उन्हें अपने दोस्त से क्या मिलवाया,
वह उसी के यार बन बैठे l
हमें भूलने में ना लगा उन्हें वक़्त,
अब वह उसी से प्यार कर बैठे l
मेरे गीत सुनने में उन्हें आता था आनंद,
पर अब वह उसी का वादन सुनते हैं l
उसकी हर पोस्ट पे देके कमेन्ट,
अपने सपनो का जाल वह बुनते हैं l
उसकी शोहरत, उसकी काबलियत है मैग्नेट,
उन्हें ले गई है मुझसे काफी दूर l
आपने परवाने की हालत तो देखी होगी,
शमा की लौ जिसे कर देती है मजबूर l
चलो अच्छा हुआ अपने ओ पराये की,
इससे तो हो गई जल्द पहचान l
कुछ तो वक़्त लगेगा उन्हें समझने में,
जितनी ऊंची दुकान, उतना फीका पकवान l
चाहे कोई किसी के कितना भी हो नज़दीक,
खुदगर्जी ही है दुनिया की बुनियाद l
आमला बहुत ज़बरदस्त फल है दोस्तो,
बड़े अर्से के बाद भी देता है स्वाद l
सालों के बाद फिर मिलेंगे सब,
अपने उस छोटे से आशियाने में l
टूटने को जिसे दफ़’अतन न लगा वक़्त,
बरसों लगे थे जिसे बनाने में l
हमें क्या, हम तो हमेशा ही इसी तरह,
तसव्वुर में, वफाई में, हुनर में रहे हैं अमीर l
दिल के दरवाज़े उसी तरह खुले हैं अब भी,
रुसूख़ ओ शोहरत के लिए, नहीं बेचते हैं ज़मीर l
Two of the greatest: Madan Mohan with Mohammad Rafi)
Madan Mohan was born on 25 Jun 1924 at Erbil, Iraqi Kurdistan, where his father Rai Bahadur Chunilal was working as an Accountant General with the Kurdistan Peshmerga forces. Madan Mohan spent the early years of his life in the Middle East. After 1932, his family returned to their home town of Chakwal, then in Jhelum district of Punjab, British India. He joined the Army as a Second Lieutenant in the year 1943. He served there for two years until end of World War II, when he left the Army and returned to Bombay to pursue his musical interests. In 1946, he joined the All India Radio, Lucknow as Programme Assistant, where he came in contact with various artists such as Ustad Faiyaz Khan, Ustad Ali Akbar Khan, Begum Akhtar, and Talat Mahmood.
He was very fond of singing, and so in 1947 he got his first chance to record two ghazals penned by Behzad Lucknawi, Aane Laga Hai Koi Nazar Jalwa Gar Mujhe and Is Raaz Ko Duniya Jaanti Hai. Soon after, in 1948 he recorded two more private ghazals penned by Deewan Sharar, Wo Aaye To Mahfil Mein Ithlaate Huye Aaye and Duniya Mujhe Kahti Hai Ke Main Tujhko Bhoolaa Doon. In 1948, he got his first opportunity to sing a film duet Pinjare Mein Bulbul Bole and Mera Chhotasa Dil Dole with Lata Mangeshkar under composer Ghulam Haider (composer) for the film Shaheed (1948 film), though these songs were never released or used in the film. Between 1948 and 1949, he assisted music composers SD Burman for Do Bhai, and Shyam Sundar in Actress and Nirdosh.
As Music Director, he scored his first big break with the film Aankhen in 1950. He was soon to emerge as a music director par excellence especially for ghazals. Indeed, music director OP Nayyar once said about Madan Mohan that two of his ghazals were better than all that OP Nayyar composed. Some of the best songs of Lata Mangeshkar (she fondly called him “Madan Bhaiyya”) were composed by him on the lyrics of Raja Mehdi Ali Khan and Rajinder Krishan.
