's Fiordland National Park, where the film's opening sequence was to be shot. In early December, plans to film in Fiordland were abruptly cancelled. Principal photography concluded ahead of schedule on December 11. However, in mid-December 1996, plans were approved to shoot the opening sequence on a beach in Kauai after the cancellation of the New Zealand shoot. Filming in Kauai was underway on December 20, with plans to finish two days later. Although Spielberg was in Kauai at the time, and had visited the production, the opening sequence was filmed by a second unit crew. The film was shot on a budget of $73 million.


title: The Lost World: Jurassic Park

text: While "Jurassic Park" featured mostly the animatronic dinosaurs built by Stan Winston's team, "The Lost World" relied more on the computer-generated imagery (CGI) of Industrial Light & Magic (ILM). This meant the film featured larger shots that offered plenty of space for the digital artists to add the dinosaurs. The film features 75 computer-generated shots. A scene in which the hunters round up a group of dinosaurs was made almost entirely with computer-generated creatures. An exception was a handful of "Pachycephalosaurus" shots.


title: The Lost World: Jurassic Park

text: Spielberg followed Horner's advice to help keep the dinosaurs scientifically accurate for the most part, with some exceptions. The Winston design team closely modelled the dinosaurs based on paleontological facts, or theories in certain cases where facts were not definitively known. In addition to animatronics, Winston's team also painted maquettes of dinosaurs that would subsequently be created through CGI. ILM animators went to Six Flags Discovery Kingdom, then known as Marine World/Africa USA to videotape elephants, reptiles, and rhinos, to determine how to make the dinosaurs appear more like living animals. Although technology had not advanced much since the release of the first film, Spielberg noted that "the artistry of the creative computer people" had advanced: "There's better detail, much better lighting, better muscle tone and movement in the animals. When a dinosaur transfers weight from his left side to his right, the whole movement of fat and sinew is smoother, more physiologically correct". All of the dinosaurs used servo control for facial movements.


title: The Lost World: Jurassic Park

text: While the first film showed that dinosaurs could be adequately recreated through special effects, the sequel raised the question of what could be done with the dinosaurs. Winston said: "I wanted to show the world what they didn't see in "Jurassic Park": more dinosaurs and more dinosaur action. 'More, bigger, better' was our motto". Some of the animatronics cost $1 million and weighed nine and a half tons. Lantieri, the special effects supervisor, said: "The big T. rex robot can pull two Gs of force when it's moving from right to left. If you hit someone with that, you'd kill them. So, in a sense, we did treat the dinosaurs as living, dangerous creatures".


title: The Lost World: Jurassic Park

text: For the sequel, composer John Williams avoided using most of the previous film's main themes, writing a more action-oriented score. The was released on May 20, 1997. It, along with the soundtrack to the first movie, was re-released and remastered on November 29, 2016.


title: The Lost World: Jurassic Park

text: In February 1997, Universal announced a $250 million marketing campaign with 70 promotional partners. It was even more extensive than that of "Jurassic Park". The leading partners were Burger King, whose promotion was concurrent with one for another Universal dinosaur-based franchise, "The Land Before Time"; JVC and Mercedes-Benz, whose products are featured in the movie; and Timberland Co., making its first film tie-in. Another partner was a then-sister company of Universal under Seagram, Tropicana Products. Other promotional partners included Hamburger Helper and Betty Crocker, while General Mills introduced Jurassic Park Crunch cereal. Derivative works included , including both a pinball machine and an arcade game by Sega, and a four-part comic series released by Topps Comics.


title: The Lost World: Jurassic Park

text: Other promotional items included a toy line of action figures by Kenner and remote-controlled vehicles by Tyco, as well as a board game by Milton Bradley Company. Also produced were Hershey's chocolate bars that featured holographic dinosaur patterns. Universal hoped for promotional profits to exceed $1 billion. Inspired by how "Jurassic Park" featured the Ford Explorer, Mercedes-Benz signed an endorsement deal to use the film to introduce its first sports utility vehicle, the W163.


title: The Lost World: Jurassic Park

text: On December 13, 1996, a special version of the film's teaser trailer debuted at 42 theaters in the United States and Canada, at a cost of $14,000 for each theater; the trailer used synchronized strobe lights that mimicked lightning during a rain scene. The film's first trailer was aired on January 26, 1997, during Super Bowl XXXI. A travelling exhibition, The Lost World: The Life and Death of Dinosaurs, went on tour in May 1997, coinciding with the film's release. The exhibit was produced in connection with the film, and its centerpiece was a 70-foot-long recreation of a "Mamenchisaurus".


title: The Lost World: Jurassic Park

text: A detailed website for the film was also created, and provided backstory for characters and events not referenced in the film. Shortly after the film's release, hackers broke into the website and briefly changed the film's logo to feature a duck instead of a "T. rex". The film's title in the logo was also changed to "The Duck World: Jurassic Pond". Universal denied that the hacking was a publicity stunt to promote the film, stating that it was traced to a "16-year-old hacker kid from back East". The website was still online as of 2017.


title: The Lost World: Jurassic Park

text: "The Lost World: Jurassic Park" premiered on May 19, 1997, at a Cineplex Odeon theater in Universal City, California. The "Los Angeles Times" called the premiere "low-key". The film opened on May 23, 1997 receiving the widest release for a film to date opening in 3,281 theaters with previews commencing at 10 p.m. the night before. The film expanded to 3,565 theaters in its fourth weekend. It was also the first film to use the 1997-2012 Universal Pictures logo, accompanied by its fanfare by Jerry Goldsmith.


title: The Lost World: Jurassic Park

text: "The Lost World: Jurassic Park" made its home video debut on THX certified VHS and LaserDisc releases on November 4, 1997, accompanied by a $50 million promotional campaign.


title: The Lost World: Jurassic Park

text: Fox paid $80 million for the broadcasting rights of "The Lost World: Jurassic Park", which debuted on November 1, 1998. The television version was expanded with deleted scenes, that included John Hammond's ouster by InGen executives.


title: The Lost World: Jurassic Park

text: "The Lost World: Jurassic Park" was released on a Collector's Edition DVD on October 10, 2000, in both Widescreen (1.85:1) and Full Screen (1.33:1) versions, and in a box set with its predecessor "Jurassic Park". Both films consist of Dolby Digital and DTS versions. The films were also featured in a deluxe limited edition box set featuring both DVDs, soundtrack albums, two lenticulars, stills from both films, and a certificate of authenticity signed by the set's producers, inside a collector case. After the release of sequel "Jurassic Park III", box sets including all three movies were also made available, as "Jurassic Park Trilogy" on December 11, 2001, and as the "Jurassic Park Adventure Pack" on November 29, 2005. "The Lost World" was first made available on Blu-ray on October 25, 2011, as part of a trilogy release. The entire "Jurassic Park" film series was released on 4K UHD Blu-Ray on May 22, 2018.


