Category: Music and Cinema

As with all posts on Lyricists, these posts are a compilation of my daily posts on my Facebook page Lyrical.

I hope you liked my choice of songs for Part II.

Lets begin taking up songs for Part III.

As with all posts on Lyricists, these posts are a compilation of my daily posts on my Facebook page Lyrical.

I hope you liked my choice of songs for Part I.

Lets begin taking up songs for Part II.

Day #15, Song #45
Ishq ka dard suhana ho

And now for the last song of the 1943 JK Nanda movie Ishara starring Prithviraj Kapoor, Swaranlata and Suraiya.

Day #16, Song #46
Ek tu ho ek main hoon

Ladies and gentlemen,

Day #17, Song #51
Udte huye panchhi kaun inko bataye

In the last sung from the 1943 AR Kardar movie Sanjog, you must have enjoyed how Naushad brought in (in Hindi movies) piano in the songs (here we had Mehtab playing it whilst lip-suncing for Suraiya in the song: Aa more sanware sainyan mora jiya lahraye).

Day #18, Song #52
Sapt suran teen graam gaavo sab gunijan

If you think that it is raining good songs, you may just be right.

Day #18, Song #53
Bina pankh panchhi hoon main

We just started taking up songs of the 1943 Jayant Desai movie Tansen starring KL Saigal in the title role and Khursheed Bano as his beloved Tani.

Day #18, Song #54
Ab raja bhaye more balam

And now for the third song from the 1943 Jayant Desai movie Tansen with KL Saigal in the title role and Khursheed Bano as his beloved Tani.

I hope you liked the last post in the series: ‘Shailendra Song Of The Week #5 – Ja Ja Re Ja Balamwa‘. Lets begin with this song of his as the Song of the Week #6 as it appeared on my Facebook group ‘Yaad Kiya Dil Ne‘.

Shailendra Song of the Week (SSOW)
Week #06
Tu pyar ka sagar hai

Songs So Far

So far, I have given you following songs penned by him:

W#01 – Raat ke hamsafar thak ke ghar ko chale.
W#02 – Dil apna aur preet prayi.
W#03 – Rimjhim ke taraane leke aayi barsaat.
W#04 – Ab ke baras bhej bhaiya ko babul.
W#05 – Ja ja re ja balamwa.

Nutan

After W#04 song Ab ke baras bhej bhaiya ko babul wherein, in a jail for murder, the song (though not lip-synced by her) spoke accurately about her emotions. Ditto with this hymn sung by Manna Dey in the 1955 Amiya Chakravarty movie Seema starring Nutan and Balraj Sahni.

Whilst covering DN Madhok on my page Lyrical under Great Lyricists series, I gave you a song sung by Shamim Bano (related to Khursheed Bano and Meena Kumari). I mentioned it to you that her best role in a movie was the debut movie of Dilip Kumar in 1944: Jawar Bhata. That movie was an Amiya Chakravarty movie. So, in a way, Amiya was responsible for giving a break to the greatest actor in Hindi films: Dilip Kumar.

In both Bimal Roy’s movie Bandini and Amiya Chakravarty’s Seema, you would see another commonality: both are having a woman as the main protagonist. Is there something Bengali about it? You may be right; please read: ‘Bengal Based Hindi Movies From Anuradha To Piku‘.

Incidentally, both the movies won Nutan Best Actress Awards, as did three other movies: Sujata, Milan and Main Tulsi Tere Aangan Ki.

Seema – the Movie

The story is about this young girl Gauri (Nutan) who is ill treated by her aunt after she becomes an orphan, is wrongly accused of stealing a necklace, is rebellious, and often misunderstood until she takes shelter under kind-hearted Balraj Sahni (Ashok) in Shree Satyanand Anathalaya. Some of the songs that helped progress the story and her emotions are:

1. “Tu Pyar Ka Sagar Hai” Manna Dey Shailendra
2. “Kahaan Jaa Raha Hain” Mohammed Rafi Shailendra
3. “Man Mohana Bade Jhoothe”Lata Mangeshkar Shailendra
4. “Ye Duniya Gam Ka Mela Hai” (Hame Bhi De Do Sahara, Ke Besahare Hain) Mohammed Rafi Hasrat Jaipuri
5. “Baat Baat Me Rutho Na” Lata Mangeshkar Hasrat Jaipuri
6. “Suno Chhoti Si Gudiya” (Happy) Lata Mangeshkar Hasrat Jaipuri
7. “Suno Chhoti Si Gudiya” (Sad) Lata Mangeshkar Hasrat Jaipuri

Shailendra’s Lyrics

From Ashok (Balraj Sahni) being a kind-hearted Manager of an Orphanage, suddenly, in this hymn, Shailendra raises the level to God Himself.

Jaana hai sagar paar

This is as per our scriptures, eg, Sri Guru Granth Sahib. Life of a human being on earth is often compared to a Sagar or Sea and we have to all go across. SGGS talks about the Name of God (Waheguru) as the Bohith (boat) that can help us cross this sea.

Shailendra goes several steps ahead by calling it a Sagar of Love (of God). He doesn’t mention it in the lyrics but the thought comes out loud and clear that not just Nutan as Gauri but we are all orphans without God and that if He would send us away we are as bad as dead.

In the second stanza, he climbs another rung and talks about this Seema (border) between Life and Death. Brilliant indeed.

Aayen kaun disha se hum?

This is another very beautiful line. The meaning is not literal but deep. Tell us God, in which way we can get you since there is this uljhan in our minds.

तू प्यार का सागर है
तेरी इक बूँद के प्यासे हम
लौटा जो दिया तुमने
चले जाएंगे जहाँ से हम

घायल मन का पागल पंछी उड़ने को बेक़रार
उड़ने को बेक़रार
पंख हैं कोमल, आँख है धुँधली, जाना है सागर पार
जाना है सागर पार
अब तू हि इसे समझा
राह भूले थे कहा से हम
तू प्यार का सागर है

इधर झुमके गाए ज़िंदगी, उधर है मौत खड़ी
उधर है मौत खड़ी
कोई क्या जाने कहाँ है सीमा, उलझन आन पड़ी
उलझन आन पड़ी
कानों में ज़रा कह दे
कि आए कौन दिशा से हम
तू प्यार का सागर है

Shankar Jaikishan’s Composition

They chose a dignified Raag Kanada, Tal Kaherava to compose it. It is not my intention to give you intricacies of this raag here. Suffice it to say that if you think of other songs in the same raag and tal (not all by S-J), you would get the feel: Hum tujhase muhabbat karke sanam, Hum tumase juda hoke, Mohabbat ki jhooti kahani pe roye, O duniya ke rakhwale, Teri duniya mein dil lagta nahin and Tora man darpan kehlaye.

My Own Poetry

I have written several regarding God’s bounties. I have chosen one at random:

RABB KI REHMAT KO PEHCHAAN

मुश्किलें आती हैं बनने के लिए आसान,
क्यूं होता है बंदे तू इतना परेशान?