Some of my favourite songs of Madan Mohan are: Aaj soch to aansu bhar aaye, Betaab dil ki tamanna yehi hai, Tum jo mil gaye ho (Hanste Zakham 1973), Aapke pehlu mein aa ke ro diye, Naino mein badra chhaye, Jhumka gira re, Tu jahan jahan chalega (Mera Saya 1966), Aapki nazaron ne samajha, Hai isi mein pyaar ki aabru, Vo dekho jala ghar kisi ka (Anpadh 1962), Aapko pyaar chhupane ki buri aadat hai, Tere paas aake mera waqt nikal jaata hai (Neela Akash 1965), Agar mujhase mohabbat hai, Main nigaahen tere chehre se hatayun kaise (Aap Ki Parchhayiyan), Ai mere dil mujhe bata de (Bhai Bhai 1946), Ari vo shokh kaliyon muskara dena vo jab aayen (Jab Yaad Kisi Ki Aati Hai 1967), Baad muddat ke yeh ghadi aayi, Haal-e-dil youn unhe sunaya gaya, Jab jab tumhe bhulaya tum aur yaad aaye, Kisi ki yaad mein duniya ko jhain bhulaye huye, Main teri nazar ka saroor hoon, Phir wohi shaam wohi gham wohi tanhaayi hai, Teri aankh ke aansu pi jaayun, Wo chup rahen to mere dil ke daag jalate hain (Jahan Ara 1964), Hamare baad mehfil mein (Baghi 1953), Bainya na dharo O balma, Ham hain mataa-e-kuchcha-e-bazaar ki tarah, Mai ri main kaase kahun, Tumse kahun ik baat (Dastak, 1970), Bairan neend na aaye mohe (Chacha Zindabad 1959), Basti basti parbat parbat gaata jaaye banjara, Chand madham hai aasman chup hai, Dekh tere Bhagwan ki haalat (Railway Platform 1955), Bhooli hui yaado mujhe itna na satayo, Vo bhooli dastaan lo phir yaad aa gayi (Sanjog 1961), Chanda ja re ja re, Main to tum sang nain mila ke (Manmauji 1962), Chhadi re chhadi kaise gale mein padhi, Dil dhoondata hai fursat ke, Ruke ruke se kadam (Mausam 1975), Chhod kar tere pyar ka daaman, Jao hamane dastaan apni sunaayi, Lag jaa gale ke phir, Naina barse rimjhim rimjhim, Shokh nazar ki bijliyan (Woh Kaun Thi 1964), Do dil toote do dil haare, Doli chadate hi Heer ne bain kiye, Milo na tum to ham ghabraayen, Ye duniya ye mehfil mere kaam ki nahin (Heer Ranjha 1970), Ham chal rahe the wo chal rahe the (Duniya Na Maane 1959), Ham pyar mein jalane waalo ko chain kahan (Jailor 1958), Hamsafar saath apna chhod chale, Tujhe kya sunayun main dilruba (Aakhri Dao 1958), Hamse aaya na gaya, Kaun aay mere man ke dwaare, Meri veena tum bin roye, Tu pyar kare ya thukraye (Dekh Kabira Roya 1957), Har taraf ab yahi afsaane hain, Hai tere saath meri wafa main nahin to kya (Hindustan Ki Kasam 1973), Hoke majbuur mujhe usne bhualaya hoga, Kar chale ham fida, Khelo na mere dil se, Main ye soch kar uske dar se, Zara si aahat hoti hai (Haqeeqat 1964), Husn haazir hai mohabbat ki saza paane ko, Is reshmi paazeb ki jhankar ke sadake, Tere dar pe aaya hoon (Laila Majnu 1976), Ik haseen raat ko dil mera kho gaya, Kabhi ai haqeeqat-e-muntazar, Sapano mein agar mere (Dulhan Ek Raat Ki 1966), Ishq ki garmi-e-jazbaat kise pesh karun. Mere mehboob kahin aur mila kar mujhase, Naghma o sher ki saugat, Rang aur noor ki baraat (Ghazal 1964), Jaa jaa re jaa saajna, Jaana tha hamse door, Unako ye shikayat hai, Youn hasaraton ke daag (Adalat 1958), Kabhi na kabhi kahin na kahin koi na koi to aayega, Mujhe le chalo aaj us jagah, Sawan ke mahine mein (Sharaabi 1964), Koi shikwa bhi nahin koi shikayat bhi nahin (Neend Hamari Khwab Tumhaare 1966), Main paagal mera manwa paagal (Aashiyana 1952), Meri yaad mein tum na aasnu bahana (Madhosh 1951), Na tum bewafa ho na ham bewafa hain (Ek Kali Muskaaye 1958), Sapne mein sajan se do baaten, Do ghadi wo jo paas aa baithe (Gateway Of India 1957), Teri aankhon ke siwa duniya mein rakha kya hai (Chirag 1969), Tumhari zulf ke saaye mein shaam kar loonga (Naunihaal 1967), Tu mere saamne hai teri zulfen hain khuli (Suhagan, 1964), and Vo jo milate the kabhi hamsase deewano ki tarah (Akeli Mat Jaiyo 1963).
