Jaidev: Brilliant, But Underrated, Composer: 1976 – 1977
Jaidev – B: 3 August 1919 – D: 6 January 1987 – is one music director who had established himself as creator of melodies while basing the compositions in classical or folk styles. From start at the very top with mesmerizing magic touch, as his career went on to take deep dive of the road of loss of popular appeal, he started getting epithet of ‘too niche’ music director. By the beginning of ‘70s, he even had started getting work from only those producers or directors who were stickler to the consciousness of being faithful to the core of their film subject. By this time, these films had developed its own fan following, who was also receptive to Jaidev’s music. Emboldened by such an encouraging response, Jaidev could boldly experiment with new singers as well.
In 2018, we listened to his songs from the most successful films phase of 1955 to 1963.
In 2019, we listened to his more remembered songs from his less remembered films for 1964 to 1970,
in 2020, we listened to highly appreciated songs from the films that did not succeed in 1971,
In 2021, we recalled the songs that have faded out because the films flopped in 1972-1973, and
In 2022, we listened to his melodies form relatively not so known films for the years 1974 and 1975
Presently, we will refresh our memories for the songs Jaidev composed for Laila Majnu (1976) and Aalap and Gharaonda (1977)
Laila Majnu (1976)
The love story of Laila and Majnu has always remained an evergreen subject for the Hindi films. From the first film made in 1931, every few years a new version has been made for the Hindi screens. However each version had its own distinct interpretation of the story, which gets reflected in the way the social milieus had been presented in terms of dress, living styles, language and delivery of dialogues etc. One dimension that tended to raise the standard of the film was its music.
My personal association with the present 1976 version goes back to the year 1977, when I was visiting Indore for some official work, along with couple of my colleagues. Once, when we were roaming through the roads of Indore after our dinner, we saw a cinema hall that had a poster of Laila Majnu (1976) as the current movie. We were just in time for the last show. However, we were in dilemma as to whether the film would be worth spending two and half hours. Except for the songs of Ghulam Mohammad’s compositions for the 1956 version, I had no idea how good the other versions were. But, as we saw the names of Madan Mohan and Jaidev as music directors, our initial misgivings thinned out and we bough the tickets.
It was much later that I could know that Madan Mohan had passed away when three or so songs and background score for the film were still incomplete. So, Jaidev was roped in to seamlessly fill the void., even though Sahir Ludhianvi – Jaidev and Sahir had parted ways after some very strong differences while working together for Mujhe Jeene Do (1964) – was the lyricist for the film.
Jaidev has composed four songs, of which the two Lata- Rafi duets – Kahena Ek Diwana Teri Yaad Mein Aahein Bharata Hai and Likh Kar Tera Naam JamiN Par Sajade Karata Hai – seemed to have gained popularity even as soon as the film would have been released, as can be gauged by the response of the viewers during the show.
We will take a closer look at two other songs –
Kaja Jhalim Sahi Ye Jhulm Woh Bhi Kar Nahi Sakati
Jahaan Mein Qais Jinda Hai Tab Tak Laila Mar Nahi Sakati
Ye Dawa Duniya Bhar Se Manavane Ki Khatir Aa
Ye Diwane Ki Jid Hai. ….. – Mohammad Rafi
I liked the song just when I heard it first time on that night, since it had all that one would expect from Jaidev- Mohammad Rafi songs of Jaidev’s early years of career. However, little did I know that we did not have many more years left for Mohammad Rafi to come up with so soulful rendering once again….
Laila Majnu Do Jaan The – Rajkumar Rizvi, Dilraj Kaur, Anuradha Paudwal
Jaidev has readily switched over to experiment with the current generation singers for the credit titles song
Hrishikesh Mukherjee has depicted Amitabh Bachchan, once again as a deceptively calm volcano which is ready to erupt into sizzling hot lava, in this essentially a Bengali background story. When action movies was the order of the day, casting Amitabh Bachchan and Rekha in a serious social drama was certainly a bold experiment. Hrishikesh Mukherjee’s few preceding and succeeding movies had either S D Burman or R D Burman as music directors, However, he has opted for Jaidev for this film.