जब भी तू उनको हल करने की करे कोशिश,
तेरे पास नज़र आएंगे तुझे तेरे भगवान।

तुझे लगती हैं मुश्किलें इस वजह से,
क्यूंकि खुदा के तरीकों से तू है अनजान।

जब उसकी समझ तुझे आ जाएगी,
तुझ में आ जाएगी नई एक जान।

तेरे प्यार, मज़हब और ऐतबार का,
यही तो है छोटा सा इम्तिहान।

जो कुछ मिले रह उस की बंदगी में,
मान के उसको रब्ब का वरदान।

Please enjoy: Tu pyar ka sagar hai…

I hope you liked my choice of song for SSOW #6.

Please await the next song in the series.

I hope you liked the last post in the series: ‘Rajinder Krishan Song Of The Week #5 – Humse Aaya Na Gaya‘. Lets begin with this song of his as the Song of the Week #6 as it appeared on my Facebook group ‘Yaad Kiya Dil Ne‘.

Rajinder Krishan Song of the Week (RKSOW)
Week #6
Kabhi na kabhi, kahin na kahin, koi na koi to aayega

Much Before COVID 19

This song was penned by Rajinder Krishan, composed by Madan Mohan and sung by Mohammad Rafi in an era when people craved for contact with others. Instances wherein meeting people would result in deaths were very limited (The closest was that a villain called Pran would make damsels pregnant by simply looking at them; but then, becoming pregnant was the potential of adding lives rather than extinguishing them). Yes, lovers, especially in Hindi movie, often bemoaned that Love actually killed them (they have penned any number of songs to that effect). But, you know that that was only for dramatic effect and no one was ever proved clinically dead by a doctor.

You can, therefore, conclude that craving for human contact was a desire that most people had.

Sharabi

Dev Anand as Keshav in 1964 Raj Rishi movie Sharabi didn’t have to be Corona positive to kill himself; he had liquor and he was, in the movie, on a path of self-destruction faster than any virus could. He had promised to reform (most drunkards do it and such resolves of theirs are often inscribed on the tombstones). However, if Hindi movies are to be believed, all (without exception) drunkards, prostitutes (or courtesans) and dacoits are merely victims of circumstances.

Dev Anand’s circumstances were that he was to leave drinking and spend the rest of his sober and saintly married life with Madhubala as Kamala. But then, he was drawn to drinking again and she was to be married elsewhere.

This ghar ghar ki kahani made RK, MM and MR rise to the occasion and made not only this beautifully poignant number but several others, such as:

Sawan ke mahine mein….lagati hai to pee (drink and not urinate) leta hoon; do chaar ghadi jee leta hoon.

Mujhe le chalo aaj phir us gali mein jahan penhle pehle ye dil ladkhadaya.

You would agree that Sharabis beat Prostitutes and Courtesans hands down in Hindi movies in respect of quality of songs including those in Pakeezah and Umrao Jaan. One major reason for this is that courtesans and prostitutes are females and how can any female singer beat Mohammad Rafi in the quality of singing? Even males couldn’t. When Manna Dey, whose birth anniversary we celebrated yesterday, was asked where would he rank Rafi, he promptly replied “From #1 to #10”. By this he meant that any other singer is simply ten places below him.

Rajinder Krishan’s Lyrics

This Shimla boy always said things differently and there are several examples of it; eg:

Ghar se chale the ham to khushi ki talaash mein
Gham raah mein khade the wahin saath ho liye.

(I have often qouted this): Phir tassavur tere pehlu mein bitha jaayega.

Wo ghadi yaad hai jab tumase mulaaqaat hui
Ek ishaaraa huaa do haath badhe baat hui.

Lets examine the lyrics of the current song:

Kabse tanha ghum raha hu duniya ke virane mein,
Khaali jaam liye baitha hoon kab se is maikhane mein,
Koi to hoga mera sakii koi to pyas bujhayega
Kabhi na kabhi kahi na kahi koi na koi to aayega

Naturally he is hinting about a Pyaas that is not physical. Rajinder Krishan has taken the metaphor of maikhana and saki to hint towards seeking empathy from a kind hearted and loving person.

Kisi ne mera dil na dekha na dil ka paigam suna
Mujhko bas aavara samjha jis ne mera naam suna
Ab tak to sab ne thukaraya koi to pas bithayega
Kabhi na kabhi kahi na kahi koi na koi to aayega

People do take own virtues as hidden treasures. However, the evils of others are always taken at face value. Even Sahir had something to write about it:

Achhon ko bura sabit karna duniya ki purani aadat hai
Is may ko mubarak cheez samajh maana ke bahut badnam hai ye

I am not even giving you the third stanza. I think you get my point.

My Own Poetry

I wrote innumerable poems in lighter vein for my friend Maj Vishwas Mandloi’s group i-peg. I have selected one on similar theme:

MERE GHAMON KA ILAAJ

दुनिया में कोई अपना है तो वो है शराब,
बाकियों ने तो मिल के ज़िन्दगी की है खराब;
एक एक के किस्से सुनाता हूँ मैं आज सब को,
सब के चेहरों से आज मैं उठाता हूँ नकाब।

पहले मेरी बीवी थी बहुत कमसिन और हसीन,
अब लगती है जैसे buffalo in tight jeans;
रवैय्या उसका अब ऐसे जैसे कोई सैय्याद हो,
हर एक बात पे create करती है scene.

बच्चे मेरे ऐसे जैसे अपने नहीं पराये हों,
जैसे ससुराल से श्रीमति जी ने दहेज में लाये हों;
लोगों को तो वो यूँ बताते फिरते हैं,
Daddy के ज़ुल्मों से बहुत तंग आये हों।

रिश्तेदारों के बारे आप को क्या सुनाएं,
ग़म के गीत बार बार क्यों हम गायें;
उन्हें ज़रूरत है तो आ जाते हैं खाली हाथ,
मेरी ज़रूरत में तो वो नज़र भी ना आयें।

दोस्त मेरे हैं एक से एक बड़ के,
आते हैं मेरे पास अपनी बीवियों से झगड़ के;
मेरी दारू, मेरा खाना खाने के बाद,
चले जाते हैं मूँह बनाये मुझसे ही लड़ के।

इस हालात में मेरे पास एक ही है सहारा,
बाकियों से तो हम कर बैठे हैं किनारा,
सारे ग़म, सारे गिले शिकवे हो जाते हैं दूर,
एक जाम को जब गले से नीचे उतारा।

इसलिए शराब बनी है सबसे बड़ी मीत,
ज़िन्दगी से हार के यही है मेरी जीत,
इसी से शामें जो पहले कभी कटती नहीं थीं,
अब तो पल भर में खुशी से जाती हैं बीत।

Please enjoy: Kabhi na kabhi, kahin na kahin, koi na koi to aayega…

I am sure if Dev Anand had come to know that I was going to write the above, he would have put that too in the movie Sharabi. Anyway, his loss!

