Listening to: Mere Mehboob (1963)

For those of my regular readers who are wondering where I had disappeared to, I was blogged-out (new adverb: to be blogged-out, to be exhausted from blogging too much) after a marathon effort in organising my photos and writing up my recent trip to Spain. If you enjoy travelling and would like to read my photo-journal, click here.

In need of old, familiar and well-loved music, I picked up Mere Mehboob to watch for my post today. No self-respecting blog on Indian Film Music can ever ignore such an iconic album. Fifty years have passed but the charm of this music has not faded. How Naushad has waved his magic wand!

Muslim socials are a genre which were quite popular in the sixties. The settings talk of another place and time – women in purdah, the lives of nawabs, the splendour of their homes and most of all the beauty of Urdu.

Anwar is a young man at university, a poet. He falls in love with a glimpse of a fellow student behind her burqa. This is love at first sight at its minimalist best! As I watch the lead pair in their throes of love, I say to myself ‘Ah yes, a glimpse of pretty eyes, a touch of a hand are enough to decide who your mate is for life, the father/mother of your children. HA! Fools!!’ and then scold myself for getting old and losing the romance in my soul. Husna at least knows more of her man; she not only sees him but also has read his poetry. His poetry being that of Shakeel Badayuni, I can sympathise with her for falling in love, for who can resist such words? When they go back to their respective homes from university, they are resigned to not meeting each other again.

Chance or fate brings them into each other’s lives again. Anwar is asked by Husna’s brother, the Nawab, to help her with her poetry. The pair finally get to know each other and their love is strengthened.

But there are secrets and undercurrents which will bring disaster upon their lives. Anwar’s sister Najma had had to take up a life of public singing and dancing to support her brother; as a Muslim woman she is forever disgraced in decent company. The Nawab  happens to love her but can never marry her because she is a fallen woman.  And as to the Nawab’s respectability, even that may come crashing down for he has inherited huge debts which, if called, will break him. Naseemara, Husna’s friend, is also in love with Anwar – another love at first sight! The evil Munne Raja, catches a glimpse of Najma and wants to immediately marry her – and is prepared to use any means to achieve it. It all comes to a head about 2 hrs into the film and with some drama and some melodrama, our loving pair come together.

On the whole a simple enough story from more innocent times when the height of romance was holding hands and gazing into each other’s eyes and the height of villainy was when an evil man wants to wed the heroine. These stories of those gentler times suit me much better than the cynicism and blatant sexuality of today’s films.

The mark of a good film is that all actors, small and big, do their parts well and add to the strength of the film. I am not a fan of Sadhna or Rajendra Kumar but both of them are very convincing in the lead; in fact, I am wondering if I have been unfairly biased so far. Ashok Kumar as the Nawab is impeccable, and Pran as Munne Raja is nicely slimy. Nimmi as Najma I found quite annoying but then Nimmi always annoys me! Ameeta as Naseemara is fine at the start but rather artificial in a crucial scene in the climax. She gets to say some really good lines – फिर तो अपने मोहब्बत को अरमानों के कफ़न में लपेट कर यहीं दफ़न कर दो | and towards the end मोहब्बत इबादत है | इबादत की जाती है, न बेची जाती है न खरीदी जाती है | Johnny Walker as Binda Din Ghayal has a lot of screen time in the first half of the film; sometimes the comedy is too farcical but it is not too bad.

The music is the true winner in this film. This is a gem of an album from the genius of Naushad with Shakeel Badayuni weaving incredibly beautiful words to match.