title: The Lost World: Jurassic Park

text: "The Lost World" took in $72.1 million on its opening weekend ($92.7 million for the four-day Memorial Day holiday, including $2.6 million from Thursday night previews) in the U.S., which was the biggest opening weekend up to that point, beating "Batman Forever". This made it the first film to reach the $70 million mark during an opening weekend. For four and a half years, the film held that record until the release of "Harry Potter and the Sorcerer's Stone" in November 2001. The film also had the biggest May opening weekend, surpassing the previous records held by "Twister" and "". It would hold this record until 2002 when "Spider-Man" took it. Additionally, it surpassed "Mission: Impossible" for having the largest Memorial Day weekend gross, as well as three opening records held by "Independence Day". In 2004, "Shrek 2" broke "The Lost World"s record for having the biggest Memorial Day weekend gross. That film would hold this record for two years until 2006 when it was given to "", which also took "The Lost World"s record for having the highest Memorial Day opening weekend.


title: The Lost World: Jurassic Park

text: "The Lost World" broke several other box office records as well. The film made $21.6 million on its Friday opening and $24.4 million on its second day, making it the highest Friday and Saturday grosses. While the Friday record was taken by "Toy Story 2" in 1999, the film continued to hold the Saturday record for two more years until "The Mummy Returns" surpassed it. It also took the record for highest single-day box office take of $26.1 million on May 25, a record held until the release of "" in 1999. It became the fastest film to pass the $100 million mark, achieving the feat in just six days. When the film first debuted on May 23, it had the largest number of screenings, playing at 3,281 theaters. This broke the record also held by "Mission: Impossible". However, despite these records, its total box office gross fell below the total of the original film. Ticket sales dropped 62% by its second weekend. The film made $34.1 million during its second weekend, making it the fourth-highest-grossing second weekend of all time, after its predecessor, "Twister" and "Independence Day". Over the next few weeks, "The Lost World" would go on to compete against other blockbuster films released during that summer such as "Hercules", "Face/Off", "Men in Black", "Con Air", "George of the Jungle", "Batman & Robin" and "". It ultimately grossed $229.1 million in the U.S. and $389.5 million internationally, for a total of $618.6 million worldwide, becoming the second highest-grossing film of 1997 behind "Titanic". The film sold an estimated 49,910,000 tickets in North America.


title: The Lost World: Jurassic Park

text: On review aggregation website Rotten Tomatoes, the film holds an approval rating of 53% based on 79 reviews and an average rating of 5.6/10. The site's critical consensus reads: ""The Lost World" demonstrates how far CG effects have come in the four years since "Jurassic Park"; unfortunately, it also proves how difficult it can be to put together a truly compelling sequel." On Metacritic, the film has a weighted average rating of 59 out of 100, based on 18 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.


title: The Lost World: Jurassic Park

text: Roger Ebert, who gave the first film three stars, gave "The Lost World" only two, writing: "It can be said that the creatures in this film transcend any visible signs of special effects and seem to walk the earth, but the same realism isn't brought to the human characters, who are bound by plot conventions and action formulas". Gene Siskel of the "Chicago Tribune" also gave the film two stars and said: "I was disappointed as much as I was thrilled because 'The Lost World' lacks a staple of Steven Spielberg's adventure films: exciting characters. [...] Even in the original 'Jurassic Park', the dinosaurs – not to mention the human beings – had more distinct personalities than they have here. Save for superior special effects, 'The Lost World' comes off as recycled material".


title: The Lost World: Jurassic Park

text: Kevin Thomas of the "Los Angeles Times" saw improved character development over the original: "It seemed such a mistake in "Jurassic Park" to sideline early on its most interesting character, the brilliant, free-thinking and outspoken theorist Ian Malcolm (Jeff Goldblum) with a broken leg, but in its most inspired stroke, "The Lost World" brings back Malcolm and places him front and center", calling it "a pleasure to watch such wily pros as Goldblum and Attenborough spar with each other with wit and assurance". Stephen Holden of "The New York Times" wrote, ""The Lost World", unlike "Jurassic Park", humanizes its monsters in a way that "E.T." would understand". Owen Gleiberman of "Entertainment Weekly" gave the film a B grade; he remarked, "Mr. T-Rex was cool in the first Spielberg flick, sure, but it wasn't until [it was in] San Diego that things got crazy-cool. It's the old 'tree falling in the woods' conundrum: Unless your giant monster is causing massive property damage, can you really call it a giant monster?"


title: The Lost World: Jurassic Park

text: Spielberg regretted that the film characters are aware they are going to an island of dinosaurs, unlike the previous film. He later said that he knows a major reason why his sequels tend to not live up to the quality of his original films:


title: The Lost World: Jurassic Park

text: Later reviews have been mixed. Critic Tim Brayton described it as "readily the worst thing Steven Spielberg has ever made." In 2015, Matt Goldberg of Collider wrote that the film feels "like the work of a Spielberg protégé. All the beats are in place, but it's an imitation". In 2018, Brian Silliman of Syfy Wire cited the film as a rare example of a film adaptation that is better than its novel counterpart. In particular, he praised the addition of Postlethwaite and his character. However, Syfy Wire's Stephanie Williams considered the novel superior, finding it more action-packed and thrilling while also taking its time "to breathe with these majestic creatures", whereas the film has "way more running and screaming". Bilge Ebiri of Vulture reviewed the film in 2020, praising the horror elements and writing that it "might be Spielberg's nastiest film – a truly demented series of mostly wordless action and horror setpieces whose technical proficiency is matched only by their cruelty". In contrast, Jacob Hall of /Film negatively compared it to Spielberg's 1984 film "Indiana Jones and the Temple of Doom", writing that "The Lost World" transforms "intelligent characters into bumbling idiots", increases "the volume and the chaos while dialing back the mystery and the awe", and replaces "excitement with violence and cruelty".


title: Kishore Kumar

text: Kishore Kumar (born as Abhas Kumar Ganguly (); 4 August 1929 – 13 October 1987) was an Indian playback singer and actor. He is widely regarded as one of the greatest, most influential and dynamic singers in the history of Indian music.


title: Kishore Kumar

text: He was one of the most popular singers in the Indian subcontinent, notable for his yodeling and ability to sing songs in different voices. He used to sing in different genres but some of his rare compositions, considered classics, were lost in time. According to his brother and legendary actor Ashok Kumar, Kishore Kumar was successful as a singer because his "voice hits the mike, straight, at its most sensitive point".


title: Kishore Kumar

text: Besides Hindi, he sang in many other Indian languages, including Bengali, Marathi, Assamese, Gujarati, Kannada, Bhojpuri, Malayalam, Odia and Urdu. He also released a few non-film albums in multiple languages, especially in Bengali, which are noted as all-time classics.


title: Kishore Kumar

text: He won 8 Filmfare Awards for Best Male Playback Singer and holds the record for winning the most Filmfare Awards in that category. He was awarded the Lata Mangeshkar Award by the Madhya Pradesh government in 1985.


title: Kishore Kumar

text: In 1997, the Madhya Pradesh Government initiated an award called the "Kishore Kumar Award" for contributions to Hindi cinema. In 2012, his unreleased last song sold for 15.6 lakh at the Osian's Cinefan Auction in New Delhi.