When I learnt singing, I soon got to sing Madan Mohan. Here I present six more of his songs that I sang:
Song #13 Har taraf ab yahi afsaane hain
Just like J Om Prakash made many his movies’ titles starting with the letter ‘A’, Chetan Anand made many movies starting with the letter ‘H’: Haqeeqat made after the 1962 Indo China War was the first with the letter ‘H’. It ws followed by Heer Ranjha, Hanste Zakhm, and then Hindustan Ki Kasam. The last one is the 1973 movie from where I have taken this song. The movie depicts the role of Indian Air Force in the 1971 Indo Pak War, in the Western Sector.
Chetan Anand’s preferred actress Priya Rajvansh was the heroine opposite Raaj Kumar who was an IAF pilot in the movie.
As in Haqeeqat, Heer Ranjha, and Hanste Zakhm, Kaifi Azmi was the lyricist, Madan Mohan the composer.
This song was superbly sung by Manna Dey.
Please enjoy: Har taraf ab yahi afsaane hain…
Song #14 Teri Aankhon ke siwa duniya mein rakha kya hai?
This is the kind of song that I would like to sing to Lyn.
Madan Mohan composed it in Raag Jhinjhoti, Tal Dadra.
The director of the 1969 movie Chirag, from where this song is taken, made the lyricist Majrooh Sultanpuri take permission from Faiz Ahmad Faiz to use this line from Faiz’s nazm Mujhse pehli si mohabbat mere mehboob na maang made immortal by the singer Noorjehan.
Mohammad Rafi, as he always did, sang the song so well that it became unforgettable.
Please enjoy: Teri aankhon ke siwa duniya mein rakha kya hai…
Song #15 Tum jo mil gaye hao
Ultra Entertainment has blocked this song (containing snippets of original video) to be displayed here. But, you can click on ‘Watch on YouTube’ and it will take you there to watch.
This is from the 1973 Chetan Anand movie Hanste Zakhm starring Naveen Nischol and Chetan Anand’s favourite heroine Priya Rajvansh.
It is one of the most unique compositions of Madan Mohan on the lyrics of Kaifi Azmi.
The singer, once again, is Mohammad Rafi. Just one line has also been sung by Lata Mangeshkar.
Please enjoy: Tum jo mil gaye hao…
(In case you read the message Video unavailable, please click on Watch on YouTube. Thank you)
Song #16 Main teri nazar ka suroor hoon, tujhe yaad ho ki na yaad ho
The 1964 Vinod Kumar movie Jahan Ara had some of the best songs (ghazals) of Madan Mohan. These were on the lyrics of Rajinder Krishan. Indeed, the success of this movie was largely due to these songs. Mala Sinha in the title role nearly got the Filmfare Award. She enacted emperor Shahjahan’s daughter through his most beloved of four wives: Mumtaz, in whose memory he erected one of the seven Wonders of the World: the Taj Mahal.
When Mumtaz was dying, she took a promise from Jahan Ara that she would look after the father and not marry. She was in love with Mirza Yusuf Changezi (played by Bharat Bhushan). But, their love couldn’t go further because of Jahan Ara’s promise to Mumtaz.
Hence, this song and many others in the movie portraying their predicament and sob-story; eg, Phir wohi shaam wohi gham wohi tanhayi hai, and Teri aankh ke aansu pi jayun.
In this movie, Madan Mohan favoured Taal Mahmood to sing these songs. Mohammad Rafi sang only one: Kisi ki yaad mein duniya ko hain bhulaye huye in Raag Kedar.
Please enjoy: Main teri nazar ka suroor hoon…
Song #17 Yahi hai tamanna tere dar ke saamne
This is from the 1964 Mohan Kumar movie Aap Ki Parchhaiyan starring Dharmendra and Supriya Choudhury.
Madan Mohan stunned us by composing two songs of the movie in the same Raaga and Tal: Darbari Kanada and Dadra. The songs were: Rafi’s Main nigaahen tere chehre se hatayun kaise and Lata’s Agar mujhse muhabbat hai mujhe sab apne gham de do.
Mohan Kumar’s Aap Ki Parchhaiyan suffers from the same malaise that most of the movies of that era did: the second half used to drag on and on without the end in sight. Indeed, whilst watching most of the movies now, one can see the second halves in fast-forward mode. Another such movie was DD Kashyap’s 1961 movie Maya starring Dev Anand and Mala Sinha.