• Mere Mehboob Tujhe – Mohammad Rafi. An unforgettable song. The lyrics are the epitome of romantic poetry (see footnote), the melody has the grace typical of Naushad’s music and it is performed by Rafi with an effortlessness that comes with mastery. Very rarely do we hear music of this calibre. To be savoured forever. 
• Tere Pyar Mein Dildar – Lata Mangeshkar.  A lovely solo, with an innocent love expressed in beautiful poetry.  तेरा मेरा साथ हो कुछ दिल से दिल की बात हो जी भर से मुलाकात हो | ‘That we should be together, that we should talk heart-to-heart, that we should meet to heart’s content’. What more could be simpler? What could be more romantic?  
• Allah Bachaye – Lata Mangeshkar. Brings a smile to one’s lips.
• Mere Mehboob Tujhe– Lata Mangeshkar. I do like Rafi’s version better but it doesn’t take away the credit from Lata’s beautiful singing.
• Ae Husn Zara Jaag – Mohammad Rafi. I do object to actors pretending to play the piano without making the slightest effort to get it right! The song however is quite lovely, slow and seductive.
• Tum Se izhare-haal Kar Baithe – Mohammad Rafi. Aaah. Romance melted and infused into a song!! There is such happiness in this song, a joy from a romance fulfilled. And how clever are the lyrics! सोचे समझे बगैर कातिल से ज़िन्दगी का सवाल कर बैठे says the poet beautifully expressing the conundrum of love, where you give your heart in the safekeeping of the one against whom you are most vulnerable. 
• Mere Mehboob Mein Kya Nahin – Lata Mangeshkar and Asha Bhonsle. A lovely duet by the Mangeshkar sisters, both in fine form. The teasingly competitive lyrics and exceptional music by Naushad, this is a true gem. Sadhna and Ameeta are pretty dancing.
• Jane Man Ik Nazar Dekh Le  – Lata Mangeshkar, Asha Bhonsle. A lovely little marriage song.
• Yaad Mein Teri Jaag Jaag Ke Hum – Mohammad Rafi, Lata Mangeshkar. This fantastic sad-duet suffers from bad placement in the movie; it is too near to the climax and feels abrupt. Otherwise the song is exceptionally beautiful and very well sung.   

This album is an all-time great; click here to listen.

I have no choice but to present the timeless title song for nothing can match the beauty of the poetry. 50 years old and still the song has the power to melt hearts.

And for the glorious singing by the Mangeshkar sisters, the exuberance of the melody, the exaggeration of the lyrics and the qawwali like clapping rhythms, listen to Mere Mehboob Mein Kya Nahin. 

 

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Lyrics :

mere mehboob tujhe meri muhabbat ki kasam
phir mujhe nargisee aankhon ka sahaara de de
mera khoya huaa rangeen nazara de de (mere mehboob tujhe)

aye mere khwaab ki taabeer meri jaan-e-ghazal
zindagi meri tujhe yaad kiye jaati hai
raat din mujhko sataata hai tassawwur tera
dil ki dhadkan tujhe awaaz diye jaati hai
aa mujhe apni sadaaon ka sahaara de de
mera khoya huaa rangeen nazara de de (mere mehboob tujhe)

bhool sakti nahin aankhen woh suhaana manzar
jab tera husn mere ishq se takraaya thha
aur phir raah mein bikhre thhey hazaaron naghme
main woh naghme teri aawaaz ko de aaya thha
saaz e dil ko unhee geeton ka sahaara de de
mera khoya huaa rangeen nazaara de de (mere mehboob tujhe)

yaad hai mujh ko meri umr ki pehli woh ghadi
teri aankhon se koi jaam piya thha maine
meri rag rag mein koi barq si lehraayee thhi
jab tere marmari haathon ko chhuaa thha maine
aa mujhe phir unhi haathon ka sahaara de de
mera khoya huaa rangeen nazaara de de (mere mehboob tujhe)

maine ik baar teri ek jhalak dekhi hai
meri hasrat hai ke main phir tera deedaar karoon
tere saaye ko samajhkar main haseen taj mahal
chaandni raat mein nazron se tujhe pyaar karoon
apni mehki huyi zulphon ka sahaara de de
mera khoya huaa rangeen nazaara de de (mere mehboob tujhe)

