Listening to: Talash (1969)

Help! Something is seriously wrong with me! My brain has been gobbled up by aliens! I watched Talash last week and although the movie stars Rajendra Kumar for whom I cannot find one complimentary adjective, although the comedy track, which is not in the least comic, seems to have more screen time than the main story, although the story stretched my credulity to its limits, I was riveted by it! I need Help (capital intended)!

Demand On Credulity(DOC) 1: So there is this young man Raju, just out of college, played by Rajendra Kumar who is all of 40 years old in real life! DOC2: His bosom pal and class mate is played by O.P.Ralhan, who is only a few years older at 45! Raju’s stated ambition in life is not just to be rich, but super rich. He takes up a clerical job in Ranjit Rai’s (Balraj Sahni) business and after some hiccups, impresses his boss.

DOC3: On a holiday in…now where was this? I’ve lost my notes..let’s call it a hill station, he is mistaken for a prince. And from where does he get his princely garments pray? This prince thread is quite superfluous to the story, just an add-on to enhance sex-appeal of a star with very little sex-appeal. He meets a village girl Gauri (Sharmila Tagore, who is a nubile young this and an age appropriate 23 years old in real life) with whom he falls in love and thankfully for us, sings some nice songs with. He promises to come back on a particular festival day and marry her. She says if he doesn’t come she will kill herself.  Any sensible person would have been put off  by this statement, googling ‘self destructive psychosis’ to find out what’s wrong with her and how fast he can run away from her, but not our hero. Sounds risky then to leave it until the last day then, wouldn’t you think? And yet, DOC4: we will see that the hero will make no allowances  for transport issues, bad weather, villains and such but leave it all until the very last moment!!

Back at work, he gets invited to a party at his Boss’s home to celebrate the return of his only daughter, Madhu, from abroad. Sharmila and her dimple look delightful in spite of weird hairdos. DOC5: Though she is a dead ringer for Gauri, Raju though confused does not recognize her! But of course, she is none but Gauri. To test his love, she sends out lures (tut-tut!) and is upset when he succumbs finally. Surely this is entrapment? DOC6: Worse still, she gets her father to offer unbelievable amounts of money to lure him to marry Madhu and poor Balraj Sahni has to use his not-to-be-sniffed-at histrionic skills for a most inappropriate action. The ending is obvious enough. DOC7: When Raju realises what Gauri/Madhu has been about, he laughs aloud instead of strangling her!!

O.P.Ralhan, who is both the writer and director of the film, gives himself a most undeserved, meaty role as the sidekick. This secondary plot has more drama than even the main one! Helen has a nice role and the supporting cast do a decent enough job.

Now that I have revealed all, you would think that I sat through it with a supercilious air, sniffing my nose at the odd goings on. Not so. I was riveted to the screen and at times even abandoned my ironing so I could pay better attention to the dialogue!! I have no explanation. It must be the brain-slurping aliens. That’s what it is. And the music by S.D.Burman with lyrics by Majrooh Sultanpuri. You will notice that I have given a big smile to all songs except one! Here are the tracks:

• Meri Duniya Hai Ma – S.D.Burman. I have a great liking for songs sung by S.D. and this is no exception. He has an ethnic and plaintive note to his voice which I love. But honestly, this absurd ‘ma’ devotion! I am a mum and I love my mum too and we are a super-species, absolutely. But this level of dripping sentimentality? Yikes!  And surely its a bit too much for a 40 year-old Rajendra Kumar pretending to be 20 something to say ‘My life is in your aanchal’ to his mum, played by Sulochana who is – hold your breath – only 1 year older to him in real life! But what a song! 
• Kar Le Pyar – Asha Bhonsle. This is Asha singing for Helen’s cabaret number and the combination is fantastic! Who but Asha can flutter down the scale saying ‘haseen’ just so? Asha and Helen at their best. Nice 60’s club-style instrumentals.
• Palkon Ke Peeche – Mohammad Rafi, Lata Mangeshkar. Very unique composition, with rather a staccato feel to it, unusual for Indian music.  Nice sitar & flute interludes. Very well sung.
• Aaj Ko Junli Raat – Mohammad Rafi, Lata Mangeshkar. A memorable duet. I felt though that the sound was a bit sad, not suitable for the celebratory feel that the occasion warranted. It also struck me on seeing poor Rajendra Kumar make his moves that its not often that yesteryear heroes had to actually dance, not just strike poses and look admiringly at the wriggling heroines.
• Tere Naina Talash – Manna Dey. Excellent song. Manna Dey is the king of this genre. S.D. has outdone himself with this song based on Raag Chayanat.
• Khai Hai Re Hamne Kasam – Lata Mangeshkar. S.D. has incorporated some nice folk-sensibilities into this slow and gentle song. Lata’s voice is velveteen.
• Kitni Akeli – Lata Mangeshkar. Another very melodious solo by Lata. The very simplicity of the song is its strong appeal.
• Mera Kya Sanam – Asha Bhonsle, Mahendra Kapoor. Even an album as good as this one needs a black-spot, kahin nazar na lag jaye. This is my least favourite and yet its not too bad.