Anyway, most of these had excellent songs.
This was penned by Raja Mehdi Ali Khan and sung by Mohammad Rafi.
Please enjoy: Yahi hai tamanna tere dar ke saamne….
Song #18 Tum bin jeevan kaisa jeevan
This was penned by Kaifi Azmi and composed by Madan Mohan in Raag Hemant, Tal Punjabi Theka (Sitarkhani) for the 1972 Hrishikesh Mukherjee movie Bawarchi with superstar Rajesh Khanna in the title role.
The singer was Manna Dey.
It is one of Madan Mohan’s difficult songs attempted by me.
Please enjoy: Tum bin jeevan kaisa jeevan….
So that this post won’t become too long, I shall end here today. Next time I shall give you another six songs of Madan Mohan sung by me in Part IV.
कहानियाँ बनतीं हैं लहरों की तरह,
झूम के उठती हैं चली जाती हैं l
और हम साहिल पे खड़े सोचते हैं,
चंद यादें हैं जो मन्द मन्द मुस्कराती हैं l
लफ्ज़ साँसों में फंसे यूँ दिखते हैं,
जैसे सूखी ज़ुबाँ कुछ कह ना पाती है l
कोई तो हो जिसे ज़िंदगी बता सके,
रह रह के जो राज़ हमें समझाती है l
अब ना तो वह तूफान, ना वह फ़िज़ायें,
दूर दूर तक गर्म रेत ही नजर आती है l
और वह हसरतें जो उभरती थीं दिल में,
ना वह गाती हैं, ना लुभाती हैं l
खुदा, मेरी जान, मेरे प्यार को रखना सलामत,
मेरी धड़कने उन्हीं से ही थरथराती हैं l
मेरी उम्र मेरी ज़िंदगी भी उन्हें दे देना,
उनके बगैर तो मुझसे एक शब भी ना जीई जाती है l
Nearly forty-weeks of labour,
Three trimesters of increasing pangs,
Anxiety, hopes, desires, and dreams,
And then one fine morning,
In the month of June,
At the Angel Number 666,
The umbilical was finally cut
Between me and my God:
Mother.
Dad said, “He is a Bubble of joy.”
Mom said, “He is the Sun god, Ra.”
The Eleventh Guru
Confirmed the name:
Ravinder or Ravi.
Born in the likeness of God?
Like everyone else?
Ha…
…..and not Ra.
He is…different,
Almost “a maverick.”
Nothing seemed to have
Put him in any known mould.
He can even think
In a world where brilliance
Of learning past knowledge by rote
Counts.
He isn’t just different.
He is evil,
Supercilious,
Egotistical,
Megalomaniac,
Even dangerous.
Actually…..
…..good for nothing.
How can he think
As if he is the only one?
How can he see beyond,
Hear unheard voices?
Travel to places no one dreamt about?
He spurns
Friends, family, society.
We can’t let him live
In a world he calls his own.
He breaks our walls.
He shatters our images.
He is detached, distant, aloof.
Unsociable.
Even anti-social.
It has taken us eons
To build something
We can be proud of:
This society.
This bedrock of civilization.
This paradigm of virtue.
No one,
Not even in the name of creativity
And innovation
Can go beyond.
In our derived and set standards
He is and will always be
A failure..
He will always be…
….good for nothing.
My prayer:
God, in my next life
Don’t give me
A mind that can think,
A heart that can feel.
Just make me a clone,
Of Survival of the Fittest Theory.
And send me on Life’s highway,
Like any other remotely piloted car,
Going generally
In everyone’s direction.
Admired
Loved
Respected
Idolised
Even remembered.
I shall respect all their rules,
And they shall adore me.
From nothingness we emerge,
And into nothingness we go.
But, this way,
The only way,
Tested and tried,
We shall be
Anything, but…
….good for nothing.
Most of us have
Nothing to say.
Silence is gold, and we have
Discovered a mine.
Nay, many mines.
But, look closely.
Our calm and quiet
Are only when others
Suffer and are in pain.
Those tales don’t touch us.
Waters down the mackintosh
Without a moist spot within.
But, own pain is real.
That blood drips agony.
Those piercing nails
Torment more than
Even Christ on the cross.
Every moment is torturous.
I am the world.
When I suffer
My world suffers.
The same world
Whose pangs and woes
Left me untouched.
Nary a whisper of dew
On the petals of my cheeks.
Love is that magic wand.
Me becomes they.
They become us.