dhoondhta hoon tujhe har raah mein har mehfil mein
thhak gaye hain meri majboor tamanna ke kadam
aaj ka din meri ummeed ka hai aakhri din
kal na jaane main kahaan aur kahaan tu ho sanam
do ghadi apni nigaahon ka sahaara de de
mera khoya huaa rangeen nazaara de de (mere mehboob tujhe)

saamne aake zara parda uthha de rukh se
ek yahi mera ilaaj e gham e tanhaayee hai
teri furkat ne pareshaan kiya hai mujh ko
ab to mil ja ke meri jaan pe ban aayee hai
dil ko bhooli hui yaadon ka sahaara de de
mera khoya huaa rangeen nazaara de de (mere mehboob tujhe)

Listening to: Aadmi (1968)

Remembering the glorious music of this film, I picked this from my long list of to-watch films. On reading the synopsis, I didn’t have much expectation but no matter. For me, the story is just the space between songs!

The theme of the film is reflected by the protagonist saying at the end of the film ‘मैंने भी इक भूल की थी | और अनगिनत आंसू बहा के यह जाना कि ग़लती करने वाला आदमी होता है और पछताने वाला इंसान |’  The first half was quite enjoyable. The unbelievable plot twists and melodrama of the second half bored and frustrated me but still, it wasn’t too bad on the whole.

The story is about Rajesh (Raja Saheb), a wealthy young (introduced as Naujawan)  man  played by a 46 year old Dilip Kumar!! By his own words, he needs to win at everything and has a greed for all that his mind wants.  In a childhood incident he kills his friend over a doll (a doll? young boys? !!!). This haunts him and leaves him mentally instable yet there is much that is honourable about him.  Dilip Kumar is very good at portraying deeply conflicted characters such as this one, but I appreciated his effortless and natural style more in the simple scenes, like the one in which his friend Shekhar talks to him of his lost love.

Shekhar is a young doctor played by a 31 year old Manoj Kumar. He is a friend but his obligation to Rajesh seems to take precedence over friendship. I am not much of a Manoj Kumar fan but he was decent enough. His struggles in emotional scenes is a bit pitiable to watch. His misfortune is to be up against the smooth strength of Dilip Kumar’s acting.

The triangle is completed by Meena played by a 32 year old Waheeda Rehman. I have always admired this beautiful actress and she delivers a quiet and dignified performance.  A class act.

Shekhar and Meena love each other secretly but circumstances lead to Meena being engaged to Rajesh.  An accident leaves him disabled. When Rajesh’s suspicions rear-up, the negative side of his personality takes hold. How will everything be resolved? Who will get the girl?

Able support is provided by an excellent Pran as Mayadas, who is conniving to ‘catch’ Raja Saheb for his daughter Aarti, an elegant but very bland Simi. Sulochana does well as the normal filmi weeping mother. Padma Chavan as Meena’s sister and Agha as Prem, her love interest, provide a small side story and a bit of comedy.

It is the music by Naushad which is the real strength of this film. It is quite glorious! Shakeel Badayuni pens the words which are equally good.

• Kari Badariya – Lata Mangeshkar. How lovely Lata sounds! A lilting song with immediate appeal, Lata does it full justice.
• Kal Ke Sapne – Lata Mangeshkar. A song which enjoyed a lot of popularity, it is very appealing.
• Kaisi Haseen Aaj – Mohammad Rafi and Mahendra Kapoor/Talat Mahmood. Simply Fabulous!! A rare combination of a wonderful melody matched by lovely poetry (see footnote for lyrics) sung to perfection. The song was recorded first with Talat Mahmood but Manoj Kumar requested a change so it was recorded again with Mahendra Kapoor. The film features this latter recording but the album features the Talat version. 
• Main Tooti Hui Ik Naiyya – Mohammad Rafi. A sad song, not bad.
• Na Aadmi Ka Koi Bharosa – Mohammad Rafi. The title song is a beautiful, heartbreaking song.
• Aaj Purani Rahon Se – Mohammad Rafi. A gem. Naushad ably demonstrates his genius yet again. And Rafi conducts a masterclass in singing. I am in awe of his voice which scales the octaves so effortlessly and with such beauty! Shakeel Badayuni’s poetry has a ring of truth and quite beautiful. (see footnote).