To listen to the whole album, click here.

My choice for the day is the title song by Manna Dey.

And to admire Asha’s expertise in this genre and Helen’s shaking of her tail feathers, here is Kar Le Pyar by Asha Bhonsle.

Listening to: Phir Wohi Dil Laya Hoon (1963)

I admit I am amazed! This film was a super hit? Whatever were audiences thinking of? Granted, the music is excellent. But if an insipid film like this with a lacklustre script, unlikeable characters and pedestrian performances became a hit, I can only shake my head in disbelief!

Like all masala films of the ‘60s, this Nasir Hussain film gives low importance to the very predictable script. But normally there are at least some characters one likes in masala films but not in this one. Here are the players – would you like them?

The Mother (Veena): After a marital separation, Mohan’s mother  abducts her son (!) and brings him up on her own in Kashmir. Even when the opportunity arises when he is a grown boy, she denies him the right (!) to make himself known to his father.

The Father (Krishan Dhawan): After losing his wife and son, he brings up the orphaned daughter of a friend. He arranges her marriage sight-unseen (!)  with an idiotic young man and is not deterred even on seeing his antics !! And this is the daughter he loves! He is also arrogant. When he is fooled into thinking that he has found his long lost son, he manipulates / emotionally blackmails (!) his daughter into agreeing to marry him – even though the said son is unstable and suicidal! All for what? ‘Mera Khoon’ which, let’s admit, is not looking that good now!

The Hero (Joy Mukherjee) : On discovering his father’s foster daughter’s engagement, he sets to breaking it up (with no facts other than a newspaper article) by romancing the heroine with lies (!). Joy Mukherjee has the acting ability and the personality of a well-kneeded lump of dough – actually the dough may come out looking better! When found out, he still doesn’t come clean with the lady, resorting to stalking (!) (a BAD thing, you young men out there). And she still falls for him!!

The Heroine (Asha Parekh) : When she is forced into an engagement with an idiotic young man, she joins her friend in playing very unkind pranks on him. Other than that, she is quite spineless (!), has questionable taste (she falls for Joy!) and gives in to dumping him for her foster father’s pretend-imbecilic son. She is much too often seen in pants, which doesn’t suit her one bit. She looks quite lovely in a plain white Salwar Kameez in a dance practice scene.

The Comedy Track (Rajendranath) : The comedy track is much too long and very very unkind. Not to my taste.

The Villain (Pran) : Normally an excellent actor, he disappoints in this film. His portrayal of a depressive and suicidal young man is accompanied by constant nail-biting and shifty eyes – makes him look like an imbecile!

When you hear the music though, you’ll know why this film was a hit. A wonderful album by O.P.Nayyar with lyrics by Majrooh Sultanpuri, it has a number of lovely songs.