I hope you liked my choice of song for RKSOW #6.

Please await the next song in the series.

I hope you liked the last post in the series: ‘Shailendra Song Of The Week #4 – Ab Ke Baras Bhej Bhaiya Ko Baabul‘. Lets begin with this song of his as the Song of the Week #5 as it appeared on my Facebook group ‘Yaad Kiya Dil Ne‘.

Shailendra Song of the Week (SSOW)
Week #05
Ja ja re ja balamwa

Among ‘My Favourite Five Songs Of Lata Mangeshkar’

Lata Mangeshkar has always been my favourite female playback singer. Despite all the controversy regarding her feeling insecure enough to deter all competition to her Numero Uno position in Hindi films, I adore her. A ‘favourite’ is a matter of love and normally your favourite actor, song, scenery, dish, incident is not subjected to reasoning by you. You have precious memories of your favourites.

On the 28th Sep 2016, when she turned 87 (three years older than my mother), I put my head on the chopper block by selecting and publishing ‘My Favourite Five Songs Of Lata Mangeshkar‘, the only female singer whose thousands of songs were subjected by me to the scrutiny of my heart in order to select just five. I selected Ja ja re ja balamwa at #2.

I am aware there are other lists going around by the cognoscenti; but, frankly, I don’t give a damn. A singer’s singing, in addition to all the audio or vocal qualities that it must have, must be pleasant to the ear. This one is to my ear. Period.

A Courtesan Song As My Favourite?

The song is from the 1956 movie Basant Bahaar and its lyrics are a marvel produced by the great Shailendra and its composition is by my favourite music duo: Shankar Jaikishan. Its raag is Jhinjhoti and tal is Tintal.

Why would a song picturised on a courtesan evoke such strong feelings in me? Well, courtesans were essentially a part of our culture. One of them (Anarkali) nearly married a would be emperor. In Shashi Kapoor’s movie Utsav, he brought out how important a courtesan (Rekha as Vasantsena) was in our society. In the movie Amrapali (based on a true story), the king Ajatashatru wages a war to get her (Vyjayanthimala in the title role) and she finally takes to Buddhism! By the way, Amrapali had some of her best songs including the iconic Tumhen yaad karte karte jaayegi rayn saari (also created for her by the team of Shailendra and Shanakar Jaikishan).

In the 1956 Raja Nawathe movie Basant Bahar too, Kumkum as the dancing girl Radhika is dancing in the presence of the Emperor, played by Chandrashekhar and naturally the emotions she conveys are the emotions of the queen. Hindi films directors of yore, often used the courtesans to express the feelings of the heroines (eg in Chhote Nawab song, the first song of RD Burman with Lata ji (composed in Raag Malgunji): Ghar aaja ghir aaye badraa saanwariya.

The Movie Basant Bahar

I would place the movie as iconic as far as its songs are concerned. Four years before it was made by Raja Nawathe, we had a movie on somewhat similar theme: Vijay Bhatt’s 1952 movie Baiju Bawra with Bharat Bhushan in the title role and on a mission to defeat Tansen in a musical duel to avenge the death of his father. In Basant Bahar too, Bharat Bhushan (as Gopal) is on a mission to defeat Malaya, the son of a royal musician, so that the winner would be chosen as the royal musician.

If Baiju Bawra was iconic in that all its 13 songs were based on raagas by the music director Naushad who first used raaga based songs in Hindi movies, Basant Bahar too had its songs based on raagas:

• Ketaki, Gulab, Juhi Champaka Bana Phule (Raag Basant Bahar, Ektal).
• Ja ja re ja balamwa (Raag Jhinjhoti, Tintal).
• Sur na saje kya gaayun main (Raag Pilu, Tal Kaherava).
• Duniya na bhaye mohe ab to bulale (Raag Todi, Tal Punjabi Theka (Sitarkhani).
• Bhaye Bhanjana…Darasa Tere Mange Main Tera Pujari (Raag Mian Ki Malhar, Jhaptal).
• Badi Der Bhai Kab Loge Khabar (Raag Pilu, Tal Kaherava).

That is six out of nine songs based on raagas as compared to all 13 of Baiju Bawra. There is one difference from Baiju Bawra in that Basant Bahar is based on Kannada novel Hamsageethe by legendary novelist TaRaSu. Hamsa means swan and Geethe means song. “It is believed that before a swan dies, it will sing without opening its mouth. That mutter of melody is believed to be unmatched since any scene of lyricism falls short of its reach.” Clearly, Basant Bahar was intended to showcase the skills of Shankar Jaikishan. However, I feel that Shailendra’s lyrics are simply great and you take away the lyrics the swan dies!

The Actress Kumkum

Shailendra was born in Rawalpindi and brought up in Mathura. But, he had a Bihar connection in that his ancestral place Akhtiyarpur is in Ara district of Bihar.

Kumkum was also born Zaibunnissa in Hussainabad, Sheikhpura Bihar. She was the discovery of Guru Dutt (as was Waheeda Rehman) and the CID song Ye hai Bombay meri jaan was picturised on her.

She was trained in Kathak by the famous Shambhu Maharaj and she danced in 1960 movie Kohinoor on a song lip-synced by Dilip Kumar and sung exceptionally beautifully by Mohammad Rafi in Raag Hamir, Tintal: Madhuban mein Radhika naache re (Shakeel – Naushad – Rafi).

In this song too, she is Radhika and her mudras are simply awesome.

Lyrics

Irrespective of what TaRaSu intended in the novel Hamsageethe on which the movie Basant Bahar is based, the lyrics by Shailendra are simply beautiful.

Jhinjhoti is a raaga named after an apsara and Hindi films songs based on it (my own observation) often bring in feelings of self-pity such as in “Tum mujhe youn bhula na paaoge” and “Mere mehboob tujhe” and of course the Mamta song picturised on Suchitra Sen: “Rehte the kabhi jinake dil mein hum jaan se bhi pyaron ki tarah”. Ghungru ki tarah bajta hi raha hoon is another case in point.

Here too, Shailendra has brought out self-pity of the singer-dancer in comparison to the sauten (the other woman), except that she is emoting for another person (such as in Chhote Nawab song: Ghar aaja ghir aaue badra):

Ja ja re ja, balamwa
Sautan ke sang raat bitayi
Kahe karat ab jhuthi batiya
Ja ja re ja, balamwa

Gair ke ghar kari raat jagayi
Mose kahe tere bina nind na aayi
Kaiso harajayi daiyya
Ja ja re ja, balamwa

Kandhe laga laye bindiya kisi ki
Janu main churayi tune nindiya kisi ki
Laaj naa aayi tohe
Ja re ja, ja re ja, ja re ja balamwa

Please Enjoy the Song I have put up as my second most favourite song of Lata Mangeshkar: Ja ja re ja balamwa…

 

I hope you liked my choice of song for SSOW #5.

Please await the next song in the series.