The credit titles song for the film, Maata Sarasvati Sharda (Yesudas, Lata Mangeshkar Dilraj Kaur, Madhurani and chorus) went on become a prayer at many schools. Moreover, when Kishore Kumar was already established as Amitabh’s playback voice, Jaidev has boldly, and quite successfully at that, Yesudas for Koi Gaata Main So Jaata (Lyrics: Harivanshray Bachchan). Other songs of the film, penned by Dr. Rahi Masoom Raja, also are based on classical styles while simultaneously experimenting with normally not heard voices for film songs.
Chand Akela Jaye Re Sakhi …. – Yesudas
The mood of the song presents Amitabh’s character as a poet deeply depicting his imaginative feelings of a poet lost in the thoughts of a lover lost in the thoughts of his love. Hrishikesh Mukherjee has equally skillfully used the interludes to showcase the inherent angry young man nature of the character by way of emotionally charges light=toned dialogues.
Kahe Manva Nache Hamraa, Sakhi Ri Koi Ise Ab Sanajaye ….. – Lata Mangeshkar
Director has skillfully used the protagonists’ play with a beam of light to express the feelings of her heart when she keeps getting lost in the first ever feelings of her recent love.
Nayi Ri Lagan Aur Meethi BatiyaN, Piya Jaane Aur Mera Jiya – Madhurani (Giazabad), Kumari) Faiyyaz, Yesudas
Apparently, a practice session is also a vicarious medium of expressing mutual feelings between the two young ones. Jaidev has creatively experimented in use of a wel-known gazal exponent Madhurani (Faizabadi), well-known singer of Marathi Dramatics songs genre. (Kumari) Faiyyaz and Yesudas.
Aai Ritu Sawan Ki Piya Mora Jaaye Re – Kumari Faiyyaz, Bhupinder
The lyricist’ choice of pathos of the lovers being away from each other while the onset of season of monsoon showers is captured by the music director in the form of deployment of baritone Bhupinder voice.
Ho Rama Dar Lage Apni Umariya Se – Asrani
Binati Sun Le Tanik Natkhat Gori Binati Sun Le – Asrani
Music director has so creatively deployed Asrani himself to sing these parodies of traditional semi-classical songs. Kudos to the experimentally creative streak of the director as well music director!
For someone known for his work in the field of animation films, Bhimsen’s directorial venture into Hindi cinema, Gharaonda, was a novel experiment of presenting an art film in the commercial mode on a subject of the lives of two young middle class youth lovers.
In order to appreciate boldness of the experiment, a brief look at Bhimsen’s core area of competence would not be out of order.
Because of his extensive work in the field of animation films, Bhimsen has been recognized as the Father of animation film movement in India. He has to his credit a prolific work on trend-setting work in the field of animation films on the subjects of different subjects relating to the social issues. Recipient of numerous awards for his pioneering work, his animation short film for Films Division, Ek, Anek aur Ekta or his longest till now of its kind, 26-episode, TV serial Vartman (1994) are just two illustrations of his exemplary work.
The Filmfare awards for The Best Supporting Actor (Dr. Shriram Lagoo) and Best Lyricist (Gulzar for the song Ek Akela Is Sahar Mein) are two ample manifestations of success and acclaim that Gharaonda got.
The two songs – Do Diwane Shahar Mein (Bhupinder, Runa Laila) and Ek Akela Is Shahar Mein (Bhupinder) – were instant hits and continue to do so even now.
For all practical purposes, the sole credit of class and mass audience of India was introduced to the range of timbre of internationally known Bangladeshi ghazal singer Runa Laila on the strength of the afore-mentioned duet and a twin mood solo song presented her below –
Tumhein Ho Na Ho Mujhko To Itana Yakeen Hai Mujhe Tumse Pyar NahiN NahiN – Runa Laila – Lyrics: Naqsh Lyallpuri
The playfully mischievous tone of the song gives a magical touch to the voice of Runa Laila.
The sad version of the song (beginning from 5.04 of the audio clips of both versions together) presents the depth of Runa Laila’s voice, thereby presenting a wide range of tonal variations and range she so naturally possessed.
As we end the present episode, our curiosity is further aroused to know how many more hues of Jaidev’s creativity still can be expected to unfold in twilight years of his illustrious and courageous career.
We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month ……..
Disclaimer: All images are sourced from net and video clips from You Tube. All copyrights of the respective image remain with the original owner of the image/ video.