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Centenary Celebrations I Liked Music from films

Manna Dey and Contemporary Lead Actors – 2

In the First Part of the present series, we have listened to the songs that Manna Dey played back for Dev Anand, Raj Kapoor and Ashok Kumar.

By the turn of decade of ’40, Manna Dey was well-recognized for classical-based songs. The trend continued in 1951 and 1952. He made more in roads into the big banner films like RK’s Aawara (1951), which was to set up a very special, strong bond with the music directors, Shanker Jaikishan, and in turn with Raj Kapoor. After having tried his hands with music composition, first assistants to music directors like S D Burman or H P Das in ‘40s, in the initial years of ‘50s, he also tried his hand with music direction when he worked with Khemchand Prakash for Shree Ganesh Janma (1951) and Vishwamitra (1952).Then in 1953 came Do Bigha Zameen, which unmistakably shot his fame as a (singer) star. So, he, very wisely, did give up pursuit of music direction and decided to concentrate on his singing career.

With Balraj Sahni

Balraj Sahni had made a noteworthy entry with his role in K A Abbas’s in Dharati Ke Lal (1946). His ideological leanings and histrionic commitment made him the ideal fit for the role of a poor farmer for Do Beegha Zameen. Salil Chaudhary used Manna Dey for two songs – Hariyala Sawan Dhol Bajata Aaya and Dharati Kahe Pukar Ke – which not only made Manna Dey a very widely-known name across the country, that also established Manna Dey’s association with Balraj Sahni.

Balraj Sahni was not the material for lead male actor in the traditional Hindi movie fold, but he had several films to follow wherein he played the lead role of (sort of ) anti-hero. The first such film was Seema (1955) where Shanker Jaikishan found an ideal fit in Manna Dey, to playback for Balraj Sahni for a choir-tune-based song Tu Pyar Ka Sagar Hai, Teri Ek Boond Ke Pyaase Ham (Lyrics: Shailendra)

Asides:

It was Mohammad Rafi who was a parallel ‘seventh’ choice, for Kahan Jaa Raha Hai.

In 1957, Balraj Sahni was the co-lead actor for a Russian joint venture film ‘Pardesi’.  The film was based on XV century Russian traveler Afanasy Nikitin’s travelogue ‘A journey beyond three seas’. Anil Biswas has used Manna Dey’s voice as playback for several Balraj Sahni enacted songs in this film.

Phir Milenge Jaanewale Ae Yaar, Dasvidaniya – Pardesi (1957) – Anil Biswas

For  a song that has an undertone of pathos, but is sung boldly, Manna Dey’s voice seems to be the obvious choice.

Tujh Mein Ram Mujh Mein Ram Sab Mein Raam Samaya – Pardesi (1957) – Anil Biswas – Prem Dhawan

In line with the basic social egalitarianism of the film, the song is used to spread this message.

1961 had two Balraj Sahni films, for which music director was Salil Chaudhary.

Of these two films, Kabuliwala is considered to be a classic.

Ay Mere Pyare Watan  Ay Mere Bichhade Chaman Tujh Pe Dil Qurban– Kabuliwala (1961) – Salil Chaudhary – Prem Dhawan

The song is in fact filmed on Wazeer Mohammed Khan, but it is Balraj Sahni who is in the center of the song

Aside:
Wazir Mohammed Khan is the actor who had acted in the first Hindi talkie film Alam Ara (1931) as well as its remake in 1956 and in 1973.

[Note: Akji(SoY) adds in his comment that WM Khan has the credit of singing the very first song of Hindi films, De de Khuda ke naam par for Alam Ara

The other film, Sapan Suhane (1961) was as obscure as Kabuliwala was famous.

O Gori Aaja Gadi Wich Baith Ja – Sapan Suhane 1961 – with Lata Mangeshkar –  Salil Chaudhary – Shailendra

Here is the song, which is truly of a romantic mood, though set in rustic settings.

Dil Kaheta Hai Zara To Dam Lelo, Dagar Kaheti Hai Ke Chalte Chalo – Sapan Suhane 1961 –  Salil Chaudhary – Shailendra

Here is another very playful song that embodies the philosophy of a life on the move.

The film had a third Manna Dey song, a triumvirate – Naam Mera Nimmo Mukam Ludhiana – wherein Manna Dey plays back for Master Bhagwan.

Balraj Sahni has sung a few more songs as the lead male actor, but these were played back by other singers like Mohammad Rafi (Sone Ki Chidiya) or Subir Sen (Kathputli). So we move on to two songs wherein Balraj Sahni is in the lead character role and Manna Dey chips in for the play back. Both songs were composed by Ravi.

Ae Meri Zohara Zabeen Tujhe Malum Nahi – Waqt (1965) – Ravi – Sahir Ludhyanvi

This is the song which remains one of the front-ranking-ever Manna Dey songs.

Tujhe Suraj Kahoon Ya Chanda – Ek Phool Do Maali (1969) – Ravi – Prem Dhawan

The song can be considered to suit Manna Dey like a ‘t’. from any angle you look, and Manna Dey has made the best of the ideal opportunity.

With David Abraham

I think everyone will justly conclude that we are going to talk about Boot Polish’ (1954), where technically David Abraham is in once-in-a-life-time  supporting role of John Chacha, who mentors two young urchins away from the streets to the life of pride and self-respect.

Lapak Japak Tu Aa Re Badaria, Sar Ki Kheti Sukh Rahi Hai – Boot Polish (1953) – Shanker Jaikishan – Shailendra

Shanker Jaikishan – Shailendra have come up with a winner of a song that is to blaze the future genre of classical-based-songs-for-comedy-situations.