I hope you liked the last post in the series: ‘Rajinder Krishan Song Of The Week #4 – Na Jhatko Zulf Se Paani‘. Lets begin with this song of his as the Song of the Week #5 as it appeared on my Facebook group ‘Yaad Kiya Dil Ne‘.

Rajinder Krishan Song of the Week (RKSOW)
Week #5
Hamse aaya na gaya

Rajinder Krishan, Madan Mohan and Talat Mahmood

In the last song and elsewhere many times before, I have mentioned that the most memorable songs of Lata Mangeshkar were composed by her bhaiya Madan Mohan. These were penned either by Raja Mehdi Ali Khan or by Rajinder Krishan.

Of course, Rajinder Krishan has many such Lata songs; eg, Youn hasaraton ke daag, Unako ye shikayat hai and Tumhi mere mandir tumhi meri pooja.

In my Rajinder Krishan Song of the Week (RKSOW) I also introduced you to his male songs; eg, Phir wohi shaam wohi gham wohi tanhayi hai with Madan Mohan.

That was from Jahan Ara. This is from a farcical comedy: Dekh Kabira Roya, a 1957 Amiya Chakravarty movie.

Just like the Jahan Ara songs, this too was sung by Talat Mahmood.

Lyrics

There is this quality in Rajinder Krishan’s lyrics which is like trying to touch the winds. There is that hole-in-the-heart called ruefulness. The best part is that he and Madan Mohan used this song in a farcical comedy.

Lets examine the lyrics:

Hamse aayaa na gaya tumse bulaya naa gaya
Faaslaa pyaar me dono se mitaaya naa gaya

Vo ghadi yaad hai jab tumse mulaqaat hui
Ek ishaara hua do haath badhe baat hui
Dekhate dekhate din dhal gaya aur raat hui
Vo samaa aaj talak dil se bhulaya naa gaya
Hamse aya na gaya

Kya khabar thi ke mile hain to bichhadne ke liye
Kismate apni banayi hain bigadne ke liye
Pyaar kaa baag basaya tha ujadne ke liye
Is tarah ujda ke phir hamse basaya naa gaya
Hamse aya na gaya

Yad rah jaati hai aur waqt guzar jata hai
Phul khilata hai magar khil ke bikhar jata hai
Sab chale jate hain phir dard e jigar aata hai
Daag jo tune diya dil ne mitaya na gaya
Hamae aya na gaya

Raag Bageshri Tal Dadra

Bageshri is well suited for both ras or shringar: Virah and Karuna. Shankar Jaikishan used Karuna in one of my favourites in this raag: Jao jao Nand le lala tun jhoote. Madan Mohan used both here.

The Tal is the same as that for the last song, Dadra: Lag ja gale and you can feel the symmetry of the Tal.

The song is picturised on the middle brother of the trio: Anoop Kumar; the elder being Ashok Kumar and younger being Kishore Kumar (they were together in another comedy: Chalti Ka Naam Gaadi). He is singing it to Shobha Khote. He was Mohan in the movie and she was Kalpana.

My Own Poetry

It is called:

…JI KAR TO MIL NA PAAYE

ज़िन्दगी गुज़र गई पर हम मिल नहीं पाए,
जहां मौजूद थे वहां से हिल नहीं पाए।
अब कौन भरेगा ग़म – ए – जुदाई के यह दाग़?
दिलों के ज़ख्म अभी तक तो सिल नहीं पाए।

कैसे कहें किसी से क्यूं मुलाक़ात नहीं होती?
वह सबके साथ है पर मेरे साथ नहीं होती।
बादल उमड़ते हैं, बिजली भी चमकती है,
बस दिल में हमारे बरसात नहीं होती।

दो जिस्म और रूह को तड़पाना नहीं अच्छा,
अलग अलग रास्तों पे चलते जाना नहीं अच्छा।
मंज़िल तो एक है उसका तो कर ख्याल,
राह में जलते दियों को बुझाना नहीं अच्छा।

हमें भी तो उसी खुदा ने बनाया होगा,
एक दूजे को प्यार करना उसी ने सिखाया होगा।
फिर मिलने पे इतनी पाबंदी है क्यूं कर,
कौन है वह जो इसे समझ पाया होगा?

गर न मिले तो रूह रहेगी भटकती,
बादल गरजेंगे बिजली रहेगी चमकती,
जाम उछलेंगे पर प्यास बनी रहेगी,
जैसे दरिया में मछली एक बूंद को तरसती।

Please Enjoy: Hamse aaya ha gaya…

I hope you liked my choice of song for RKSOW #5.

Please await the next song in the series.

I hope you liked the last post in this series: ‘Hasrat Jaipuri Song Of The Week #4 – Ehsaan Tera Hoga Mujh Par‘.

Lets proceed with his Song of the Week #5:
Ye aansu mere dil ki zubaan hain

Just to remind you that that this is the fourth post in

Our Dedication to a Lyricist to Whom
We Owe the Title of Our Songs Group*

(My Facebook group ‘Yaad Kiya Dil Ne‘ or YKDN for short).

I hope you liked the first post in the series: ‘Rajinder Krishan Song Of The Week #3 – Ye Hawa Ye Raat Ye Chandni‘. Lets begin with this song of his as the Song of the Week #4 as it appeared on my Facebook group ‘Yaad Kiya Dil Ne‘.

Rajinder Krishan Song of the Week (RKSOW)
Week#4
Na jhatko zulf se paani

Songs Describing the Beauty of Women

Shakeel Badayuni was the only lyricist who had a hat-trick of Filmfare Awards from 1961 to 63. The first two out of these three were songs describing the beauty of women; viz, Chaudhvinh ka chand ho (Guru Dutt describing the beauty of Waheeda Rehman) and Husnwale tera jawab nahin (Rajendra Kumar describing Asha Parekh’s beauty).

Of course, almost all lyricists of fame have covered themselves in glory with such songs.

And what have the women done whilst listening to such descriptions of their beauty being sung to them, more often than not in the voice of Mohammad Rafi? They have tried to give those looks ranging from shy fascination to quizzical amusement and in the process managed to look even more seductive and even coy.

Zulf as Beauty Symbol

Aankhen and Honth are of course of particular interest to the lyricists. These are as they exist around the world with any number of songs made on Eyes and Lips. Just one example of the popularity of Engelbert Humperdinck’s Spanish Eyes would tell you about the point I am making.

However, a typically and uniquely focus for Indian lyricsts has been Zulf or Zulfen. You can expect a Rajesh Khanna singing to Mumtaz at the height of his career: Ye reshmi zulfen, ye nargisi aankhen, inhen dekh kar jee rahe hain sabhi. Then there is Sanjeev Kumar singing to Indrani Mukherjee: Tumhari zulf ke saaye mein sham kar lunga. Another one sings to his lady love: Bikhra ke zulfen chaman mein na aana. The one who crossed all limits was the one who sang: Tu mere saamne hai, teri zulfen hain khuli….main bhala hosh mein kaise rahun.