title: Kishore Kumar

text: Kishore Kumar was born in a Bengali Brahmin Ganguly family in Khandwa, Central Provinces (now in Madhya Pradesh) as Abhas Kumar Ganguly. His father, Kunjalal Ganguly (Gangopadhyay) was a lawyer and his mother, Gouri Devi came from a wealthy Bengali family and was a home-maker. Kunjalal Gangopadhyaya was invited by the Kamavisadar Gokhale family of Khandwa to be their personal lawyer. Kumar was the youngest of four siblings, the older three being Ashok (the eldest), Sati Devi, and Anoop.


title: Kishore Kumar

text: While Kumar was still a child, his brother Ashok became an actor in Hindi cinema. Later, Anoop also ventured into cinema with Ashok's help. Kumar graduated from Christian College, Indore.


title: Kishore Kumar

text: After Ashok Kumar became a star of Hindi films, the Ganguly family visited Bombay (now Mumbai) regularly. Abhas Kumar changed his name to 'Kishore Kumar' and started his cinema career as a chorus singer at Bombay Talkies, where his brother worked. Music director Khemchand Prakash gave Kumar a chance to sing "Marne Ki Duayen Kyon Mangu" for the film "Ziddi" (1948). After this, Kumar was offered many other assignments, but he was not very serious about a film career. In 1949, he settled in Bombay.


title: Kishore Kumar

text: During the initial stage of his career, Kumar was deeply inspired by singer K. L. Saigal and imitated his style of singing in some of his early films but later evolved his own, unique style. He had a great respect for poet and musician Rabindranath Tagore who influenced him in many ways.


title: Kishore Kumar

text: He was an ardent admirer of Hollywood actor-singer Danny Kaye. He hung the portraits of all these three personalities at his "Gouri Kun" residence and would bow respectfully before them everyday as a rule.


title: Kishore Kumar

text: In his later career, Kumar was also heavily influenced by playback singer Ahmed Rushdi and his liking towards Rushdi was to the extent that former paid a tribute at Royal Albert Hall in London to the latter by singing some of his songs.


title: Kishore Kumar

text: Kumar employed yodeling in many of his songs including; "Yeh dil na hota bechara", "Zindagi ek safar hai suhana", and "Chala jata hoon". The style eventually became an essential feature of his singing and was inspired by Jimmie Rodgers and Tex Morton.


title: Kishore Kumar

text: In the movie "Half Ticket", for one of the songs – "Aake Seedhi Lagi Dil Pe" – the music director Salil Chowdhary had a duet in mind and wanted Kumar and Lata Mangeshkar to sing the song. However, since Lata Mangeshkar was not in town and Salil Chowdhury had to record that song before she could return, Kumar solved the problem by singing both the male and female parts of the song himself. The duet is actually for Pran and Kumar on the screen dressed as a woman. It just turned out to be fine as he did admirably well singing both in male and female voices.


title: Kishore Kumar

text: Music director S. D. Burman is credited with spotting Kumar's talent for singing. During the making of "Mashaal" (1950), Burman visited Ashok's house, where he heard Kumar imitating K. L. Saigal. He complimented him and told him that he should develop a style of his own, instead of copying Saigal. Kumar eventually developed his own style of singing, which featured yodeling, which he had heard on the records of Tex Morton and Jimmie Rodgers.S. D. Burman kept making Kishore sing for Dev Anand from the 50s to the early 70s. S. D. Burman provided him the training and encouraged Kumar a lot, especially in the late 50s and early 60s, resulting in Kumar developing into a great singer in the future years.


title: Kishore Kumar

text: S. D. Burman recorded Kumar's voice for Dev Anand's "Munimji" (1954), "Taxi Driver" (1954), "House No. 44" (1955), "Funtoosh" (1956), "Nau Do Gyarah" (1957), "Paying Guest" (1957), "Guide" (1965), "Jewel Thief" (1967), "Prem Pujari" (1970), and "Tere Mere Sapne" (1971). He also composed music for Kumar's home production "Chalti Ka Naam Gaadi" (1958). Some of their songs were "Maana Janaab Ne Pukara Nahin" from "Paying Guest" (1957), "Hum Hain Rahi Pyar Ke" from "Nau Do Gyarah" (1957), "Ai Meri Topi Palat Ke Aa" from "Funtoosh" (1956), and "Ek Ladki Bheegi Bhaagi Si" from "Chalti Ka Naam Gaadi". Asha Bhosle and Kishore performed duets composed by Burman including "Chhod Do Aanchal" from "Paying Guest" (1957), "Ankhon Mein Kya Ji" from "Nau Do Gyarah" (1957), "Haal Kaisa Hai Janaab Ka" and "Paanch Rupaiya Baara Aana" from "Chalti Ka Naam Gaadi" (1958) and "Arre Yaar Meri Tum Bhi Ho Gajab" from "Teen Deviyan" (1965).


title: Kishore Kumar

text: As a singer, Kumar's work with many music directors in this period includes "Ye Raatein Ye Mausam" and "Hum Toh Mohabbat Karega" from "Dilli Ka Thug", "Piya Piya Mora Jiya" from "Baap Re Baap", "Hello Hello Ji" from "Bombay Ka Chor", "Micheal Hai Toh Cycle Hai" from "Bewaqoof", "Ae Haseeno Nazneeno" from "Chacha Zindabad", "Zaroorat Hai Zaroorat Hai" from "Manmauji" (1961), "Likha Hai Teri Ankhon Mein" from "Teen Deviaan", "Suno Jaana Suno Jaana", "Pyaar Baatke Chalo" and "Kya Teri Zulfein Hai" from "Hum Sab Ustaad Hai", "Khoobsurat Haseena" from "Mr. X in Bombay", "Gaata Rahe Mera Dil" from "Guide" (1965), "Sultana Sultana" from "Shreeman Funtoosh", "Machalti Hui" from "Ganga Ki Lahren", "Mera Dil Meri Jaan" and "Pyar Ka Jaahan Hotel" from "Jaalsaaz" and "Yeh Dil Na Hota Bechara" from "Jewel Thief" (1967).


title: Kishore Kumar

text: Music director C. Ramchandra also recognized Kumar's talent as a singer. They collaborated on songs including "Eena Meena Deeka" from "Aasha" (1957). Kumar's work includes "Nakhrewaali" from "New Delhi" (1956) by Shankar Jaikishan, "C.A.T. Cat Maane Billi" and "Hum To Mohabbat Karega" from "Dilli Ka Thug" (1958) by Ravi, and "Chhedo Na Meri Zulfein" from "Ganga Ki Lahren" (1964) by Chitragupta.