To listen to the whole album, click here.  An album to be treasured; one can seldom find music like this nowadays!

My selection from the film is Kaisi Haseen Aaj. Listen first to the Mohammad Rafi and Mahendra Kapoor version from the film. [youtube http://www.youtube.com/watch?v=jiZRLZX59nM?rel=0]

Now listen to the Talat version. Which do you like better?

[youtube http://www.youtube.com/watch?v=zvQf_NaqBM4?rel=0]

Given the beauty of my other selections from the film, I include them in this post as well.

Kari Badariya – Lata Mangeshkar

Aaj Purani Rahon Se – Mohammad Rafi

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Footnote (Lyrics) :

कैसी हसीन आज बहारों की रात है |
इक चाँद आसमां पे है इक मेरे साथ है ||

ओ देने वाले तू ने तो कोई कमी न की |
अब किस को क्या मिला ये मुक़द्दर की बात है ||

छाया है हुस्न-ओ-इश्क़ पे इक रंग-ए-बेख़ुदी |
आते हैं ज़िंदगी में ये आलम कभी कभी ||
हर ग़म को भूल जाओ खुशी की बारात है |
इक चाँद आसमां पे है इक मेरे साथ है ||

आई है वो बहार के नग़मे उबल पड़े |
ऐसी  खुशी मिली है कि आँसू निकल पड़े ||
होंठों पे हैं दुआएं मगर दिल पे हाथ है |
अब किस को क्या मिला ये मुक़द्दर की बात है ||

मस्ती सिमट के प्यार के गुलशन में आ  गई  |
मेरी  खुशी  भी आप के दामन में आ गई ||
भँवरा कली से दूर नहीं साथ साथ है |
अब किस को क्या मिला ये मुक़द्दर की बात है ||

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आज पुरानी राहों से कोई मुझे आवाज़ न दे |
दर्द में डूबे गीत न दे ग़म का सिसकता साज़ न दे ||

बीते दिनों की याद थी जिनमें मैं वो तराने भूल चुका |
आज नई मंज़िल है मेरी कल के ठिकाने भूल चुका ||
न वो दिल न सनम न वो दीन-धरम |
अब दूर हूँ सारे गुनाहों से ||

जीवन बदला दुनिया बदली मन को अनोखा ज्ञान मिला |
आज मुझे अपने ही दिल में एक नया इंसान मिला ||
पहुँचा हूँ वहाँ नहीं दूर जहाँ |
भगवान भी मेरी निगाहों से ||

Listening to: Mughal-E-Azam (1960)

A prince, the heir apparent of a vast empire, falls in love with a slave, a dancing girl, and wants to make her his future Empress. The Emperor, his father, puts a stop to it. This legend  about Salim (later known as Jehangir), the son of Akbar, and Anarkali has caught the imagination of generations of Indians. I have a post on Anarkali, another film made on the same story. Mughal-E-Azam is a much better version with better production, better actors and better music.

But before I say more – this is not an unbiased review. Some films have such an epic status that they cannot be viewed in an unbiased manner. Can one ever criticize Ben Hur, the Ten Commandments or Gone with the Wind? Mughal-E-Azam has the same status and I can only view it with awe.

Madhubala as Anarkali glows and dances her way into our hearts. Dilip Kumar is dark and intense as only he can be and delivers some wonderful lines.  It is indeed poignant that Madhubala and Dilip were in fact doomed lovers in real life as well; with life echoing the film, Madhubala’s father was opposed to the match. Prithviraj Kapoor is majestic as Akbar and Durga Khote gives great support as Jodha Bhai as does Nigar Sultana as Bahaar.