There are no pains
Separate and different:
One real and the other imagined.
You feel, you cry.
On the cross you die.
Even when He is the one
Who is nailed.
Everything is real
Within and without.
You own his or her pain.
His world is yours.
Your world is his.
You own the universe.
You’ve never been so rich.
How bizarre it can get:
I am
When I am not.
There are times,
More often than before,
When I feel lonely and sad.
When friends, relatives and circumstances,
Are ranged against me,
Like brothers, cousins, and uncles,
In Mahabharta.
There are times,
When tears want to break out,
Like feral animals from wicket cages.
When everything looks alien,
Everything looks inimical.
When words from either side,
Are chucked as pointed stones.
There are times,
When rose petals have blown away,
Leaving thorns – stark and sharp.
Hopes have dried,
Like the autumn tree leaves.
Darkness of my heart,
Engulfs everything in and around.
There are times,
When nothing seems to work.
Even gods and my guardian angel,
Appear to have deserted me.
With my soul bruised,
My limbs fatigued,
My voice hoarse,
My lips parched,
I whisper, barely audible, “Mom, I need you….”
I hear that loving voice,
Clear and kind,
Even in the howling storm.
It is near me,
It is within me;
My mother, my God,
My Creator, my Protector,
My joy, my succour:
“Kaka, I hear you,
Put your head in my lap,
Close your eyes and rest.
All your problems will go;
I’ll make sure of that.”
Suddenly, I am aware,
Of my dormant strength.
My mother is beside me,
My God is within me.
My tears and sadness,
Despair and despondency,
Problems and evils,
Deceit and chicanery,
Are outwitted and weakened.
There is just serenity,
Hope and happiness.
It’s name is Maa.
(The featured image is a copy of the 1905 painting titled: ‘Mother And Child’ by Gustave Klimt and is housed in National Gallery of Contemporary and Modern Art in Rome since 1912.)
Poverty, in India, was gender neutral. But, as seen by Hindi movies, it forced men into menial jobs, but it forced women to the oldest profession on earth. So, poor men in Hindi movies would sing such songs as “Main rickshawwala, main rickshawala, main char ke barabar main do taang wala, kahan chaloge babu, kahan chaloge lala?”
Only real music aficionados like me would remember such songs that portrayed dignity of labour whilst being poor.
Poor women, in Hindi movies, had absolutely no choice but to become prostitutes. They were forced, but their songs were super-hits. Indeed, all heroines had to pass the litmus test of being in the kotha to be considered as serious actresses: Meena Kumari, Nargis, Suchitra Sen, Vyjayanthimala, Padmini, Mumtaz, Smita Patil, Rekha, and Hema Malini. Their songs competed with one another’s, eg, Suchitra Sen’s Rehte the kabhi jinke dil mein with Nargis’s Yun hasraton ke daag, and so on.
There were hardly any actresses who were not forced into it but actually enjoyed their profession. Shashi Kapoor’s Utsav and Lekh Tandon’s Amrapali were different. Those two brought out how courtesans were actually respected in our ancient culture.
However, over centuries, it became such a hated profession that Rajinder Singh Bedi’s Dastak portrayed the turmoil of a couple who rented a room in a red-light area.
Lastly, men falling in love with prostitutes was a common theme and resulted in the producers laughing all the way to the bank. Pyaasa, Devdas, Kala Pani, and Amar Prem are some examples. Prostitutes were always shown as golden hearted. There was no other kind.
Many people regarded the rain dance in the saree as the ultimate titillation. But, I can prove that nothing was more profitable for the producers than prostitution. Both kinds of songs could be there: one, depicting her art, eg, Jab chhaye mera jaadu, koi bach na paaye, Yeh hai reshmi zulfon ka andhera na ghabrayiye, and Jaata kahan hai deewane sab kuchh yahan hai! Two, the miserable ones: Rehte the kabhi jinke dil mein, and Jaana tha hamse door bahane bana liye.
Mehboob Khan’s Mother India (it nearly won an Oscar) tried to depict the Indian woman in her poverty, trying to fight her destiny through honesty and hard work. But, by that time, the ubiquitous picture of poor Indian woman choosing prostitution to beat poverty had already done the damage.
Q.E.D.
Movies are supposed to depict real life. This is one instance of movies changing real life.
Song #1 Jaata kahan hai deewane sab kuchh yahan hai sanam
This song was censored from the 1956 movie C.I.D. It was a Guru Dutt production directed by Raj Khosla.