Surely, people around the world must have been amused about Indian male’s fixation for Zulfen. Guys who are separated think of Zulfen as the first loss; eg, Teri zulfon se judayi to nahin maangi thi.

Rajinder Krishan and Ravi

In such a scenario, I think, Rajinder Krishan can be excused for letting the hero (Biswajeet) notice on the wet body of the heroine (Rajshree), of all the things, Zulf. Many around the world would say: “Hair today, gone tomorrow.” But, as far as Indians are concerned hair are here to stay forever and ever.

Ravi was one music director who learnt music by observation but managed to learn far better than those formally trained. What is more he even learnt Hindustani classical music and many of his songs are raaga based. This one is in Raag Pilu or Peelu, Tal Kaherava. Pilu is, as it is a raag of devotion and piety and if you look at the hero Biswajeet, you would notice that he is full of these two feelings and not seduction which would be the case, say, in Shammi Kapoor’s song Is rang badalti duniya mein insaan ki neeyat theek nahin (Hasrat – Shankar Jaikishan – Mohammad Rafi) or Joy Mukherjee singing to Asha Parekh: Aa ja re aa zara (Love In Tokyo).

Rajshree

Between the two; Biswajeet and Rajshree, she is the one who is using seduction by – as Somerset Maugham would say – looking at him with “practised innocence” all throughout.

She is the daughter of the celebrated film-maker V Shantaram from his second wife Jayshree whom V Shantaram married at the age of 40, after 20 years of his first marriage to a 12 years old Vimlabai who gave a traditional welcome to Jayshree after her husband married her. She, Vimlabai that is, drew the line only when her husband married for the third time Sandhya. Jayshree and Sandhya have acted in V Shantaram’s movies and sometimes together.

Rajshree is married to Greg Chapman in America three years after she toured America with Raj Kapoor for the shooting of his movie Around The World. Lucky for Biswajeet that Shehnai, the movie in which the present song featured was released in 1964 and much before Rajshree was jhatkaoing her Zulf for none of the Indians but an American.

Lyrics

I have always considered Rajinder Krishan as having extraordinary imagination. I have highlighted for you parts wherein he let his imagination seek expression:

Na jhatko zulf se paani ye moti phoot jayenge
Tumhara kuchc na bigdega magar dil toot jayenge
Na jhatko zulf se paani

Ye bheegi raat ye bheega badan ye husn ka aalam
Ye sab andaz mil kar do jahan ko loot jayenge
Na jhatko zulf se paani

Ye naazuk lab hain ya aapas me do lipti hui kaliyan
Zara inko alag kar do tarannum phoot jayenge
Na jhatko zulf se paani

Hamari jaan le lega ye neechi aankh ka jaadu
Chalo achha hua mar kar jahan se chhoot jayenge
Na jhatko zulf se paani

Mohammad Rafi

I regard Mohammad Rafi as the best singer in all genre’s of music. However, the passion with which he sang the songs describing the beauty of women leaves me stunned. And here and elsewhere he does so effortlessly. I am sure Rajshree would have got drenched not just in water.

Shehnai

This 1964 movie was produced and directed by SD Narang and is not based on a musical instrument or on the lifetime of a musician. On the other hand, the  film is about n IAF pilot’s widow who goes through hardship and loneliness in order to fulfil her husband’s last wish to make her son an Air Force pilot. It is anybody’s guess as to why they named it Shehnai!

Please Enjoy: Na jhatako zulf se paani…

I hoped my choice of song for RKSOW #4.

Please await the next song in the series.

These posts are reproduction and compilation of my daily posts (three in a day) on my Facebook Page called Lyrical since I have held Lyrics as my favourite part of the song.

So far, on Lyrical, I have taken up ten lyricists of great fame (not in any particular order or ranking):

1. Shailendra. The opening song that I selected was Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.
8. Qamar Jalalabadi with his Ai meri zindagi tujhe dhoondun kahan.
9. Raja Mehdi Ali Khan with his Mera sundar sapna toot gaya.
10. Indeevar with his Bade armaan se rakha hai balam.

Tonight we take up the eleventh lyricist DN Madhok’s creation. Dina Nath Madhok, as most of you would be aware, is from the trio called ‘first generation of lyricists’ that also included Kavi Pradeep and Kidar Sharma.

He was born on 22 Oct 1902 in Gujranwala (now in Pakistan), nearly 14 years before Shakeel Badayuni. He arrived in Bombay in 1931 and in the very next year wrote lyrics for the songs of Radhey Shyam. He wrote – hold your breath – 29 songs for that film. He also helped in composing songs for the film but wasn’t given credit for it.

He was a very versatile personality. In the second year, after Radhey Shyam, he directed three movies, all with English names: Lure of Gold, Flame of Love and Three Warriors.

He continued directing movies, writing screen-plays, dialogues and lyrics; like Gulzar did many decades after him. He wrote lyrics for such movies as Nadi Kinare (1939), Musafir (1940), Pagal (1940), Ummeed (1941), Bansari (1943), Nurse (1943), Bela (1947), Bhakt Surdas (1942), and Tansen (1943).

Now here is something that would interest Shakeel Badayuni fans: Whilst Naushad Ali is credited with bringing Shakeel into the movies, DN Madhok was credited with bringing Naushad into the movies! Whilst Shakeel’s first lyrics were in Naushad’s film, the 1947 movie Dard, Naushad’s first song in the movies was on the lyrics of DN Madhok!

Day #1, Song #1
Man ka taar hila jaa more man ka taar hila jaa

The name of the 1940 movie was Prem Nagar that starred Prof Ramanand and Husna Banu (they sang for themselves). Here are the songs that Naushad composed in his first movie on the lyrics of DN Madhok:

1. Main Kali Baag Ki Tu Bhora Kaala
Husna Banu Naushad D N Madhok Husna Banu
2. Man Ke Taar Hila Jaa More Man Ke Taar
Prof. Ramanand Naushad D N Madhok Prof. Ramanand
3. Mat Bolo Bahaar Ki Batiyaan
Bimla Kumari, Prof. Ramanand Naushad D N Madhok
Bimla Kumari, Prof. Ramanand
4. Tum Bin Chain Na Aaye Sajni
Prof. Ramanand Naushad D N Madhok Prof. Ramanand
5. Ambua Pe Baitha Panchhi Kya Boli Bole
Prof. Ramanand, Husna Banu Naushad D N Madhok Prof. Ramanand, Husna Banu

Lets listen to the second song, if not for anything, but for the fact that Shakeel’s Mother India song: Nagri nagri dwaare dwaare had lyrics similar to it.