There are some clever touches throughout the film. The sculptor as the voice of truth, the observer, is nicely integrated. A glimpse of Salim as a spoilt little boy makes us wonder if by fighting a war with his father for his slave girl, is he just being a spoilt little man? It also made me think of Edward VIII who abdicated the British throne for an equally unsuitable woman. Anarkali first comes into the court with anklets tinkling; this is nicely contrasted when she comes later in the movie with chains clanging. In the beginning, the story revolves around her but in the later half, she seems to become no more than a pawn in the ego-game between father and son. The father-son fight for supremacy was not so extraordinary in those times; in real life, Salim will go on to blind his own son in a political move.

Dialogues are impressive and kept me on my toes, given that my Urdu is not so good. The subtitles were indeed useful. Often, I forgot about the story and just enjoyed the words, like for example when Salim faces Akbar with या परवर दिगारे आलम से आप ने मुझे इसी लिए माँगा था कि ज़िन्दगी मुझे मिले और उसके मालिक आप ? साँसें मेरी हों और दिल के धडकनों पे आप का कब्ज़ा रहे ? दीन-ए-इलाही क्या मेरी ज़िन्दगी आप की दुआओं का कर्जा है जो मुझे आंसुओं से अदा करना पड़ेगा ?

The music by Naushad is extraordinarily beautiful and  Shakeel Badayuni has written beautiful poetry in the form of lyrics. But it is Lata who makes this album a triumph with her absolutely impeccable singing.

• More Panghat Pe Nandalal – Lata Mangeshkar. A slow and incredibly sweet song with nice lyrics to which the stunning Madhubala dances enticingly. It is unusual to have a slow song which sounds so happy. Lata does great justice to  Raga Gara. The lyrics are simple but really nice!
  मोहे पनघट पे नंदलाल छेड़ गयो रे
  मोरी नाज़ुक कलैय्या मरोड़ गयो रे
  कंकरी मोहे मारी गगरिया फोड़ डाली
  मोरी साडी अनाड़ी भिगो गयो रे
  नयनों से जादू किया जियरा मोह लिया
  मोरा घुंघटा नज़रिया से खोल गयो रे
  Dilip Kumar emotes falling in love so well with just his eyes that my heart gave a little flip!  
• Shubh Din Ayo – Ustad Bade Ghulam Ali Khan. Only part of the song seems to have been used in the film. It did not catch my attention.
• Teri Mehfil – Lata Mangeshkar and Shamshad Begum. A qawwali with female voices, the lyrics are excellent and beautifully illustrate the feelings of both ladies. Bahar says
  ‘मोहब्बत करने वालों का है बस इतना ही अफ़साना
  तड़पना चुपके चुपके आहें भरना घुट के मर जाना
  किसी दिन ये तमाशा मुस्कुरा कर हम भी देखेंगे’
  ’The story of those who love is to suffer quietly, sigh deeply and die silently. One day I too will watch this act out with a smile’.
  and she goes on to try and destroy the grand romance. Anarkali likewise says
  ‘मोहब्बत हमने माना ज़िंदगी बरबाद करती है
  ये क्या कम है के मर जाने पे दुनिया याद करती है
  किसी के इश्क़ मे दुनिया लुटाकर हम भी देखेंगे’
  ’I agree that love destroys life. But isn’t it enough that once you die the world will remember you? I too will like to see how it is to lose my life in the name of love’. See footnote for lyrics. An important song in the narrative and truly memorable.
• Hamen Kash Tumse – Lata Mangeshkar. Slow song. A little confusing because though there is no need to be sad, it sounds very sad.
• Prem Jogan Banke – Ustad Bade Ghulam Ali Khan. This classical song was sung by the illustrious Maestro in raag Sohni. Very touching, deep. Love it without reservations. There is an interesting story connected with this song, click here to read.
• Ae Ishq Yeh Sab Duniya Wale – Lata Mangeshkar. I don’t remember this song from previous viewings – and I know why! Not included in the colour version.
• Pyar Kiya To Darna Kya – Lata Mangeshkar. The combination of memorable lyrics, great melody, Lata’s voice, Madhubala’s dance and a great set makes this THE iconic song of this film. The defiant परदा नहीं जब कोई खुदा से बंदों से परदा करना क्या (When there is no hiding from God, why hide before men?) is a defining moment. See footnote for lyrics.
• Mohabbat Ki Jhooti – Lata Mangeshkar. How effortlessly and sweetly Lata’s voice traverses the octave! Lovely sad song. 
• Bekas Pe Karam Kijiye – Lata Mangeshkar. A lovely little prayer song.
• Ae Mohabbat Zindabad – Mohammad Rafi. This is the message song and has a rousing, political style with a chorus, it is said, of a hundred voices. I am not sure I like it much. 
• Jab Rat Ho Aisi Matwali – Lata Mangeshkar. Beautiful poetry, Kudos to Shakeel Badayuni for writing these lovely words.
  नगमों से बरसती है मस्ती छलके हैं खुशी के पैमानेआज ऐसी बहारें आयीं है कल दिन में बनेंगे अफसाने
  अब इस से ज़्यादा और हसीन ये प्यार का मौसम क्या होगा
  जब रात है ऐसी मतवाली फिर सुबह का आलम क्या होगा 
• Khuda Nigehban Ho – Lata Mangeshkar. The farewell song, sad. But not gripping.