• Dekho Bijli Dole Bin Badal – Asha Bhonsle, Usha Mangeshkar. Lovely song, set to the beautiful raga Basant Mukhari. On screen, there is a good dance sequence – a competition between Asha and another dancer. They both perform very well.
• Lakhon Hai Nigah Mein – Mohammad Rafi. A quintessentially Rafi number, he is in very good voice.  A well loved song which linger’s in the memory of fans all these years. Its a pleasure also to see the pre-terrorism innocence of Kashmir.
• Aji Kibla Mohatarma – Mohammad Rafi. A so-so melody but was a popular enough song in its time.
• Aanchal Mein Saja Lena – Mohammad Rafi. Rafi is in fine form again in this lovely song. The lyrics are worth paying attention to.
  रस्ता जो मिले अंजान कोई, आ जाए अगर तूफ़ान कोई
  अपने को अकेला जान के तुम,  आँखों में न आंसू भर लेना
  ऐसे ही कभी जब शाम ढले,  तब याद हमें भी कर लेना
• Aankhon Se Jo Utri – Asha Bhonsle. A beautiful solo by Asha; O.P has given a sensational melody. Asha scales the octaves with amazing ease. Lyrics are pleasing as well.
• Hamdam Mere – Mohammad Rafi, Asha Bhonsle. The different parts of the song such as the refrain, the verse, the clapping-interlude etc though pleasing on their own, did not gel together well. It seemed as if they all belonged to different songs!
• Banda Parwar Tham Lo Jigar – Mohammad Rafi. This cheerful title song is very well sung by Rafi. I always have a weakness for ghoda-gadi songs with the nice clip-clop of hooves!! The lyrics are very good, especially the second stanza :
  मेरी निगाह-ए-शौक़ से यार कहाँ जाओगे
  पाँव जहाँ रख दोगे अदा से दिल को वहीं पाओगे
  रहूँ जुदा ये मजाल कहाँ, जाऊँ कहीं ये ख़याल कहाँ
  बन्दा दिलदार का, नज़राना प्यार का, फिर वही दिल लाया हूँ 
• Mujhe Pyar Mein – Asha Bhonsle. A sad song sung reasonably well but did not catch my attention, perhaps because I was out of patience with the characters!

To listen to the whole album, click here.

My choice for today is Lakhon Hai Nigah Mein to listen to Rafi at his peak.

I also present Ankhon Se Jo Utri to enjoy Asha’s beautiful singing to O.P.Nayyar’s lovely little melody.

Listening to: Kala Pani (1958)

My today’s movie selection is in honour of Dev Anand, who passed away this week. Though I was never fond of his films, I respect anybody who has lasted so long in the cut-throat business that Bollywood is.

The last time I saw Dev on the big screen was in 1978, when I went to see Des Pardes. I was a teenager and I found the thought of a the 55 year old thespian romancing the young Tina Munim very objectionable. I walked out after 30 mins of the film.  Subsequently, I have never been able to see his films without a rather bad taste in my mouth. And also, I absolutely disliked his mannerisms.

Kala Pani was therefore a wonderful surprise! He is young (35) and handsome and thankfully makes minimal use of the mannerisms which annoy me.  The movie starts with Dev discovering that the father he thought was dead was in fact serving a life-sentence for murder. He meets is father, is convinced that he is innocent and decides to find the true killer and clear his father’s name. The beautiful Madhubala is the owner of the guest house where he stays and the gentle take-off of the romance is very convincing -there is neither stalking, nor over-ardent behaviour! Nalini Jayawant is a tawaif, a dancing-girl, who has proof of the real killer. The two ladies look beautiful and add a feminine touch to this semi-dark crime story. In spite of some loose bits (for example, confrontation with the lawyer at gunpoint, the speech making in the court), the script is good, the editing brisk, the black-and-white cinematography is quite beautiful, music is melodious and performances are very good indeed, especially by Dev Anand and Nalini Jayawant. A very stylistic film; a recommended watch. 

The music by S.D.Burman is very melodious and Majrooh Sultanpuri provides some memorable lines. I must bring your attention to the background score as well; it is especially beautiful. Listen to the music when Dev is in the newspaper office, quite lovely.