Please enjoy: Man ka taar hila jaa more man ka taar hila jaa….

man ke taar hila ja mere man ke taar hila ja
man ke ek taare par bande pritam pritam gaa le
man ke ek taare par bande pritam pritam gaa le
man ke taar baja kar murakh man ke taar baja kar murakh
jivan ka sukh pa le jivan ka sukh pa le
dag mag dole o more sajan dag mag dole o more sajan
naiya paar laga ja naiya paar laga ja
man ke taar hila ja mere man ke taar hila ja

nagri nagri dware dware jhum raha hai pritam pyare
koun nagriya ho more sajan koun nagriya ho more sajan
man ke taar hila ja mere man ke taar hila ja
man ke taar hila ja mere man ke taar hila ja

Day #1, Song #2
Is paap ki duniya se ab aur kahin le chal

We have just started with our 11th (not in any particular order or ranking) great lyricist: Dina Nath Madhok belonging to the trio of the first generation of lyricists in Hindi movies together with Kavi Pradeep and Kidar Sharma.

I always give you the first song as the song of my choice and then start chronologically.

Chronologically, his first movie as lyricist was 88 years ago, in the year 1932. The name of the movie was Radhey Shyam, directed by Anand Prasad Kapoor and Roshan Lal Shorey. It starred: Khurshid Begum, Sunita Devi, Mohan and Radha.

DN Madhok paired with Nawab Khan and made the following 29 songs (I couldn’t find one) for the movie:

1. Aaja Tu Mere Lal Tujhe God Khilaaun
2. Aao Gokul Kee Baar
3. Chatur Naar Bharmaya Maat Tohe
4. Chhalak Na Jaaye Gori Gagari
5. Chinta Na Karo Aayenge Yahi
6. Duniya Jhuti Duniya Khoti
7. Ghat Ghat Ratein Teen Lok
8. Hriday Me Thes Lagi Kaisi
9. Is Pyaari Booti Se Bhaiya Jo Prem Laga Lenge
10. Jai Yadav Raaye Om Jay Yaadav Raaye
11. Jamna Ke Neer Teer Gokul Ka Wasi
12. Jap Man Raadha Krishna Muraari
13. Jhoola Jhoolat Hai Nandlaal
14. Jhoola Jhulaaun Main Ban Ke Prem Bhikhari
15. Kaal Tero Gokul Me
16. Kaal Tero Gokul Mein
17. Kaise Guzaarun Ratiyan
18. Kaun Jogi Hue Kaanon Mein Munda
19. Kit Gaye Hain Baanke Bihaari
20. Kya Naam Hai Yah Pyaare
21. Loota Re Meraa Jaga Ke Joban
22. Main Nahi Samjhaa Mere Bhagwaan
23. Mero To Girdhar Gopal Dusra Na Koi
24. Naa Jaa Shyam Murari Sada Ji Dhadke
25. Naachat Hai Muralidhar Mohan
26. Om Om Sumaro Man Me Om Naam Pyaara
27. So Ja Tu Mere Jaaye
28. Sun Kuk Tihari Vishnu Ji

Okay, I solved the mystery of the missing song. At #16 and #17, I have given two songs staring with Kaal tero. Actually, there are three:

1. Kaal Tero Gokul Mein Nandlal Vruj bal kahaye.
2. Kaal Tero Gokul Mein paapi pootna maar mukaayi.
3. Kaal Tero Gokul Mein Vrindavan raas rachayen Gopi naar sang.

See, how I solved it. So there are actually 29 songs penned by him in his first movie Radhe Shyam.

None of the songs or lyrics are available.

He wrote ten songs for his next movie in 1933: Khubsurat Bala:

1. Aai Nainon Ki Bahaar
2. Baanke Gopal Laal Braj Ke Gopal Laal
3. He Govind He Gopal Tere Gun Gaoon
4. Humne Tumhein Pehchan Liya
5. Jag Ek Fasaana Kahaani Hai
6. Main To Preet Kiye Pachhtaai
7. Oh Baanke Chitvanwaali
8. Pyaasi Bilakh Rahi Barso Se
9. Us Mohini Ne Man Moh Liyaa
10. Zara Hamri Nagri Aaja Nainon Me

None are available.

His next movie for lyrics was in 1936: Jawalamukhi.

I couldn’t find any information.

His next movie in 1937 was Aladdin Aur Jadui Chirag. Yet another movie for which no information is available except to know that Navinchandra acted in it.

His next movie in 1937 Dilfarosh was directed by him and starred Ishwarlal and Malti. Banne Khan composed his following songs:

1. Saanch Kahoo Sajne Mere Baat Sune Koi, Yaar Bahoot Jag Mein Par Saath
2. Tope Sautan Ne Kaise Jaadu Kiye, Baire Sautan Ka Tu To Ho Liya
3. Bhar Gaye Jeb Musafir Chala Safar Pe Tann Ke Gaade Jode
4. Pardesi Ab Desh Sidhaaro, To Bin Kahoo Na Aaye Hai, Swagat Karo Mere
5. Aa Pardanashi Tujhko Main Aankhon Mein Bithaa Loo, Pardo Mein Chupaa
6. Baake Chitvan Teekhe Naina, Surat Bholi Bhale Hai, Naagan Kali
7. Mann Ka Musafir Chala Safar Pe Tann Ke Gaade Jode, Aatam Raam Chalaane
8. Saanch Kahoo Sajne
9. Duniya Ek Musafirkhana Koi Jaaye Aur Koi Aaye, Aatam Ram

None of these are available.

His next movie in 1937: Shama Parwana was again directed by him and starred Ishwarlal and Dixit.

He wrote the following songs for Banne Khan:

1. Phursat Kabhi Paaoge Bhi Shokhee Se Ada Se, Ye Chand Ke Tukade
2. Daman Mein Chupaa Le Prem Jyot Pagle, Kahe Bhujh Na Jaaye
3. Chande De Chandani Chande Kane, Mandaa Na Bolana Bhande Kane
4. Gokul Ke Gwaalan Aaye Hai Gokul Ke Gwaalan, Dudh Mein Dhuhoo
5. Khandge Naaz Pahloo Mein To Paikka Dil Mein Rahne Do, Sitam Ke Yaad
6. Mujhse Na Pooch Hale-Hale Andalee Bezaar, Kaliya Bhi Khoon Rotee Hai
7. Ab Rayin Bhaye Saajan Na Ja, Jaana Hai To Jaana Bhor Bhaye
8. Tassvar Mein Mere Kal Raat Hai Aur Yaar Ke Aankhen, Hiran Ke Masti
9.Nigaahe Naaz Bhare Vaye Vaye, Chale Aate Hai Pare Vaye Vaye
10. Shama Ke Baat Na Maane Kabhi Parwane Ne, Zindagi Phuk Ke Rakh De

Still none of the songs are available.

That brings us to the year 1938.

Zamana was his first movie in 1938 and indeed the only one. It was a Ram Daryani movie starring Nazir and Padmadevi.