It was the debut movie of Waheeda Rehman, the first of the five movies that Guru Dutt signed Waheeda Rehman for after seeing her in a college in Hyderabad. He was preparing her for her role as a golden hearted prostitute in his 1957 iconic movie Pyaasa.
The song was censored due to her openly soliciting as a prostitute as also for the use of the slang “fifi” in the song. It was made to look like as if “fifi” was an innocent Goan slang. However, it came out that “fifi” had become popular as an effeminate man as also to refer to a female part.
The song couldn’t see the light of the day during those days. However, these days, such songs would be totally acceptable.
The song was penned by Majrooh Sultanpuri and composed by OP Nayyar. It was sung by Guru Dutt’s wife Geeta Dutt whom he married on the 26th of May 1953.
Song #2 Yun hasraton ke daag muhabbat mein dho liye
Prostitutes and courtesans were always a very profitable theme for the Hindi movies. But, the success of C.I.D. and Pyaasa with debutante Waheeda Rehman as a golden-hearted prostitute threw the floodgates open for prostitutes in the Hindi movies. Rajinder Krishan, the lyricist, wrote the story and the screenplay for the 1958 movie Adalat directed by Kalidas.
Nargis who was fighting poverty and unfortunate circumstances in the 1957 Mehboob Khan movie Mother India acted as a prostitute one year later. Whilst Mother India tried to correct the image of Indian woman as the hard-working, self-sacrificing woman, Adalat and subsequent movies confirmed that they were ill treated to the extent of being sold in brothels. Hindi movies’ makers loved this latter image and laughed all the way to the banks just as commercial Hindi movies on poverty made the film-makers rich.
Rajinder Krishan made sure that his best lyrics were penned for the songs of the movie. The songs were composed by the maestro Madan Mohan who excelled to such an extent that OP Nayyar, in later life, said that two of the songs of the movie (this and Unako yeh shikayat hai ki hum kuchh nahin kehte) composed were better than all his works.
As an aside, I bring out that Nargis’s lover in the movie, before she was forced into a brothel, was a barrister to show the contrast between his most respectable profession and her latter day status. It is because of the utmost respect earned by Mahatma Gandhi as a barrister. Nowadays, in India, between the two professions there isn’t a contrast; earn money whichever way.
Song #3 Rehate the kabhi jinke dil mein
Once the Hindi movies’ makers get hold of a cash cow, they don’t let it go until they have milked it dry. Take the case of an honest man turned dacoit in Dilip Kumar’s only production, Gunga Jumna. In latter films heroes from Sunil Dutt to Vinod Khanna vied with one another to play the dacoit. So also with becoming prostitutes. In the 1966 Asit Sen movie Mamta, Krishan Chander merely rejigged Rajinder Krishan’s story of Adalat and passed it off as a remake of the 1963 Bengali movie Uttar Falguni.
In this song Majrooh Sultanpuri writing for Roshan and Lata Mangeshkar singing for Suchitra Sen brings out her condition due to unfortunate circumstances that made her choose the brothel.
Song #4 Beqasi hadd se jab guzar jaaye
Even when OP Nayyar praised Madan Mohan for the 1959 movie Adalat’s two songs, he himself came up with this gem in Raag Desh in the 1960 RK Rakhan movie, in which Padmini played the role of a courtesan and surprised (shocked) her lover Ashok Kumar. The lyrics of the song by Jan Nisar Akhtar point towards her helplessness in being forced into the role. None of OP Nayyar’s songs were sung by Lata Mangeshkar. This too was sung by Asha Bhosle.
The highlight of the song is also Padmini’s histrionics:
Song #5 Neel gagan ki chhaon mein
Lets change scene from being forced into prostitution to being proud of being a courtesan. Take the 1966 Lekh Tandon movie Amrapali, for example. The story of the movie draws from our culture. Amrapali, played by Vyjayanthimala, was a nagarvadhu (courtesan) in Vaishali (Bihar). Her excellence in her art made her the rajnartaki (the favoured courtesan of the kingdom). She nursed Ajatashatru (played by Sunil Dutt) when he was wounded and he fell in love with her. Little did she know that he was the emperor of Magadha. He destroyed Vaishali in order to get her.
The songs of the movie were penned by Shailendra and composed by Shankar Jaikishan so well that these are still considered some of the best. Credit must also go to Vyjayanthimala for carrying the movie almost entirely on her shoulders.