This album would probably feature among the All-Time-Best-Top-10 from Bollywood. To listen to the whole album, click here.

For my selection of the day, I cannot but present the iconic song of the film first :

Pyar Kiya To Darna Kya

Teri Mehfil : Because I like Qawwalis and because the lyrics are outstanding,

If you’ve caught the Mughal-E-Azam bug and want to listen to two more outstanding songs :

More Panghat Pe Nandalal : For Madhubala’s dance and Dilip Kumar’s expression.

Prem Jogan Ban Ke : For the pleasure of Ustad Bade Ghulam Ali Khan’s singing and for the simmering and sultry chemistry between Madhubala and Dilip Kumar.

 

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Footnote (Lyrics) :

Pyar Kiya To Darna Kya

इन्सान किसी से दुनिया में इक बार मुहब्बत करता है
इस दर्द को लेकर जीता है, इस दर्द को लेकर मरता है

प्यार किया तो डरना क्या जब प्यार किया तो डरना क्या
प्यार किया कोई चोरी नहीं की छुप छुप आहें भरना क्या

आज कहेंगे दिल का फ़साना जान भी लेले चाहे ज़माना
मौत वही जो दुनिया देखे घुट घुट कर यूँ मरना क्या

उनकी तमन्ना दिल में रहेगी, शम्मा इसी महफ़िल में रहेगी
इश्क़ में जीना इश्क़ में मरना और हमें अब करना क्या

छुप न सकेगा इश्क़ हमारा चारों तरफ़ है उनका नज़ारा
परदा नहीं जब कोई खुदा से  बंदों से परदा करना क्या

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Teri Mehfil :

तेरी महफ़िल मे किस्मत आज़मा कर हम भी देखेंगे
घड़ी भर को तेरे नज़दीक आकर हम भी देखेंगे
अजी हाँ हम भी देखेंगे

तेरी महफ़िल मे किस्मत आज़मा कर हम भी देखेंगे
तेरे कदमों पे सर अपना झुका कर हम भी देखेंगे
अजी हाँ हम भी देखेंगे

बहारें आज पैगाम-ए-मोहब्बत लेके आयीं हैं
बड़ी मुद्दत मे उम्मीदों की कलियाँ मुस्कुराईं हैं
गम-ए-दिल से ज़रा दामन बचाकर हम भी देखेंगे
अजी हाँ हम भी देखेंगे