There were following ten songs of the movie composed by Sunder Das and penned by Deena Nath Madhok:

1. Saawan Ke Ruth Bhaaye Sajaniyaa, Saawan Ke Ruth Bhaaye Hai
2. Sote Mein Humse Milaa Hai Preetam Pyaara, Sune Sakhee Kaan Mein Pyaara
3. Kyon Neha Ho Lagaaye Kyon Jaan Jalaaye, Ye Dard Anokha Hai
4. Pheko Ye Chaay Todo Ye Choolha, Chande Ke Rasse Sone Ka Jhulaa
5. Mehandi Ke Hare Paat, Radharani Ke Mann Bhaaye
6. Aaj Hamare Pyaare Hum Sang Jhule, Jeevan Ke Dukh Bhoole
7. Honee Hai Balwaan Jagat Mein Honee Hai Balwaan, Chanchal Mann Aakash
8. Ye Dard Jara Dam Le, Karwat To Badlane De
9. More Aangana Mein Banse Bajaa Na, Tann Mann Ke Sudh Bisara Ja
10. Is Paap Ke Duniya Se Ab Aur Kahe Le Chal

We shall be taking two songs of the movie today.

Lets take song #10 sung by Amirbai Karnataki (indeed, most of the songs were sung by her). She doesn’t need any introduction. However, it is worth recalling that she won the heart of Mahatma Gandhi with her rendition of Vaishnav jan to tene kahiye and it became his favourite hymn after that.

Please enjoy: Is paap ki duniya se ab aur kahin le chal…

Is paap ki duniya se
Ab aaj kahi le chal
Is paap ki duniya se
Ab aaj kahi le chal
Cheet chain jahaan paaye
Cheet chain jahaan paaye
Le chal tu wahin le chal
Is paap ki duniya se ab
Aaj kahi le chal

Logo ki jafaao se
Duniya ki nigaaho se
Logo ki jafaao se

Duniya ki nigaaho se
Aa door kahi le chal
Aa door kahi le chal
Ab aaj kahi le chal
Is paap ki duniya se
Ab aaj kahi le chal
Is paap ki duniya se
Ab aaj kahi le chal
Cheet chain jahaan paaye
Cheet chain jahaan paaye
Le chal tu wahin le chal
Is paap ki duniya se
Ab aaj kahi le chal
Is paap ki duniya se
Ab aaj kahi le chal.

Day #1, Song #3
Aye dard zara dam le

You would have noticed that after starting chronologically from his first movie in 1932: Radhe Shyam it has been tough going. Until the 1938 movie Zamana, his seventh one, except to find out the titles of songs and cast, I couldn’t find much information or to find sound tracks at least in audio.

I hope you liked the last post in this series: ‘Hasrat Jaipuri Song Of The Week #3 – Ye Kya Kar Dala Tune‘.

Lets proceed with his Song of the Week #4:
Ehsaan tera hoga mujh par

Just to remind you that that this is the fourth post in

Our Dedication to a Lyricist to Whom
We Owe the Title of Our Songs Group*

(My Facebook group ‘Yaad Kiya Dil Ne‘ or YKDN for short).

Hasrat Jaipuri Song of the Week (HJSOW)
(This post appeared on YKDN on 24 Jan 2020) 

Shammi Kapoor, the Quintessential Romantic Hero

As with all posts on Lyricists, these posts are a compilation of my daily posts on my Facebook page Lyrical.

So far, on Lyrical, I have taken up nine lyricists of great fame:

1. Shailendra. The opening song that I selected was Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen. (Yet to be published here).
8. Qamar Jalalabadi with his Ai meri zindagi tujhe dhoondun kahan.
9. Raja Mehdi Ali Khan with his Mera sundar sapna beet gaya.

Tonight we take up the tenth lyricist Indeevar. He was born in 1924 as Shyamalal Babu Rai in Dhamna Village of Jhansi district of Uttar Pradesh. He moved to Bombay at the end of 1940s to pursue a professional career as a lyricist.

In a career spanning nearly half a century he wrote 1633 songs for over 300 films. I could find 1589 songs from 446 movies.

Day #1, Song #1
Bade armaano se rakha hai balam teri kasam

He started writing lyrics for songs with the 1945 movie Samrat Chandragupta. It was with his 17th movie in 1951: Malhar that he finally got recognition with the song: Bade armaano se rakha hai balam teri kasam, a song picturised on Arjun Bakshi and Shammi.

Here is from The Hindu newspaper dated 29 Mar 2012 in a piece titled ‘Blast From The Past: Malhar (1951):

“Starring Shammi, Arjun, Moti Sagar, Kanhaiyalal

On watching “Malhar”, more than six decades after it was released, one cannot but admire the fundamental laws that govern good cinema, which have stood the test of time, proving that they are inviolate and sacrosanct. Despite the considerable time that has elapsed, “Malhar”, directed by Harish, shows no signs of staleness, at least in certain vital areas. The first of two films to be produced by ace singer, Mukesh (the other being “Anuraag” in 1956) under the banner of Darling Films, it had a young and largely inexperienced cast and crew, for many of whom it was their debut vehicle.

The film is a showpiece of technical brilliance, especially the editing by S. Prabhakar, which is taut and precise, and never allows the narrative to slacken or waver, even in the second half, which, on certain occasions tends to meander. Equally deft is the cinematography by M. Rajaram, considering the equipment available to him.

However, piece-de-resistance of the film is its music score, composed by Roshan, grandfather of Hrithik Roshan, who had made his debut just a year earlier, in 1950. For the current generation of viewers, who, through incessant harping might be deluded into believing that film dynasties do not extend beyond the Bachchans and the Kapoors, this will be a revelation. As will be the trivia that Mukesh was the grandfather of the talented Neil Nitin Mukesh. Or Moti Sagar, who essays an important role, is the father of singer Preeti Sagar.

Each song, led by the remarkable “Bade Armaanon Se Rakha Hai Sanam Teri Qasam, Pyaar Ki Duniya Mein Yeh Pehla Qadam” is a gem. Roshan was undoubtedly helped by the lyricists, debutant Indeevar and Kaif-Irfani- who penned sheer poetry, including “Dil Tujhe diya tha Rakhne ko, Tune Dil ko Jala ke Rakh Kiya” and “Tara Toote Duniya Dekhe”. Lata Mangeshkar and Mukesh, needless to mention, made them immortal in their voice.”

