Manna Dey’s Comedy Songs – Mehmood [2]

The 1st episode of Manna Dey’s comedy songs, we tracked development of Mehmood’s career, under the lens of Manna Dey’s voice as playback. S D Burman’s 1960 song Hato Kahe Ko Jhoothi Banao Batiyan did play major role in shaping Manna Dey’s career track on comedy songs, but Manna Dey virtually becoming Mehmood’s behind-the-screen voice appears to firm only by 1964. This impression will be further consolidated in our present episode, wherein we have only partially covered Manna Dey- Mehmood combination songs till 1966.

Incidentally, we carry forward trough in Manna Dey – Mehmood comedy songs under the baton of a particular music director, who has otherwise given some of the most notable Manna Dey songs – across different genres.

Kaisi Jhulmi Banayi Taine Nari Ke Mara Gaya Brahmchari – Chitralekha (1964) – Roshan – Sahir Ludhyanavi

Even if we do not consider Roshan’s two earlier Manna Dey comedy songs (that we plan to take up for detailed discussion in the subsequent episodes)  – Laaga Chunri Mein Daag and Phool Gendawa Na Maro – the song is an exceptional aberration from within other songs that Roshan – Sahir duo has so majestically composed for the film.

Haye Re Main To Prem Diwana Mera Dard Na Jaane Koi – Bedaag (1965) – Roshan – Shakeel Badayuni

Roshan now comes back with a tightly composed light, classical based tune. This time it is Shakeel Badayuni who has parodied the first line of a famous Meerbai bhajan Ae Ri Main To Prem Diwani, which Roshan has so melodiously composed as a Lata Mangeshkar solo in Nauabahar (1952)

Jaane Na Dunga Na Jaane Dunga  – Daadi Maa 1966 – with Asha Bhosle – Roshan – Majrooh Sultanpuri

Set to a very the then popular tonga rhythm genre, Roashan has once gain very skillfully deployed the semi-classical base tune while making room for comedy theatrics of the song. Shashikala who commenced her career in the heroine roles, and accepted well as vamp in the later part of her career, is seen here pairing with Mehmood in a comedy role.

Rehne Ko Ghar Do – Biwi Aur Makan (1966) – Hemant Kumar – Gulzar

Produced by Hemant Kumar and directed by Hrishikesh Mukherjee, Biwi aur Makaan centres round five young men, bosom buddies from their college days, who have vowed that they will stick together (which means living together) until each of them has a job and is independent. Mehmood, wielding his signature mannerisms, in a rustic youth role, is on the look out for a room for the five musketeers.

Duniya Mein Do Sayane, Ek Jhooth Hai Ek Sach   – Biwi Aur Makan (1966) – with Hemant Kuamr and Jayant Mukherjee – Hemant Kumar – Gulzar

Hemat Kumar has composed a very light mood song on a faster rhythm-based composition.

Hamare Hal Pe Reham Karo Ke Humse Aur Nahi Hota – Biwi Aur Makan (1966) – with Mukesh, Hemant Kumar  – Hemant Kumar – Gulzar

Two of the musketeers, masquerading as girls, vent their frustrations of playing this roles, to which the third one (Mehmood) cajoles in classical style, by lauding the roles of women in this world.

Anhoni Baat To Ho Gayi Hai – Biwi Aur Makan (1966) – with Joginder, Talat Mahmood, Mukesh – Hemant Kumar – Gulzar

One of the musketeers has now been stung by the arrow of Cupid. Two other friends excitedly try to make him understand the futility of such errands. The fourth one resorts to serious dialogue, with a biting tongue-in-cheek counselling.  Hemant Kumar and Gulzar have worked out a very innovative song for such a situation.

Dekhi Anadi Teri Preet Re – Biradari (1966) – Chitragupt – Prem Dhawan

Like many times in his valiant career, Chitragupt so forcefully holds the fort in an otherwise forgotten film. He has conjured up a very light classical composition which is made more lively by Manna Dey’s now well-experienced voice modulations for such songs.

Tum Jo So Ho Khuda To Nahi – Biradari (1966) – with Mohammad Rafi – Chitragupt – Prem Dhawan

The song is performed by Shashi Kapoor, Mehmood and Kanhaiyalal on the screen. But only two singers – Mohammad Rafi and Manna Dey – have been pressed in to playback the song. So what happens is that each of the three performers gets to lip sync both the singers. As we follow the performers on the screen and the singing voices in sequence, we can clearly make out that all three are singing lines by these two singers, by rotation.

Beta Jamure Ek Bat Kahega, Hanji, Kya Jhuth Kahega,  Naji – Biradari (1966) – with Mohammad Rafi – Chitragupt – Prem Dhawan

The song is set to a classical Monkey and his Guardian master roadshow. Songs of the roadshow genre songs bring in load of benign messages for the erring humanity.

Arara Arara Rang Do Sabhi Ko Ek Rang Mein – Biradari (1966) – with Mohamad Rafi, Suman Kalyanpur – Chitragupt – Prem Dhawan

This is not a comedy song. However the festival of colours, Holi, is always celebrated with loads of earthen pleasure. The song is a very playful presentation of that gay mood.

Jodi Hamari Jaamega Kaise Jaani – Aulad (1968) – with Asha Bhosle – Chitragupt – Majrooh Sultanpuri

Chitragupt, in very able company of very versatile Majrooh Sultanpuri, once again pumps life into a a very simple comedy situation – hero trying to be a westernized guy, heroine pulling towards her tadeonal culture. Manna Dey and Ashaa Bhosle also ably chip in.

Manna Dey – Mehmood combination have still some more songs in 1966 itself. But we shall take them up in the next episode along with later year songs, to conclude the Manna Dey – Mehmood comedy songs set.



In July 2011, I opted to retire from my active career as a practicing management professional. In the 38 years that I pursued this career, I had opportunity to work in diverse capacities, in small-to-medium-to-large engineering companies. Whether I was setting up Greenfield projects or Brownfield projects, nurturing the new start-ups or accelerating the stabilized unit to a next phase growth, I had many more occasions to take the paths uncharted. The life then was so challenging! One of the biggest casualty in that phase was my disregards towards my hobbies - Be with The Family, Enjoy Music form Films of 1940s to mid-1970s period, write on whatever I liked to read, pursue amateur photography and indulge in solving the chess problems. So I commenced my Second Innings to focus on this area of my life as the primary occupation. At the end of four years, I am now quite a regular blogger. I have been able to build a few very strong pen-relationships. I maintain contact with 38-years of my First Innings as freelance trainer and process facilitator. And yet, The woods are lovely, dark and deep. But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep.

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