अगर दिल गम से खालि हो तो जीने का मज़ा क्या है
ना हो खून-ए-जिगर तो अश्क पीने का मज़ा क्या है
मोहब्बत मे ज़रा आंसू  बहाकर हम भी देखेंगे
अजी हाँ हम भी देखेंगे

मोहब्बत करने वालों का है बस इतना ही अफ़साना
तड़पना चुपके चुपके आहें  भरना घुट के मर जाना
किसी दिन ये तमाशा मुस्कुरा कर हम भी देखेंगे
अजी हाँ हम भी देखेंगे

मोहब्बत हमने माना ज़िंदगी बरबाद करती है
ये क्या कम है के मर जाने पे  दुनिया याद करती है
किसी के इश्क़ मे दुनिया लुटाकर हम भी देखेंगे
अजी हाँ हम भी देखेंगे

Listening to : Aan (1952)

Naive village belle, this I understand. Proud princess, this too I understand. Why don’t the script writers or directors? Don’t they know the difference between naive and stupid? And between pride and arrogance? Both Nimmi and Nadira had such unappealing characters that I found the movie hard to watch.  Dilip Kumar’s character wasn’t much better. But his smile is so charming that I forgive him!  The supporting characters come across in a more sympathetic light; Mukhri and the queen’s attendant in particular. It can be seen as a kind of ‘taming of the shrew’ I guess. 

Consequently, I really don’t understand why it was such a hit at that time. Was it just because it was the first Indian technicolour film? Or am I missing something? Was this important, this breaking of the pride of the whip-swinging jodhpur-clad princess to the newly independent India? Did this reflect the real mood of those times against the rule of the princely states and of the British lords? So many questions, so few answers.

I must note that I simply loved the dungeon entrance through the perfectly fitted teeth of a monster!! And then there is the den door with red teeth! And real live lions for the heroine to escape from!! And the princess in the pool has a gigantic lotus to cover her modesty! So I did find things to amuse me after all..

As to the songs, I was in a rather strange place compared to the normal songs I write about becaause I knew only a couple of them. Knowing the composer to be Naushad (1919-2006) whom I admire tremendously, I went in expecting a real treat. It wasn’t quite that but very enjoyable all the same. The lyrics by Shakeel Badayuni (1916-1970) are poetic in the old fashioned way, which I enjoy.

• Aaj Mere Man Mein Sakhi – Lata Mangeshkar. It sounds as if Lata was trying to be Shamshad! This sounds like a ‘formula’ type of song used for village girls..
• Main Rani Hoon Raja Ki – Shamshad Begum. I have always thought Shamshad to be very talented and here she proves her talent yet again. Very well sung.
• Muhabbat Choome Jinke Haath – Mohammad Rafi, Shamshad Begum. A young Rafi with very few instruments to back him up  sounds wonderfully clear and crisp.
• Aag Lagi Tanman Mein – Shamshad Begum. One of the songs which I remembered from my childhood. I like it except for the ‘oh’ , ‘hmm’ and other ‘enhancements’. Nice phrasing like तन का सिंगार मेरे मन को न भाए देखो नैना भर आये  
• Khelo Rang Hamare Sang – Shamshad Begum, Lata Mangeshkar. A lovely holi song which I enjoyed very much, especially the contrast between Lata and Shamshad’s voice. 
• Dil Mein Chupa Ke – Mohammad Rafi. A familiar beat for old Bollywood-music lovers to the clip-clop of horses’ hooves. A song I remember well, it still has a nice appeal. Rafi’s voice is lovely.
• Takra Gaya Tumse – Mohammad Rafi. A sad and contemplative song which I would have liked much better if I didn’t know the scenario. Rafi does this kind of song very well indeed.
• Man Mera Ehsaan – Mohammad Rafi. Was this the most famous of songs from this film? This is the one I remember best. 
• Tujhe kho diya – Lata Mangeshkar. A song of loneliness, it reminds me of other songs of the same genre from the fifties. Doesn’t stand out.
• Gao Tarane Man Ke – Lata Mangeshkar, Mohammad Rafi, Shamshad Begum. A very bice catchy song, especially the ‘cham cham’ bit! I also enjoyed hearing Rafi, Lata and Shamshad sing together.

