In the first part of this post, we looked at some of the additions to the already documented the songs in the classic versions songs model.
In this second part,we now take a look at a slightly different model of the version songs:
In the first version Dev Anand woos stunning Sadhana by ‘Abhi na jao chhod ke’ – Hum Dono – Jaidev, and Sadhana soothes the frayed impatience in the duet –
whereas the second version is based on the same tune, but has altogether a different mood. Sadhana calmly goes on restore the sagging confidence of Dev Ananad. In Jahan Men Aisa Kaun Hai. This clip –
shows the connection between two versions by triggering Sadhana’s response with ‘Adhuri Pyas Chhod ke’ moment of the previous occasion.
In Bachpan Ke Din Bhula Na Dena – Deedar – Naushad –
the version with which we are so familiar is the one rendered by Shamshad Begum and Lata Mangeshkar, a jovial ride by two friends, their childlike innocence does not recognise the distance between their social class. The clip has a piece by Shamshad and Rafi which then goes to the time when times have separated the friends @ 3.17 and then @4.44 has Rafi extolling his love to his beloved child friend and the anguish that flows out at the end, @6.17, evident to all the protagonists.
Film Gumrah – Ravi- had a couple of interesting use of version songs. The first version of Tujhko Mera Pyar Pukare-
is the statement of romance by the two person’s love for each other, whereas the second version –
truly reflects the physical separation but not the severance of emotional bond [Asha’s part is from the background in the picturisation of the song.
In “EK THI LADKI MERI SAHELI- FIRST VERSION” BY ASHA BHONSLE –
the mausi turned-mother aims to win the two children by an [autobiographical] story, whereas in the SAD VERSION –
[now accepted as[ mummy is not able to prevent her dilemma of her past and future – but does remorsefully hopes that whatever shall happen will be for the good.
Aa Laut Ke Mere Meet from Rani Rupamati is probably more standard form of version songs Here is one by Mukesh –
and the one by Lata Mangeshkar –
It is the filming of the second version – you will see in the video clip of female version that male member of the regal family is enjoying the worldly pleasures, whereas our heroine suffers her loss of love – that brings out the difference between two versions.
Similarly, it would be an interesting study to document some of the Hindi film songs, recorded either originally by another singer [or may be the same singer] in a different language. I would present just one such song here to drive the point of essential difference when two singers present the same tune – Rafi – Hum Bekhudi Mein Tumko Pukaare Chale Gaye – Kala Pani :-
and here is its original version in Bangla by S D Burman [himself] Ghoom Bhulechi (Hum Bekhudi Mein in Hindi) –
We can see a very different being enacted in – Ye Mera Prem Patra Padhkar Ke Tum – Sangam – primarily a Mohd Rafi solo but you can trust Raj Kapoor to always come with very special. Here Lata’s pitching in later in the film sequence adds another dimension to the subject of the post.
We will look at more possible variation in the next, concluding part, of this post.