title: Kishore Kumar

text: In 1968, Rahul Dev Burman worked with Kumar on the soundtrack of the film "Padosan" (1968), in which Kumar sang "Mere Saamne Wali Khidki Mein" and "Kehna Hai." "Padosan" was a comedy featuring Kishore as a dramatist-musician, Mehmood as a Carnatic music and dance teacher, and Sunil Dutt as a simpleton named Bhola. Kishore's character was inspired by his uncle, Dhananjay Bannerjee, a classical singer. The highlight of the film was a musical, comical duel between Kumar, Sunil Dutt and Mehmood: "Ek Chatur Nar Karke Singaar.


title: Kishore Kumar

text: In 1969, Shakti Samanta produced and directed "Aradhana". Kumar sang three songs in the film; "Mere Sapnon Ki Rani", "Kora Kagaj Tha Ye Man Mera" and "Roop Tera Mastana". Shakti Samanta suggested that Kumar sing the other songs too. When the film was released, Kumar's three songs established him as a leading playback singer of Hindi cinema. Kumar won his first Filmfare award for "Roop Tera Mastana".


title: Kishore Kumar

text: Kumar's first film appearance was in "Shikari" (1946), in which his brother, Ashok played the lead role.


title: Kishore Kumar

text: Kumar played the lead in the Bombay Talkies film "Andolan" (1951), directed by Phani Majumdar. Although he got some acting assignments with the help of his brother, he was more interested in becoming a singer. But Ashok wanted Kumar to be an actor like him. Between 1946 and 1955, Kumar appeared in 22 films of which 16 were flops and since he was disinterested in taking up acting as a career, he would find ways to be in the bad books of the director or producer, so that they throw him from their films. It was only after the success of films such as "Ladki", "Naukari", "Miss Malaysia", "Char Paise" and "Baap Re Baap" that Kumar developed an interest in acting seriously, which resulted in him having successful films as the lead actor between 1955 and 1966.


title: Kishore Kumar

text: Kumar starred in Bimal Roy's "Naukari" (1954) and Hrishikesh Mukherjee's directorial debut "Musafir" (1957). Salil Chowdhury, the music director for "Naukari", was initially dismissive of Kumar as a singer when he found that Kumar had no formal training in music. However, after hearing his voice, Chowdhury gave him the song "Chhota Sa Ghar Hoga", which was supposed to be sung by Hemant Kumar.


title: Kishore Kumar

text: The commercially successful films of Kumar included "Ladki" (1953), "Naukari" (1954), "Baap Re Baap" (1955), "Paisa Hi Paisa" (1956), "New Delhi" (1956), "Naya Andaz" (1956), "Bhagam Bhaag" (1956)"," "Bhai Bhai" (1956), "Aasha" (1957), "Chalti Ka Naam Gaadi" (1958), "Dilli Ka Thug" (1958), "Jaalsaaz (1959)", "Bombay Ka Chor (1962)", "Chacha Zindabad (1959)", "Man-Mauji" (1962), "Jhumroo" (1961), "Half Ticket" (1962), "Mr. X in Bombay (1964)", "Shreeman Funtoosh" (1965), "Ek Raaz (1963)", "Ganga Ki Lahren (1964)", "Hum Sab Ustaad Hai" (1965), "Haal E Dil", "Pyar Kiye Jaa (1966)", and "Padosan" (1968). As an actor, his best period was between 1954 and 1966. His onscreen pairing with actresses Mala Sinha, Vyjayanthimala, Nutan, Madhubala, Meena Kumari and Kumkum gave the biggest hits in his career.


title: Kishore Kumar

text: "Chalti Ka Naam Gaadi "(1958), his home production, had the three Ganguly brothers and Madhubala in main roles. Kumar played a car mechanic who has a romance with a city girl; (Madhubala) with a subplot involving the brothers.


title: Kishore Kumar

text: Kumar acted in and composed the music for "Jhumroo" (1961), and wrote the lyrics for the film's title song, "Main Hoon Jhumroo". Later, he produced and directed "Door Gagan Ki Chhaon Mein" (1964), where he starred with Bengali actress Supriya Devi. He also wrote the script and composed music for the film, which is about the relationship between a father (Kumar) and his deaf and mute son (played by his real-life son Amit Kumar).


title: Kishore Kumar

text: After 1966, as an actor, Kumar built up a notoriety for coming late for the shootings or bunking them altogether. His films flopped frequently after 1965 and he landed in income tax trouble.


title: Kishore Kumar

text: Kumar produced and directed some movies in the late 1970s and early 1980s; "Pyar Zindagi Hai", "Badhti Ka Naam Dadhi" (1978), "Sabaash Daddy", "Zindagi" (1981), "Door Wadiyon Mein Kahin" (1980) and "Chalti Ka Naam Zindagi" (1982)which was his last appearance as an actor.


title: Kishore Kumar

text: Kumar sang the most songs in his career for Rajesh Khanna. Kumar sang 245 songs picturised on Rajesh Khanna across 92 films, which is an unbeaten record for singer-actor combination. Kishore sang 245 songs for Rajesh Khanna, 202 for Jeetendra, 119 for Dev Anand and 131 for Amitabh Bachchan.


title: Kishore Kumar

text: S. D. Burman and Kishore continued with music including "Phoolon Ke Rang Se" and "Shokhiyon Mein Ghola Jaaye" from "Prem Pujari" (1969), "Pal Bhar Ke Liye" from "Johny Mera Naam", "Aaj Madhosh Hua Jaye Re," "Khilte Hain Gul Yahan" and "O Meri Sharmilee" from "Sharmilee" (1971), "Meet Na Mila" from "Abhimaan" (1973), and "Jeevan Ki Bagiya Mehkegi" from "Tere Mere Sapne" (1971). In 1975, S. D. Burman composed his last song for Kishore, "Badi Sooni Sooni Hai" for the film "Mili".


title: Kishore Kumar

text: R. D. Burman recorded several songs with Kumar in the 1970s, including "O Maajhi Re" from "Khushboo", "Yeh Shaam Mastaani" and "Yeh Jo Mohabbat Hai" from "Kati Patang" (1971), "Raat Kali Ek Khwab Mein Aayi" from "Buddha Mil Gaya" (1971) and "Chingari Koi Bhadke", "Kuch To Log Kahenge (Amar Prem)", "Zindagi Ke Safar Me Guzar Jaate Hain Jo Makam" from "Aap Ki Kasam" (1974), "Aane Wala Pal" from "Golmaal" (1979), "Hume Aur Jeene Ki Chahat Na Hoti" from "Agar Tume Na Hote" (1983), "Raha Pe Rahete Hai" from "Namkeen" (1985) and "Jab Bhi Koi Kangana" from "Shaukeen" (1987). Although Kumar was not formally trained in classical music, R. D. Burman often had Kumar sing semi-classical songs, such as "Humein Tum Se Pyaar Kitna" from "Kudrat" and "Mere Naina Saawan Bhadon" from "Mehbooba".