• Najar Lagi Raja – Asha Bhonsle. A very good Mujra song, Nalini Jayawant adds to the allure of the song with her own beauty. I love the sound of Ghungroo integrated into the music.
• Hum Bekhudi Mein – Mohammad Rafi. SD has produced a masterpiece. Rafi displays a mastery which leaves me in awe! What an interesting mood the song creates! Its not sad, but rather reflective and accepting of lost loves and lost chances.
• Dil Lagake Kadar Gayee – Asha Bhonsle. Another Mujra song but this didn’t please me as much.
• Jab Naam E Mohabbat – Asha Bhonsle. SD has tried a new concept, mixing traditional poetry delivery style of singing with ‘modern’ bits interspersed.  I liked the traditional part which reminded me strongly of the later (1963) song ‘Ham Tere Pyar Mein Sara Alam’ with music by Shankar Jaikishen. But the mix of the two styles, I found very jarring.
• Acchaji Mein Hari Chalo – Asha Bhonsle, Mohammad Rafi. When it comes to expressing emotions with her voice, Asha is just incredible. Listen to her say मान जाओ ना – the modulations in her voice!! Oh!! Add to it Madhubala’s superbly expressive face and you have a winner. The heart is for Asha’s voice. 
• Dilwale Ab Teri Gali – Asha Bhonsle, Mohammad Rafi. A banjara song, quite good.

To listen to the whole album, click here.

My pick for today is Rafi’s Hum Bekhudi Mein, a most well-known and well-loved of songs. Enjoy!

 

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Footnote (Lyrics) :

Set to Raga Chhayanat

हम बेखुदी में तुमको पुकारे चले गये
साग़र में ज़िन्दगी को उतारे चले गये (हम)

देखा किये तुम्हें, हम बनके दीवाना
उतरा जो नशा तो, हमने ये जाना
सारे वो ज़िन्दगी के सहारे चले गये (हम)

तुम तो ना कहो हम, खुद ही से खेले
डूबे नहीं हम ही यूँ, नशे में अकेले
शीशे में आपको भी उतारे चले गये (हम)

Listening to: Paying Guest (1957)

My feelings after seeing this film is ranging between frustration and anger. The music was the draw when I sat down to see it, but surely I had the right to expect some entertainment from the story as well?

In the earlier part of the film there is a debate between Nutan and Shubha Khote, ‘Is love or money  more important in a relationship/marriage?’ I thought then that perhaps that was the theme of the film. Unfortunately the movie did not settle down to any sane theme.

We have Dev who is a lawyer but with no income who comes to live as a paying guest in Nutan’s home. I disliked the character immediately. A ‘hero’ in films of yesteryears got away with a multitude of sins – in this case, criminal fraud (he misrepresents himself, doesn’t pay his dues), molestation (he grabs Nutan’s hand, stalks her on the road), breaking and entering (he enters Nutan’s room without permission), cheating (he pretends to be grievously hurt to win Nutan’s hand), tackiness (his reaction to a cat fight), questionable judgement (goes out to clubs and gets drunk with a married woman) – just to name a few. Tell me again, why is he a ‘hero’ ? I do not like Dev Anand and this film didn’t make me change my mind. 

Nutan on the other hand is quietly brilliant. I am more and more in sympathy with fellow-blogger and Nutan worshipper Yves from Let’s Talk About Bollywood. The industry has more than its share of beauties but Nutan quietly outshines them all. I much prefer her style of warm beauty than the perfect but cold touch-me-not look of some beauty queens. When Nutan smiles, her eyes, her face, why even her hair light up! And what an actress! She makes even ridiculous lines seem good and in an effortless and natural manner. She lip-synchs better than any actress I have seen and carries herself with grace. And truly, she radiates a goodness of heart which permeates all the roles she plays. Even in this poor film, she delivers her part with élan.

The first part of the movie is about Dev ensnaring Nutan. They enjoy a bit of a romance. Maybe it was just the chase for him? For he soon gets distracted by Shubha Khote who, after having found a rich husband she wanted, is now realising that she wants romance after all. There is Nutan’s evil brother-in-law who gets mixed up in this business. Shobha’s rich husband is killed and then the evil brother-in-law for whose death Nutan goes to court. It is upto our hero, who we have so far thought to be a good-for-nothing lawyer suddenly develops brilliant court room tactics and rescues the damsel in distress. PSHAW!!

The music by S.D.Burman is  brilliant and Majrooh Sultanpuri’s lyrics are excellent.