Please enjoy Lata Mangeshkar and Mukesh sing the first hit song of Indeevar in the Hindi movies, a song composed by Roshan: Bade armaano se rakha hai balam teri kasam….

ba.De armaano.n se rakhaa hai balam terii kasam
o balam terii kasam
pyaar kii duniyaa me.n ye pahalaa kadam
ho, pahalaa kadam
judaa na kar sake.nge hamako zamaane ke sitam
ho, zamaane ke sitam
pyaar kii duniyaa me.n ye pahalaa kadam
ho, pahalaa kadam

le uThaa pyaar bhii a.nga.Daaii hai, dil bhii jahaa.N
ajii, aise me.n li_e jaate ho tum bolo kahaa.N
duur duniyaa kii nigaaho.n se kahii.n jaae.nge ham
pyaar kii duniyaa me.n ye pahalaa kadam
ho, pahalaa kadam …

terii do aa.Nkho.n me.n dikahte hai.n mujhe dono.n jahaa.N
inhii me.n kho gayaa dil meraa kaho Dhuu.NDhuu.N kahaa.N
chaa.Nd ghaTataa ho ghaTe apanii mohabbat na ho kam
pyaar kii duniyaa me.n ye pahalaa kadam
ho, pahalaa kadam …

merii naiyaa ko kinaare kaa i.ntazaar nahii.n
teraa aa.Nchal ho to patavaar bhii darakaar nahii.n
tere hote hue kyo.n ho mujhe tuufaan kaa Gam
pyaar kii duniyaa me.n ye pahalaa kadam
ho, pahalaa kadam …

Day #1, Song #2
Do hain naina hon chaar kaise

We started with our tenth Lyricist (not in any particular order or ranking): Shyamalal Babu Rai or Indeevar with a great song of his in the 1951 movie Malhar: Bade armaano se balam teri kasam.

I hope you liked the first post in the series: ‘Rajinder Krishan Song Of The Week #2 – Phir Wohi Shaam Wohi Gham Wohi Tanhayi Hai‘. Lets begin with this song of his as the Song of the Week #3 as it appeared on my Facebook group ‘Yaad Kiya Dil Ne‘.

Rajinder Krishan Song of the Week (RKSOW)
Week#3
Ye hawa ye raat ye chandni

Rajinder Krishan and Sajjad

Rajinder Krishan’s most memorable pairing with a composer has been with Madan Mohan. Let alone listening to scores of his songs from dozens of movies with Madan Mohan, just the songs of 1958 Kalidas movie Adalat would set him amongst the best lyricists that Hindi films came across. A song that really tugs at your emotions and with extraordinarily beautiful and poignant lyrics is Youn hasraton ke daag mohabbat mein dho liye, khud dil se dil ki baat kahi aur ro liye. Nobody is left unaffected by the personification of Khushi and Gham in the lines:

Ghar se chale the ham to khushi ki talaash mein,
Gham raah mein khade the wahin saath ho liye.

OP Nayyar had once stated that two of the ghazals of Madan Mohan (including Youn hasraton ke daag) were better than all the works of OP Nayyar.

With such high praise of the maestro which he richly deserved, can you imagine him copying a composition of a lesser composer? This was the composition by Sajjad, which Madan Mohan openly copied (and admitted) in his Tujhe kya sunayun main dilruba. It was for the 1958 movie Aakhri Dao and these lyrics (Tujhe kya sunayun) penned by Majrooh were composed by Madan Mohan in exactly the same way that Sajjad did for Ye hawa eye raat ye chandni.

No composer could have paid a better tribute to another composer.

Sajjad Husaain covered himself in controversy as much as he covered himself in glory because of his contentious personality that sought confrontation with almost everybody he worked with including DN Madhok in 1951 movie Saiyan (Wo raat din wo shaam ki guzri hui kahaniyan is one of their songs in the movie that comes to mind). He had problems with Dilip Kumar in the movie of this song: Sangdil. He didn’t like the standard of singing of Lata Mangeshkar.

Anyway, we still recall him for his excellent composition of this song and many others such as for the 1963 movie Rustom Sohrab: Ye kaisi ajab daastan ho gayi hai and Phir tumhari yaad aayi hai sanam.

Rajinder Krishan; what can you say about him and his lyrics? Most of his lyrics seem so natural and effortless. Here pay particular attention to: Mujhe kyun na ho teri aarzu, teri justaju mein bahaar hai?

Why shouldn’t he (Dilip Kumar) entertain aarzu (desire) for her (Madhubala) when there is bahaar (spring) in this quest of his? In other words, he can be forgiven for desiring her as much as any man can be forgiven for desiring spring.

Fourteen years after the Sangdil song, Neeraj used similar imagination in his 1966 Nai Umr Ki Nai Fasal song: Aaj ki raat badi shokh badi natkhat hai aaj to tere bina neend nahin aayegi:

Saara aalam hai girftaar tere husn me jab
mujhse hi kaise ye barsaat sahi jaayegi?

Have a look at the remaining lyrics of the present song under discussion:

Ye hawa ye raat ye chandani, teri ek ada pe nisaar hai
Mujhe kyun na ho teri aarzu, teri justaju me bahaar hai
Ye hawa ye raat ye chandani…

Tujhe kya khabar hai o bekhabar
tujhe kya khabar hai o bekhabar, teri ek nazar me hai kya asar
Jo gazab me aaye to kahar hai, jo ho meharban vo qaraar hai
Mujhe kyun na ho teri aarzu, teri justaju me bahaar hai
Ye hawa ye raat ye chandani…

Teri baat-baat hai dilnashi
Teri baat-baat hai dilnashi, koi tujhse badhke nahi hasin
Hai kali-kali me jo mastiyan, teri aankh ka ye khumaar hai
Mujhe kyun na ho teri aarzu, teri justaju mai bahaar hai
Ye hawa ye raat ye chandani, teri ek ada pe nisaar hai

Sangdil

Sangdil means cold-hearted. It was an adaptation of the Charlotte Brontë classic Jane Eyre. It was directed by RC Talwar and starred Dilip Kumar, Madhubala and Leela Chitnis.

In the story of the movie Dilip Kumar and Madhubala are childhood lovers but are victims of unfortunate circumstances (he was very poor). When rumours about her are spread and reach him, Dilip Kumar, now wealthy,  becomes Sangdil and encourages his reputation of being some sort of womaniser. Little do the women know that he is trying to seek the image of Madhubala in them.

There are many videos of the song going on depicting the eternal love between Dilip Kumar and Madhubala both in reel and real life until her father broke the relationship between them fearful that if she married him the father’s family would lose her money-amking capacity that supported the entire family. It is similar to Meena Kumari’s story; for many days after she was born her father kept her in an orphanage because he didn’t have means to look after the child.

I saw the movie and the video of the song is only between Dilip Kumar and the actress Shammi who is one of the women throwing herself at him when he becomes wealthy and foot-loose after his unrequited love with Madhubala. There is no flash-back during the song to his days with Madhubala.

Talat Mehmood for Dilip Kumar

I have gone on record saying that the best songs of Dilip Kumar were sung by Mohammad Rafi. However, there have been quite a few of Dilip Kumar’s memorable songs wthe Talat Mehmood. The first song that comes to my mind is from Dilip Kumar Madhubala 1951 movie Tarana (the first movie between them) that displayed the love and chemistry between them: Seene mein sulagte hain armaan. Anil Biswas composed it on Prem Dhawan’s lyrics.

The second one that comes to my mind is the 1950 movie Babul song penned by Shakeel Badayuni and composed by Naushad: Milte hi aankhen dil hua deewana kisi ka.

Please enjoy a really iconic song penned by Rajinder Krishan: Ye hawa ye raat ye chandni…

I hoped my choice of song for RKSOW #3.

Please await the next song in the series.