title: Kishore Kumar

text: R. D. Burman recorded several duets pairing Kishore with Asha Bhosle and Lata Mangeshkar, including "Panna Ki Tamanna" and "Bahut Door Mujhe" from "Heera Panna" (1973), "Neend Chura Ke Raaton Mein" from the film "Shareef Budmaash" (1973), "Mujhko Mohabbat Mein Dhoka" and "Kisise Dosti Karlo" from "Dil Deewana" (1974), "Dhal Gayi Rang" from "Heeralal Pannalal" (1978), "Ek Main Hoon" from "Darling Darling" (1977), "Rimjhim Gire Sawan" from "Manzil" (1979), "Kya Yehi Pyar Hai" and "Hum Tum Se Mile" from "Rocky" (1981), "Jaan-e-Jaan Dhoondta" from "Jawani Diwani", "Kahin Na Jaa" and "Kaho Kaise Rasta" from "Bade Dilwala" (1983), "Sun Zara Shok Haseena" and "Kharishoo" from "Harjaee" (1981), "Waada Haanji Waada" from "The Burning Train" (1980) and "Kaisi Lagrahi Hoon Mein" from "Jhuta Sach" (1984).


title: Kishore Kumar

text: Apart from the Burmans, Kumar worked with other famous music directors too. The composer duo Laxmikant–Pyarelal (L-P) composed many songs sung by him, including "Mere Mehboob Qayamat Hogi" from "Mr. X in Bombay", "Mere Naseeb Mein Aye Dost" from "Do Raaste", "Yeh Jeevan Hai" from "Piya Ka Ghar", "Mere Dil Mein Aaj Kya Hai" from "", "Nahi Mai Nahi Dekh Sakta" from "Majboor", "Mere Diwanepan Ki Bhi" from "Mehboob Ki Mehndi", "Naach Meri Bulbul" from "Roti", "Chal Chal Chal Mere Haathi" from "Haathi Mere Saathi" and "Tu Kitne Baras Ki" from "Karz". L-P also worked with Kishore and Mohammed Rafi on duets for the films "Zakhmee", "Dostana", "Ram Balram" and "Deedaar-E-Yaar". L-P composed "I Love You (Kaate Nahin Katate Yeh Din Yeh Raat)" for "Mr. India" (1987), a duet with Kishore and Alisha Chinoy.


title: Kishore Kumar

text: Salil Chowdhury recorded songs such as "Koi Hota Jisko Apna" from "Mere Apne" and "Guzar Jaaye Din Din" from "Annadata". Ravindra Jain recorded "Ghungroo Ki Tarah" and the duets "Le Jaayenge Le Jaayenge" from "Chor Machaye Shor" and "Tota Maina Ki Kahani" from "Fakira". Shyamal Mitra recorded a duet of Kishore with Asha – Sara Pyaar Tumhara for the film "Anandshram".


title: Kishore Kumar

text: Khayyam recorded many of Kishore's duets with Lata Mangeshkar, including "Hazaar Raahein" and "Ankhon Mein Humne" from "Thodisi Bewafaii" and "Chandni Raat Mein" from "Dil-E-Nadaan" (1982). Hridaynath Mangeshkar recorded "Zindagi Aa Raha Hoon Main" from "Mashaal" (1984).


title: Kishore Kumar

text: Kalyanji-Anandji recorded several songs with Kishore including """Zindagi Ka Safar" and "Jeevan Se Bhari", from "Safar" (1970), "O Saathi Re" from "Muqaddar Ka Sikandar "(1978)", ""Pal Pal Dil Ke Paas" from "Blackmail"(1973), "Neele Neele Ambar Par"from Kalaakaar(1983)" and the chart buster qawwali "Qurbani Qurbani" from "Qurbani"(1980).


title: Kishore Kumar

text: Kishore also worked with other composers including Rajesh Roshan, Sapan Chakraborty and Bappi Lahiri. Kumar sang "Bhool Gaya Sab Kuchh" (duet with Lata Mangeshkar) and "Dil Kya Kare Jab Kisise" for Rajesh Roshan's film "Julie". Their other songs include "Yaadon Mein Woh" from "Swami", "Chhookar Mere Man Ko Kiya Toone Kya Ishaara" from "Yaarana", "Kaha Tak Ye Manko Andher Chalenge" from "Baton Baton Mein", "O Yara Tu Yaro Se Hai Pyar", and "Laharon Ki Tatah Yaadien" (1983) and "Kahiye, Suniye" (duet with Asha Bhosle) from "Baton Baton Mein". Bappi Lahiri also recorded many songs with Kumar, including "Pag Ghunghroo Bandh" from "Namak Halaal" (1982), "Manzilen Apni Jagah Hai" from "Sharaabi" (1984), "Chalate Chalte Mere Ye Geet Yad Rakhana" from "Chalte Chalte" (1975) and "Saason Se Nahi Kadmose Nahi" from "Mohabbat" (1987) and duets with Lata Mangeshkar such as "Albela Mausam" and "Pyar Ka Tohfa" from "Tohfa" (1984). The Kishore and Bappi pair also recorded hits in Bengali, including "Chirodini Tumi Je Amar" from "Amar Sangi" (1987) and "E Amar Gurudakshina" from "Gurudakshina" (1987). Another Bengali musician was Ajay Das, who composed many hit songs in Kumar's voice. He also recorded a duet song "Hello Hello Kya Haal Hai" with Asha Bhosle for Naushad in 1975 for the movie "Sunehra Sansar", the only song of Kishore. He also worked with music directors Basu and Manohari Singh for duets such as "Wada Karo Jaanam" and "Dariya Kinare" for the film "Sabse Bada Rupaiya" and "Aa Humsafar" for the film "Chatpatee".


title: Kishore Kumar

text: During the Indian Emergency (1975–1977), Sanjay Gandhi asked Kishore to sing for an Indian National Congress rally in Bombay, but he refused. As a result, Information and broadcasting minister Vidya Charan Shukla (1975–1977) put an unofficial ban on playing Kumar songs on state broadcasters All India Radio and Doordarshan from 4 May 1976 till the end of Emergency.


title: Kishore Kumar

text: Kishore Kumar's son Amit Kumar became a singer in Hindi cinema in 1974 with the song "Apne Bas Ki Baat Nahi", composed by Kumar for the film "Badthi Ka Naam Daadi". Amit Kumar became popular with success of the song "Bade Achche Lagte Hai". Kishore continued singing for several actors even in 1980s. Kumar performed stage shows right from 1969 to earn money to pay his income tax arrears. Kumar stopped singing for Amitabh Bachchan in the year 1981, after Bachchan refused to appear as a guest in the film "Mamta Ki Chhaon Mein", which Kishore produced. Kishore declined to give voice for Amitabh in "Naseeb", "Coolie", "Mard" and "Desh Premee". Kishore said he would give his voice to Randhir Kapoor in the film "Pukar", also starring Amitabh. Since Kishore shared good rapport with R. D. Burman, he agreed to sing in "Mahaan", "Shakti" and "Bemisal". Later, Kishore called a truce by singing for Amitabh in a solo song in "Shahenshah" and later in "Toofan". Kishore sang the song "Mera Geet Adhura Hai" for his production "Mamta Ki Chaon Mein" and picturised the song on Rajesh Khanna. Kishore had directed the film, but died in 1987 and Rajesh Khanna helped Amit Kumar in releasing the film in 1989. He also temporarily stopped singing for Mithun Chakraborty after Yogeeta Bali divorced him and married Chakraborty. However, he later sang for Chakraborty in "Surakshaa" (1979), and in the 1980s in many films, including "Boxer", "Jaagir", "Faraib" and "Waqt Ki Awaz".