• Mana Janab Ne Pukara Nahin – Kishore Kumar. Lovely ‘stalking’ song. Thank you S.D for a lovely melody – especially like the बंदगी तो दीजिये जनाब  part of the verse. Kishore sounds very good.
• Chod Do Aanchal – Kishore Kumar and Asha Bhonsle. This is a superb example of the fun-conversational-duets that Hindi film music fans have enjoyed over the years. There is an inherent rhythm in the words which is very attractive. Kishore and Asha are outstanding! Asha emotes especially well and her voice is liquid gold…
• O Nigahen Mastana – Kishore Kumar and Asha Bhonsle. Nice song but not very original. It reminds me of many other similar ones.
• Chupke Chupke – Lata Mangeshkar. Not very appealing.
• Hai Hai Yeh Nigahen – Kishore Kumar. The ubiquitous club song, for a change in a male voice. Kishore does a good enough version but I am not charmed.
• Chand Phir Niklaa  – Lata Mangeshkar. Lata shows why she ruled the Hindi film music world for so long. Wonderful melody, lovely mood, great instrumentals and good lyrics.

You can listen to the whole album here.

As I cannot decide between my two favourites, one a happy song and another a sad one, I present you both.

Chod do Aanchal

Chand Phir Niklaa

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Lyrics : Chod Do Anchal

छोड़ दो आँचल ज़माना क्या कहेगा
इन अदाओं का ज़माना भी है दीवाना
दीवाना क्या कहेगा

मैं चली अब खूब छेड़ो प्यार के अफ़साने
कुछ मौसम है दीवाना कुछ तुम भी हो दीवाने
ज़रा सुनना जान-ए-तमन्ना
इतना तो सोचिये मौसम सुहाना क्या कहेगा

यूँ  न देखो जाग जाए प्यार की अंगडाई
ये रस्ता ये तन्हाई लो दिल ने ठोकर खाई
यहीं दिन हैं मस्ती के सिन  हैं
किसको ये होश है अपना बेगाना क्या कहेगा 

ये बहारें ये फुवारें ये बरसता सावन
थर थर काँपे हैं तन मन मेरी बैंयां धर लो साजन
अजी आना दिल में समाना
इक दिल इक जान हैं हम तुम ज़माना क्या कहेगा 

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Lyrics: Chand Phir Niklaa (Raga Shuddha Kalyan)

चाँद फिर निकला मगर तुम न आये
जला फिर मेरा दिल करूँ क्या मैं हाय

ये रात कहती है कि वोह दिन गए तेरे
यह जानता है दिल कि तुम नहीं मेरे
खड़ी हूँ मैं फिर भी निगाहें बिछाये
मैं क्या करूँ हाय कि तुम याद आये

सुलगते सीने से धुंआ सा उठता है
लो अब चले आओ कि दम घुटता है
जला गए तन को बहारों के साए
मैं क्या करूँ हाय कि तुम याद आये

Listening to Chalti Ka Naam Gaadi

What a hoot this film from 1958  is!! During my last trip to India, I picked up a DVD  for a princely sum of $2 – an official copy too! A very well spent $2, if I may say so. I really enjoyed revisiting it with my husband a couple of weeks back.

I’ll recommend however that you pack up your left brain and leave it safely in cold storage while you watch this film, that will make your experience ever more pleasurable. You will then not wonder why Ashok Kumar’s ex can so easily escape to call for help at the end of the movie but couldn’t for, what was it, 10 years? Or why Madhubala doesn’t just tell her dad that this fellow whom he introduces to her is not quite the thing?

But let us pass all that because the film is truly rib tickling!  I haven’t yet seen the follow-on film called Badthi Ka Naam Daadi (the title is intriguingly hairy, to say the least!). The character development for each of the three brothers has been done very well, creating three distinct and interesting personas. I am a Madhubala fan and she is winsome as ever; charming even in men’s clothes when she goes a-adventuring with Kishore! What a charmer! कभी कुछ कहती है,  कभी कुछ कहती है, ज़रा नज़र को संभालना  How apt for a girl whose eyes, her whole face speaks volumes! On that topic, Kishore Kumar has done a fantastic job and his face is equally expressive. I am not sure why he was not more respected as an actor.  I am happy to strongly recommend this film to anyone who wants to cheer themselves up!