I present you this song, not just because its lovely and lively, but also because there is a lot of on-screen colour and drama ! Enjoy! If you want to hear the whole album, click here.

Listening to : Baiju Bawra (1952)

Since I started this blog, I keep drifting again and again towards the music my mother loved. I feel her presence in this music, as I do in so many other areas of my life; the music feels even more dear now that she is gone.

As with much of the music from old films, I was familiar with the music in my childhood before I saw the film. My memory from a viewing on television during my teenage years is unclear; but as an aid to writing this, I saw the film again a few days back. It seems to me that the cast has done an excellent job though the film could have been better edited. But the music, oh the music!! I was awash with tears with the beauty of the music.

The story is that of a classical musician from Chanderi, Baijnath Prasad or Baijnath Mishra (1542-1613) called Baiju Bawra (the crazy). However the film bears only vague resemblance to the account of his life as published in Chanderi’s website. Like Tansen, he was the disciple of Swami Haridas (1512-1607). There is no mention in this film of his connection with the court of Gwalior, which seems to be an important one in real life.

The music of this film about a musician needed to be brilliant, and there it delivers, absolutely. Naushad (1919-2006) won his only (!!!! how’s that possible?) Filmfare award for his music. But he did win the well deserved Padma Bhushan in 1992 many years later. The Filmfare awards being newly instituted, there seems to have been no awards for singers. If there had been awards, Mohammed Rafi would no doubt have swept them all. Shakeel Badayuni, the lyricist, does a memorable job as well.

I list the tracks with my reactions to them :

1. Jhoole mein Pawan ke (Lata Mangeshkar, Mohd. Rafi)   A very nice duet, light and romantic. 
2. Tu Ganga Ki Mauj  (Mohd. Rafi) Brilliant. Brilliant!!!  The picturisation is very good too. For once, when the hero sings, people actually stop to watch and the girl is embarrassed, as she would be in real life.
3. Door Koi Gaaye  (Shamshad Begum, Mohd. Rafi, Lata Mangeshkar)  I love the sound of Shamshad Begum’s rustic sound set against Lata’s more polished voice.
4. Insan Bano (Mohd Rafi) This didn’t appeal, especially in the company of such fantastic songs in the album. 
5. Bachpan ki Mohabbat (Lata Mangeshkar)   Slow and sweet.
6. Man tadpat hari darshan ko (Mohd. Rafi) Perfection!!! Everything fits beautifully – Rafi’s voice, the beautiful lyrics, the melody which touches the heart. I do not like the last 1 min 10 secs, which I skip normally.
7. Mohe Bhool Gaye Sanwariya (Lata Mangeshkar) Oh what pathos !! The words are written by a man scorned; surely they come from the heart – प्रीत है झूठी प्रीतम झूठा, झूठ है सारी नगरिया  (love is false, my lover is false, the whole world is false) laments Lata. This is her genre, her music. Nobody comes close to her in this kind of song.
8. O Duniya Ke Rakhwale (Mohd. Rafi) Again, impossibly perfect !! Whom should we praise? The composer, the lyricist and the singer have all come together to form a perfect whole. A showcase for Rafi’s vocal range.
9. Aaj Gawat Man Mero (Ustad Amir Khan, Pundit Paluskar) A classical number which is not as good as it should be – surely a competition between Tansen and Baiju should have been earth shattering!
10. Tori Jai Jai (Ustad Amir Khan) Another classical piece, adequate.

With four brilliant songs, I am in a quandary. Presenting just one is impossible, so I shall  feature one of Rafi’s and one of Lata’s. For those who want to listen to all the songs, here’s a link to Musicindiaonine.

 

Tu Ganga ki Mauj–Mohammad Rafi

 

Mohe bhool gaye–Lata Mangeshkar