title: Kishore Kumar

text: In the mid-1980s, Kishore sang for Anil Kapoor in his first Hindi film as a leading man, "Woh Saat Din" and also recorded for "Mr. India". (1987) the song "Zindagi Ki Yahi Reet Hai Haar Ke Baad Hi Jeet Hai". He sang duets with Alka Yagnik such as "Tumse Badhkar Duniya Mein Na Dekha" for "Kaamchor" in 1982, "Humnashi Aaake from Ek Daku Saher Mein" and sang "Teri Meri Prem Kahani" in "Pighalta Aasman". He also recorded for newcomers like Aditya Pancholi for the song "Mere Dil Mein Utar Jana" for the film "Laal Paree" (1991).


title: Kishore Kumar

text: He had recorded the duets "Kaho Kahan Chale" for the film "Bulundi", "Pyar Ka Dard Hai" from "Dard" and "Tum Jo Chale Gaye" from "Aas Paas", a few days before his heart attack in 1981. He suffered his first heart attack on 24 January 1981 in Kolkata in the noon hours and within a gap of another four hours, suffered his second heart attack. The first solo song sung by him, after recovery from his two attacks was "Mere Sang Sang Aya" from "Rajput" (1982) and the duet with Asha – "Mausam Bheega Bheega" from "Gehra Zakham".


title: Kishore Kumar

text: Kishore Kumar is credited with the highest number of multi-singer and male duet hits with the finest singers of different eras. Kishore Kumar sang the highest number of duets with Asha Bhosle (687 duets). He also sang duets with Lata Mangeshkar, Mohammed Rafi, Manna Dey, Mahendra Kapoor, Geeta Dutt, Sulakshana Pandit, S. Janaki etc.


title: Kishore Kumar

text: In the song "Humko Tumse Ho Gaya Hai Pyar" from "Amar Akbar Anthony", Kishore sang one song with Lata Mangeshkar, Mohammed Rafi and Mukesh, the most legendary singers in Hindi films. This was probably the only time that all of them rendered their voices for one song.


title: Kishore Kumar

text: Kishore Kumar sang Bhajans like "Aao Kanhai Mere Dham" from Mere Jeevan Saathi (1972), "Devi Mata Rani" from Swarag Se Sunder (1986), "Jai Bholenath Jai Ho Prabhu" from Kunwara Baap (1974), "He Re Kanhaiya" from Chhoti Bahu (1971), "Jab Ram Naam Le Le" from Abhi Toh Jee Le (1977), "Kahe Apno K Kaam Nahi Aye Tu" from Raampur Ka Lakshman (1972), "Krishna Krishna, Bolo Krishna" from Naya Din Nai Raat (1974), "Prabhuji Teri Leela Aparampaar" from Humsafar (1953) etc.


title: Kishore Kumar

text: Kishore Kumar recorded Qawwalis like all time hit "Vaada Tera Vaada" from Dushman (1971), "Hum Toh Jhuk Kar Salam Karte Hai" from Fakira (1976), "Mehfil Mein Paimana Jo Laga Jhumne" from Chunaoti (1980), "Is Ishq Mein" from Mr. Romeo (1974), "Kya Cheez Hai Aurat Duniya Mein" from Zorro (1975), "Haal Kya Hai Dilon Ka" from Anokhi Ada (1973), a semi qawwali "Jab Se Sarkar Ne Nashabandi Tod Di" from 5 Rifles (1974), the chart buster qawwali "Qurbani Qurbani Qurbani" from Qurbani (1980) etc.


title: Kishore Kumar

text: Kishore Kumar sang Ghazals like "Peechhli Yaad Bhula Do" from Mehndi (1983), "Aisi Haseen Chandni" from Dard (1981), "Yun Neend Se Woh Jaan-E-Chaman" from Dard Ka Rishta (1982), "Tera Chehra Mejhe Gulab Lage" from Aapas Ki Baat (1981) etc.


title: Kishore Kumar

text: Kumar married four times. His first wife was Bengali singer and actress Ruma Guha Thakurta aka Ruma Ghosh. Their marriage lasted from 1950 to 1958.


title: Kishore Kumar

text: Kumar's relationship with actress Madhubala was the subject of much media attention. Madhubala had worked with Kumar in many films including his home production "Chalti Ka Naam Gaadi" (1958) and "Jhumroo" (1961). According to Madhubala's sister Madhur Bhushan, after Madhubala's relationship with actor Dilip Kumar faded, Madhubala got involved with Kishore who was going through a divorce with Ruma Guha Thakurta. Their love affair went on for three years through Chalti Ka Naam Gaadi and Half Ticket. Madhubala was ill and was planning to go to London for treatment. She had a ventricular septal defect (hole in the heart). The couple had a civil wedding in 1960 and Kumar reportedly converted to Islam and changed his name to Karim Abdul. His parents refused to attend the ceremony. The couple also had a Hindu ceremony to please Kumar's parents. Their marriage ended with Madhubala's death on 23 February 1969.


title: Kishore Kumar

text: Kumar's third marriage was to Yogeeta Bali, and lasted from 1976 to 4 August 1978. Kumar was married to Leena Chandavarkar from 1980 until his death. He had two sons, Amit Kumar with Ruma, and Sumit Kumar with Leena Chandavarkar.


title: Kishore Kumar

text: Kumar is said to have been paranoid about not being paid. During recordings, he would sing only after his secretary confirmed that the producer had made the payment. On one occasion, when he discovered that his dues had not been fully paid, he appeared on set with makeup on only one side of his face. When the director questioned him, he replied "Aadha paisa to aadha make-up." (Half make-up for half payment). On the sets of "Bhai Bhai", Kumar refused to act because the director M. V. Raman owed him 5,000. Ashok Kumar persuaded him to do the scene but when the shooting started, Kishore walked a few paces and said, "Paanch Hazaar Rupaiya" (five thousand rupees) and did a somersault. After he reached the end of the floor, he left the studio. On another occasion, when producer R.C. Talwar did not pay his dues in spite of repeated reminders, Kumar arrived at Talwar's residence shouting ""Hey Talwar, de de mere aath hazaar"" ("Hey Talwar, give me my eight thousand") every morning until Talwar paid up.


title: Kishore Kumar

text: In spite of his "no money, no work" principle, sometimes Kumar recorded free even when the producers were willing to pay. Such films include those produced by Rajesh Khanna and Danny Denzongpa. On one occasion, Kishore helped actor-turned-producer Bipin Gupta by giving him 20,000 for the film "Daal Me Kala" (1964). When actor Arun Kumar Mukherjeeone of the first persons to appreciate Kishore's singing talentdied, Kumar regularly sent money to Mukherjee's family in Bhagalpur.