The music is pure fun and has a can’t-get-it-off-my-mind quality which helped make it a hit. But more than that, it shows off Kishore’s genius for comic singing, if there is a category such as that. Who can forget him yodelling his demand for पांच रुपैया बारा आना ? Or him strutting to हम थे वोह थीं और समाँ रंगीन समझ गये ना .  S.D.Burman’s music is fantastic. The lyrics by Majrooh Sultanpuri are very good too. I can never forget Anoop Kumar going ओ मन्नू तेरा हुआ अब मेरा क्या होगा  –  that will get a smile out of anyone!

Check out these great songs :

• Babu Samjho Ishare – Kishore Kumar.  Title song, catchy as it should be.
• Ek ladki bheegi bhaagi si – Kishore Kumar. Excellent is the only word for it.
• Haal Kaisa Hai Janaab Ka – Kishore Kumar, Asha Bhonsle. Kishore is out of the world. Asha purrs like a satisfied kitten. Superb. Unforgettable.
• Hum the woh thi – Kishore Kumar.  Interesting, very different composition by SD Burman, with Kishore jumping from scale to scale in effortless ease. A showcase for Kishore’s talent. And he is not a bad dancer either!
• Main Sitaron Ka Tarana – Asha Bhonsle, Kishore Kumar. Very good, will get a smile out of you for sure!
• In haathon se sab ki gaadi – Kishore Kumar. Didn’t make an impression.
• Hum tumhare hain – Asha Bhonsle, Sudha Malhotra. A lovely song for the talented Helen and Cuckoo to do their dance number.
• Ruk jaao na ji – Asha Bhonsle. Ordinary. But Madhubala is great. 

You can find the whole album here. I am going to indulge myself and present two songs to you. The first for the superb singing by Kishore and Asha and the visual delight of the supreme Madhubala. I can’t take my eyes off her face!!! Just listen to Asha’s teasing voice at 3:35, what a singer!

And the song below to showcase Kishore’s mad genius.

Listening to: Aar Paar (1954)

  

  

Music : O.P.Nayyar

Lyrics : Majrooh Sultanpuri

It seems to me that the music of Aar Paar was written to showcase Geeta Dutt’s sultry voice. There are three duets but no male solos at all. I offer my two bits on the songs as listed on Music India Online . The order does not follow the one in the film.

• Shamshad Begum sings Kabhi Aar Kabhi Paar, the title song, a light hearted and melodious track. Listen to the lyrics, they are very well written. The song is delightful, both playful and wistful at the same time.
• Hoon Abhi Jawan, by Geeta Dutt, has great instrumentals at the start with an Arabic sound. But the rest of the song doesn’t make an impression on me. 
• Sun Sun Sun Zalima is a hummable duet by Geeta and Mohammad Rafi. Geeta’s voice is perfect for the ada needed and Rafi sounds very good. Ok song. 
• Ja Ja Ja Ja Bewafa is a slow, sad and melodious song  by Geeta.  It has a gentle appeal but does it have longevity in our memories? I think not. 
• Geeta croons Babuji Dheere Chalna, a  smoky and sensuous number. The action is set in a nightclub, and the song is perfect for that, as it is for Geeta’s voice. 
• Ye Lo Main Hari Piya is another great song, the melody of which sticks easily in one’s mind. Geeta Dutt performs beautifully as usual.
• The duet Mohabbat Kar Lo Ji Bhar lo by Mohammad Rafi and Geeta Dutt does not appeal to me. Very pedestrian, in my opinion.
• Na Na Na Na Tauba, a duet by Geeta Dutt and Rafi is picturised on Johnny Walker; it’s a comical number. Rafi is excellent in mimicking Johnny’s style but I still don’t like this song.

Do you already have a favourite track? Vote below :

With three good tracks and a couple of ok ones, this album is worth a listen (or re-listen). I present my favourite song here. Check out the talented kids !

Kabhi Aar Kabhie Paar–Shamshad Begum