Please enjoy in Raag Bhupali, this beautiful song sung by Lata Mangeshkar and outstandingly danced in the king’s court by Vyjayanthimala:
Song #6 Jab pyar kiya to darna kya?
The actual story of Amrapali took place in 500 BC. Nearly 2000 years later, in the court of Mughal-e-Azam, Akbar, a courtesan named Anarkali has his only prince Salim fall in love with her. Akbar imprisons her and Salim rebels against his own father with a battle against him so as to rescue the love of his life.
Such was our culture regarding the importance of courtesans; and it was not restricted to the Mughals. In the 1984 Shashi Kapoor movie Utsav (based on Sanskrit play Mrichakatika (The Little Clay Cart) by Shudrika of ancient times (some evidence points to his being an Ahira king!), in ancient Ujjain, courtesan Vasantsena (played by Rekha), in the court of the king. She is respected and idolized by the king’s subjects. She has a chance meeting with a Brahmin Charudutt. In the song Man kyun behka re behka aadhi raat ko (it won two Filmfare awards: one for the lyricist Vasant Dev and the other for the singer Anuradha Paudwal), Charudutt’s wife Aditi (played by Anuradha Patel) is grateful to the courtesan Vasantsena for reigniting sexual desire in her husband!
Anyway, lets get back to Pyar kiya to darna kya penned by Shakeel Badayuni, and composed by Naushad Ali in Raag Durga. This song sung by Lata Mangeshkar for Madhubala as Anarkali is actually the most iconic song ever in Hindi films performed by a courtesan in the emperor’s court:
This movie, shot in black and white was the first movie to be digitally colorised at phenomenal cost.
Song #7 Jaa jaa re jaa balamwa
Talking about courtesans in the king’s or emperor’s courts, lets talk about the 1956 movie Basant Bahar, Raja Nawathe’s answer to Vijay Bhatt’s 1952 movie Baiju Bawra. In Baiju Bawra, Naushad had all 13 soundtracks based on one raag or the other. Shankar Jaikishan came up with similar soundtracks in Basant Bahar and actually excelled in Ketaki gulab juhi champak bana phule (in Raag Basant Bahar), for example. In this, Manna Dey had the ignominy of defeating Bharat Ratna Bhimsen Joshi in a singing competition. Duniya na bhaye by Mohammad Rafi in Raag Todi, Punjabi Theka is a favourite, too.
But, my all time favourite is this one by Lata Mangeshkar. Indeed, I have selected it as her Top Song #2 in her five of my favourite songs by her. This is in Raag Jhinjhoti, Tintal. It was penned by Shailendra and composed by Shankar Jaikishan. Kumkum as the courtesan Radhika performed it for the Emperor Chandra Shekhar played by Chandrashekhar:
Song #8 Woh chup rahen to mere dil ke daag jalte hain
Lets turn to the sub-theme of men jilted in love either visiting courtesans on their own or taken there by their well-wishers. There are hundreds of songs in this genre’, too. My vote goes to this classic one from the 1964 Vinod Kumar movie (his debut attempt) Jahan Ara.
Shahjahan’s daughter Jahan Ara (played by Mala Sinha; she nearly won the Filmfare Award for her role) is in love with Mirza Yusuf Changezi (Bharat Bhushan) since childhood. However, Mumtaz, Shahjahan’s favourite wife (one of his four) had taken a dying promise from her that she (Jahan Ara) would look after her father, Shahjahan, and not marry.
So, Yusuf is a jilted lover. In order to get over his separation from Jahan Ara, he is coaxed into visiting a courtesan Roshan Ara (played by Minoo Mumtaz).
The song she sang to make him forget his sad silence is one of the best and most difficult of Lata Mangeshkar’s. It was penned by Rajinder Krishan and composed in Raag Ramdasi Malhar by Madan Mohan. Indeed, Minoo Mumtaz perfected this role. In another movie, the 1961 movie Chhote Nawab, she has Mehmood visiting her as a courtesan rather than being with his beloved, Ameeta. Her song, in that case, expressed Ameeta’s feelings: Ghar aaja ghir aaye badra saanwariya, composed by RD Burman in Raag Malgunji, his first with Lata Mangeshkar.
Anyway, please enjoy the Jahan Ara song:
Song #9 Raina beeti jaaye Shaam na aaye
What about hero falling in love with the courtesan? Once again, there are hundreds of songs in this sub-theme. But, there is none to beat Shakti Samanta’s 1972 movie Amar Prem. It called it as Eternal Love the relationship between Sharmila Tagore as courtesan and Rajesh Khanna as a kind hearted drunkard Anand who is used to visiting kothas. He, in a song tries to question the double standards of the society by comparing her to goddess Sita: “Hamne unako bhi chhup chhup ke aate dekha inhin galiyon mein.”