title: Kishore Kumar

text: According to Kumar's eldest son Amit Kumar, Kumar did a lot of charity and free shows for jawans and cancer patients but he never spoke about it. Kumar was a homebody and avoided the trappings of stardom. He was an early riser and went to bed early. He loved authentic Bengali food, and was deeply emotional, a side which he seldom expressed and was also philosophic. Kumar was fond of Biblical films and liked sitting in a cemetery.


title: Kishore Kumar

text: The film "Anand" (1971) was originally supposed to star Kishore and Mehmood Ali in the lead. Hrishikesh Mukherjee, the director of the film, was asked to meet Kishore to discuss the project. However, when he went to Kumar's house he was driven away by the gatekeeper due to a misunderstanding. Kumarhimself a Bengalihad not been paid for a stage show organized by another Bengali man and had instructed his gatekeeper to drive away this "Bengali", if he ever visited the house. Consequently, Mehmood had to leave the film as well, and new actors (Rajesh Khanna and Amitabh Bachchan) were signed up for the film.


title: Kishore Kumar

text: Many journalists and writers have written about Kumar's seemingly eccentric behavior. He placed a sign that said "Beware of Kishore" at the door of his Warden Road flat. Once, producer-director H. S. Rawail, who owed him some money, visited his flat to pay the dues. Kumar took the money and when Rawail offered to shake hands with him, reportedly Kishore put Rawail's hand in his mouth, bit it and asked "Didn't you see the sign?". Rawail laughed off the incident and left quickly. According to another reported incident, once Kumar was due to record a song for producer-director G. P. Sippy. As Sippy approached his bungalow, he saw Kumar going out in his car. Sippy asked Kumar to stop his car but Kumar increased his speed. Sippy chased him to Madh Island where Kumar finally stopped his car near the ruined Madh Fort. When Sippy questioned his strange behavior, Kumar refused to recognize or talk to him and threatened to call the police. The next morning, Kumar reported for the recording session. An angry Sippy questioned him about his behaviour the previous day but Kumar said that Sippy must have dreamt the incident and said that he was in Khandwa on the previous day.


title: Kishore Kumar

text: Once, a producer went to court to get a decree that Kumar must follow the director's orders. As a consequence, he obeyed the director to the letter. He refused to alight from his car until the director ordered him to do so. After filming a car scene in Bombay, Kumar drove until he reached Khandala because the director forgot to say "Cut". In the 1960s, a financier named Kalidas Batvabbal, who was disgusted with Kumar's alleged lack of cooperation during the shooting of "Half Ticket", reported to the income tax authorities, who raided his house. Later, Kumar invited Batvabbal to his home, asked him to enter a cupboard for a chat and locked him inside. He unlocked Batvabbal after two hours and told him, "Don't ever come to my house again".


title: Kishore Kumar

text: Kumar was a loner; in a 1985 interview with Pritish Nandy he said that he had no friendshe preferred talking to his trees instead. Once, when a reporter made a comment about how lonely he must be, Kumar took her to his garden, named some of the trees there and introduced them to the reporter as his closest friends.


title: Kishore Kumar

text: By September 1987, Kishore Kumar had decided to retire as he was unhappy with kind of songs and tunes being made by music directors and was planning to return to his birthplace Khandwa.


title: Kishore Kumar

text: On 13 October 1987, his brother Ashok Kumar's 76th birthday, he died of a heart attack in Bombay at 4:45 pm. His body was taken to Khandwa for cremation. Kishore had recorded his last song, "Guru Guru", a duet with Asha Bhosle for the film "Waqt Ki Awaz" (1988) composed by Bappi Lahiri for Mithun Chakraborty and Sridevi, the day before he died.


title: Kishore Kumar

text: Recalling the day of Kishore Kumar's death and his last lines before he took his last breath, his wife Leena Chandavarkar was quoted as saying:


title: Kishore Kumar

text: "On the morning of October 13 (the day Kishore Kumar passed away in 1987), he looked pale and as though in deep sleep. As I went near him, he woke up and asked, ‘Did you get scared? Today is my holiday’.” That day he had several meetings at home. During lunch he told me that we’d watch the film River Of No Return in the evening. A little later, I heard him move furniture in the next room. When I went to see what was happening, I saw him lying on the bed. Nervously he said, ‘I’m feeling weak’. I ran to call the doctor. He got angry and said, ‘If you call the doctor, I’ll get a heart-attack’. Those were his last lines. His eyes were wide open and he was breathing out. I thought he was fooling as usual but that was the end."


title: Kishore Kumar

text: Singers like Kumar Sanu, Ayushmann Khurrana, Vinod Rathod, Abhijeet Bhattacharya, Amit Kumar, Sudesh Bhosale were influenced by Kishore Kumar's style of singing. Singer Arijit Singh has also shared his fondness for Kishore Kumar. Many other singers like Mohit Chauhan, Shaan, Neeti Mohan, Shilpa Rao, Sunidhi Chauhan, KK have been inspired by Kumar.


title: Kishore Kumar

text: Kingdom of Dreams, a project of the Great Indian Nautanki Company jointly owned by Wizcraft International Entertainment and Apra Group launched a musical comedy Jhumroo on 7 April 2012 which is a tribute to Kumar and his legacy to music and Hindi films. The musical comedy features 19 retro songs of Kumar's.


title: Kishore Kumar

text: An album titled "Baba Mere" made by Kumar's son Amit was released on his 86th birthday. It shows Kumar's granddaughter Muktika Ganguly waking up in the middle of the night and in her dreams she meets her grandfather. The album is on a big canvas and is like a film. Amit Kumar termed the album as the greatest tribute to his father Kishore Kumar.


title: Kishore Kumar

text: In 2015, the UK-based newspaper "Eastern Eye" placed Kumar fourth in their "Greatest 20 Bollywood Playback Singers" list. Kumar was also included among the top ten most searched Indian singers on Google Search in 2016.


title: Kishore Kumar

text: In the "Outlook" Music Poll conducted by Outlook Magazine in June 2010, three songs were tied for the No. 2 place: One was sung by Kishore. The song was "Kuch to log kahenge logon ka kaam hai kehna" ("Amar Prem", 1972). This poll was published in "Outlook". The jury included people in the Indian music industry.


title: Kishore Kumar

text: There have been appeals to the Government of India to honour the singer-actor posthumously with Bharat Ratna(India's Highest Civilian Award).


title: Kishore Kumar

text: Manna Dey his contemporary once said that “Kishore had the best voice of all playback singers. He made singing sound so effortless. He had no classical training but could surpass me in a song because of his wonderful musical instinct and natural singing flair.”


title: Kishore Kumar

text: Hindi film superstar Amitabh Bachchan called Kishore Kumar a multitalented genius who shall remain a phenomenal star.


title: Kishore Kumar

text: Kumar's unreleased song was sold for Rs 15.6 lakh at the Osian's Cinefan Auction, New Delhi in 2012, the highest price bid for any Indian singer. The song was "Tum hi to woh ho", written by Kulwant Jani with music by Usha Khanna. This was for a film called "Khel Tamasha" by Rakesh Kumar, which never got made. The song was recorded just three days before his death in October 1987.


title: Kishore Kumar

text: In his memory, the government of Madhya Pradesh has set up a memorial on the outskirts of Khandwa. It is open to public and has his life sized statue in a lotus-shaped structure. It also houses a mini-theatre and museum dedicated to him. On his birth and death anniversary each year, a function is held and many fans participate. The mini-theatre also screens his films on these days.


title: Kishore Kumar

text: A large number of musical tributes, special programmes and functions are inspired on his birth and death anniversaries every year. As well as fans of Kumar and music lovers from Khandwa make offerings of 'doodh jalebi', which was Kumar's favourite dish at his memorial annually on his birth anniversary.


title: Stephen Lang

text: Stephen Lang (born July 11, 1952) is an American actor. He is known for roles in films including "Manhunter" (1986), "Gettysburg", "Tombstone" (both 1993), "Gods and Generals" (2003), "Public Enemies" (2009), "Conan the Barbarian" (2011), "The Girl on the Train" (2013) and "Don't Breathe" (2016). Outside of these roles, he has had an extensive career on Broadway, and has received a Tony Award nomination for his role in the 1992 production of "The Speed of Darkness." He won the Saturn Award for Best Supporting Actor for his performance in James Cameron's "Avatar" (2009). From 2004 to 2006, he was co-artistic director of the Actors Studio.


title: Stephen Lang

text: Lang was born in New York City, the youngest child of Theresa (née Volmar, d. 2008) and Eugene Lang (1919–2017), a prominent entrepreneur and philanthropist. Lang's mother was Catholic of German and Irish descent, while his father was Jewish. Lang's paternal grandparents were Jewish emigrants from Hungary and Russia. He has two elder siblings—Jane, an attorney and activist, and David, who served as an executive at REFAC, the company their father founded in 1952. Lang's father donated much of his net worth (in excess of $150 million) to charity and did not leave an inheritance to his children, believing they each needed to learn to become self-sufficient.


title: Stephen Lang

text: Lang attended elementary school in Jamaica Estates, Queens. His middle school was a New York City public school, George Ryan Junior High School, in nearby Fresh Meadows. For high school, he attended George School, a Quaker boarding school in Newtown, PA and graduated from there a year early (1969). He graduated from Swarthmore College in 1973 with a degree in English Literature.


title: Stephen Lang

text: Lang played Harold (Happy) Loman in the 1984 Broadway revival of "Death of a Salesman" and the 1985 television film with Dustin Hoffman as Willy Loman, and appeared in the first Hannibal Lecter film "Manhunter" (1986), as reporter Freddy Lounds. He played attorney David Abrams in the television series "Crime Story" (1986–1988). He played the title role in the NBC movie "Babe Ruth" (1991). He later played the "One Armed Man" in "The Fugitive", the 2000 revival starring Tim Daly. The series was a modest success but lasted only one season because of its large production budget.


title: Stephen Lang

text: In 1992, he was nominated for a Tony Award for his lead role in "The Speed of Darkness." His film role in "Last Exit to Brooklyn" (1989) garnered him widespread critical acclaim, but its limited release prevented the film from reaching a wider audience. On stage, he was the first to play the role of Colonel Nathan Jessup in "A Few Good Men," a role made famous on film (1992) by Jack Nicholson. He is the winner of over half a dozen theatre awards including the Drama Desk and Helen Hayes awards.


title: Stephen Lang

text: In films, he played Maj. Gen. George E. Pickett in "Gettysburg" (1993) and the lead role of Thomas "Stonewall" Jackson in the Gettysburg prequel "Gods and Generals" (2003), both from director Ronald F. Maxwell.


title: Stephen Lang

text: Shortly before Arthur Miller's death in February 2005, Lang appeared in his long-time friend's last play, titled "Finishing the Picture". It premiered in 2004 at Chicago's Goodman Theatre, where Lang had the second run of his own play, "Beyond Glory," which had premiered in Arlington, Virginia, early in 2004, and his Tony-nominated portrayal for "The Speed of Darkness." Lang also performed "Beyond Glory", a one-man show, for troops deployed overseas. In 2006, he played the role of Colonel Littlefield in John Patrick Shanley's play "Defiance". He brought "Beyond Glory" to Roundabout's Off-Broadway Laura Pels Theatre in 2007. Since its New York City premiere, "Beyond Glory" has been nominated for a Drama Desk Award and a Lucille Lortel Award both for outstanding solo performance. A movie about the play has been produced and released.


title: Stephen Lang

text: Lang has a role in the ESPN miniseries "The Bronx Is Burning", as well as roles in independent features "Save Me" and "From Mexico with Love". He plays a lead role in James Cameron's sci-fi epic "Avatar" as the villainous Colonel Quaritch.


title: Stephen Lang

text: In 2009, he appeared in Michael Mann's film "Public Enemies" as FBI Agent Charles Winstead, the man widely considered to have fired the shots that killed John Dillinger, and in Grant Heslov's "The Men Who Stare at Goats" alongside Jeff Bridges, Kevin Spacey, Ewan McGregor, and George Clooney.


title: Stephen Lang

text: Also in 2009, he narrated the audiobook "Road Rage"—which combines the short stories "Duel" by Richard Matheson and "Throttle" by Stephen King and Joe Hill—and guest-starred in the "" season 8 finale, "" in the role of Axel Kaspers. In 2010 he performed the narration for "The Gettysburg Story: Battlefield Auto Tour," the top-selling audio tour of the Gettysburg Battlefield at Gettysburg National Military Park in Gettysburg, Pennsylvania. Written and produced by filmmaker Jake Boritt and based on works by historian Gabor Boritt it tells the story of the Battle of Gettysburg and Abraham Lincoln's Gettysburg Address in Gettysburg National Cemetery. Lang is also the narrator of the companion public television documentary "The Gettysburg Story" presented by Maryland Public Television.


title: Stephen Lang

text: Lang played the villain Khalar Zym in the 2011 "Conan the Barbarian" reboot starring Jason Momoa. He also played one of the leads, Nathaniel Taylor, in the Steven Spielberg-produced TV series "Terra Nova".


title: Stephen Lang

text: In February 2012, he signed on to play Mary Shannon's estranged father in a three episode arc on the final season of the USA television series "In Plain Sight".


title: Stephen Lang

text: Lang has been confirmed as reprising his role as Colonel Miles Quaritch in the upcoming sequels to "Avatar".


title: Stephen Lang

text: He plays Increase Mather, in a recurring role, on WGN America's first original scripted series, "Salem".


title: Stephen Lang

text: Lang is part of the cast of AMC's martial-arts drama "Into the Badlands". He played The Blind Man in Fede Álvarez's hit horror-thriller "Don't Breathe" (2016), which received positive reviews. He reprised the role in the sequel "Don't Breathe 2" in 2021.