His first encounter with her is this song by Lata Mangeshkar singing for Sharmila Tagore in Raag Todi. This, too, has been listed under the most difficult songs of Lata Mangeshkar:
Song #10 Chalte chalte yunhi koi mil gaya tha
Now, in the end, lets turn to two movies that were made on the lives of two courtesans; ie, these didn’t have courtesans as breaks in between but as the whole movie.
The first one is the 1972 Kamal Amrohi movie Pakeezah (The Pure One or The Chaste One). Kamal Amrohi wanted to make a movie as a dedication to his wife, Meena Kumari. The movie was the longest in the making Hindi movie that was completed in 15 years. During this period, Ghulam Mohammad, the original music director of the movie died and some of the movie and its songs were then completed by Naushad Ali.
Nargis (Meena Kumari) is a courtesan of Lucknow. She dreams of marrying Shahbuddin (Ashok Kumar), but, it is opposed by Shahbuddin’s father on the grounds that his son cannot marry a tawaif (courtesan). She gives birth to a daughter and dies. This girl grows up into another tawaif (courtesan) Sahibjaan (also played by Meena Kumari). In a train journey, Raj Kumar as Salim Ahmed Khan sees her naked feet and falls in love with her. In the end of the movie, Shahbuddin accepts her as his daughter and she and Salim are happily married.
This song was penned by Kaifi Azmi, composed by Ghalam Ahmad and sung by Lata Mangeshkar. It has reference to Meena Kumari and Raaj Kumar’s encounter in the train:
Song #11 Dil cheez kya hai aap meri jaan leejiye
Finally, lets turn to the 1981 Muzaffar Ali movie Umrao Jaan in which the actress Rekha excelled to such an extent that she won both the National and Filmfare awards. Indeed, her portrayal of the courtesan Amiran in the movie is quoted as the most impressive performance by an actress in such a role.
In the year 1840 Amiran was kidnapped from her home in Faizabad (UP) and is sold into a kotha in Lucknow. She emerges as an extraordinary poet and courtesan. The movie is about all her poetry performed by her as songs.
The very first one is this: Dil cheez kya hai aap meri jaan leejiye. It was penned by Shahryar, composed by Khayyam and sung, for a change, by Asha Bhosle. Khayyam, too, won both the awards. Asha Bhosle, for this song, won the National Award:
Hindi movies’ makers obsessions with courtesans is unlikely to die in a hurry. Heroines, even today, are keen to do such roles.
In addition, thanks to Sunny Leone’s efforts in popularising pornography in India, it is unlikely that the one of its kind projection of Indian woman as Mother India would register with the West. As projected in Hindi movies, the courtesans and the golden hearted prostitutes are the ones that are the representative image of the Indian woman.
Just like J Om Prakash made many his movies’ titles starting with the letter ‘A’, Chetan Anand made many movies starting with the letter ‘H’: Haqeeqat made after the 1962 Indo China War was the first with the letter ‘H’. It ws followed by Heer Ranjha, Hanste Zakhm, and then Hindustan Ki Kasam. The last one is the 1973 movie from where I have taken this song. The movie depicts the role of Indian Air Force in the 1971 Indo Pak War, in the Western Sector.
the lyricist Majrooh Sultanpuri take permission from Faiz Ahmad Faiz to use this line from Faiz’s nazm Mujhse pehli si mohabbat mere mehboob na maang made immortal by the singer Noorjehan.
This is from the 1973 Chetan Anand movie Hanste Zakhm starring Naveen Nischol and Chetan Anand’s favourite heroine Priya Rajvansh.
(ghazals) of Madan Mohan. These were on the lyrics of Rajinder Krishan. Indeed, the success of this movie was largely due to these songs. Mala Sinha in the title role nearly got the Filmfare Award. She enacted emperor Shahjahan’s daughter through his most beloved of four wives: Mumtaz, in whose memory he erected one of the seven Wonders of the World: the Taj Mahal.
This is from the 1964 Mohan Kumar movie Aap Ki Parchhaiyan starring Dharmendra and Supriya Choudhury.
Hemant, Tal Punjabi Theka (Sitarkhani) for the 1972 Hrishikesh Mukherjee movie Bawarchi with superstar Rajesh Khanna in the title role.