Asides:

Raj Kapoor was a great perfectionist when it came to making of his films. Shri Arunkumar Desmukh recounts a very interesting story in relation to this song. We get to know to what length Raj Kapoor would go to enliven the situation that has germinated in his mind.

O Raat Gayi, Raat Gayi Phir Din Aata Hai Isi Tarah Aate Jaate Hi Sara Jivan Kat Jata Hai – Boot Polish (1954) – With Asha Bhosle – Shanker Jaikishan – Saraswati Kumar Deepak

The song is classic depiction of hope in the face of gloom.

Song also has a mundane historical value of being the first duet of Manna Dey and Asha Bosle.

Thehar Jara O Jaaneale O Babu Mister Gore Kale… Kab Se Baithe Aas Lagaye Ham Matwale Paliswale – Boot Polish (1954) – With Asha Bhosle and Madhubala Zaveri – Shanker Jaishan –  Shailendra

Manna Dey comes up with vigor of full joy as he opens the song and then continues the mentoring with an encouraging lively tone as he opens the interlude.

Asides:

Once again, Mohammad Rafi comes up the ‘seventh’ choice to replicate the voice of an elderly person in Nanhe Munne Bachche Teri Mutthi Mein Kya Hai

With Bharat Bhushan

It is very difficult to associate Bharat Bhushan with Manna Dey in the playback, since almost of the successful songs that Bharat Bhushan got to sing on the screen invariably has Mohammad Rafi for playback. However, the subject of ‘Basant Bahar’ (1956) revolves around a singer who is blessed with a classically-oriented voice, which makes Manna Dey as the very natural choice for the music directors Shanker Jaikishan.

Sur Naa Saje Kya Gaun Mein, Bhay Bhanjana Vandana Sun Hamari, or a classic competition song. Ketaki Gulab Juhi Champak Ban Phoole, are indeed best in the class songs. Perhaps, this would be classic tale where greater the height of immediate success seems to have undesirable long term effect.

The film does have one of the most melodious duets to the credit of Manna Dey – Nain Miley Chain Kahan, Dil Hai Wahin Tu Hai Jahan – where Manna Dey matches Lata Mangeshkar’s natural melody on a chord-to-chord basis.

In Rani Rupmati (1957), a historical film, Bharat Bhushan played the lead role. One of the very popular song from this film – Aa Laut Kar Aaja Mere Meet – had Mukesh as playback singer. In a classical competition duet – Baat Chalat Nayi Chunari Rang Daali – Mohammad Rafi plays back for Bharat Bhushan. There are three more duets Phool Bagiya Mein Bulbul Bole, O Raat Andheree Dar Lage Rasiya and Jhananan Jhan Jhan Baje Payaliya, where too Mohammad Rafi is chosen as play back of Bharat Bhushan. However, S N Tripathi once again falls back upon a high-octaved poignant feeling song Ud Jaa Ud Jaa Bhanwar Maya Kamal Ka Aaj Bandhan Tod Ke.

Manna Dey again plays back to Bharat Bhushan in Kavi Kalidas (1959). Choice of Manna Dey seems directly linked to his now strong association with classical based songs.

Jai Saraswati – Kavi Kalidas (1959) – Music: S N Tripathi; Lyrics: Bharat Vyas

Here is the prayer to the Goddess of Education (Maa Saraswati).

Naye Naye Rango Se Likhati Dharati Nayi Kahani – Kavi Kalidas (1959) – Music: S N Tripathi; Lyrics: Bharat Vyas

This is the romantic poetry that describes the beauty of nature as it operates through the changing colors of the earth in different seasons.

O Ashadh Ke Pahele Badal – Kavi Kalidas (1959) – With Lata Mangeshkar – Music: S N Tripathi; Lyrics: Bharat Vyas

This is a poignant request to The Clouds to carry his message to his beloved.

Asides:

S N Tripathi has fallen back on the ‘seventh’ choice Mahammad Rafi for a simple romantic duet Un Par Kaun Kareji Vishwas

Bharat Bhushan once again played a devotional role in Angulimal (1961) that naturally prompts music director Anil Biswas to use Manna Dey for a background song filmed on the main protagonist – Aye Manav Tu Mukh Se Bol Bhudhdham Sharanam Gachhami (Lyrics: Bharat Vyas)

Bharat Bhushan’s association with Manna Dey also should record one of the most famous classical-comedy genre song Phool Dendava Na Maaro of Dooj Ka Chand (1964) (Music: Roshan; Lyrics – Sahir Ludhyanvi). Dooj Ka Chand is produced ny Bharat Bhushan. The song is filmed on Agha.

Asides:

The songs filmed on Bharat Bhushan himself – Sun Ae Mahajabeen Mujhe Tum Se Pyar Nahin, Chand Takta Hai Idhar and Mahefil Se Uth Jaanewalo have been rendered by Mohammad Rafi.

If Manna Dey was the classical playback singer choice for Basant Bahar, he too was THE choice for the romantic male lead of Chori Chori (1956), and a ‘seventh’ but quite an important choice for Shree 420 (1955) for Shanker Jaikishan. Each of the songs of these films were game changers and should have set any other singer right on the seventh heaven. Manna Dey did scale seven heavens, but as the niche playback singer only.

We will continue with Manna Dey’s journey with actors, who initially had Manna Dey as their play back, but their path to the first row seats of the commercial success of the cinema was travelled riding on the playback of other singers

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – April, 2018

Welcome to April, 2018 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We begin our April, 2018 episode with two very different posts on the common subject of Baisaakhi..

Celebrating Baisaakhi Bollywood Style.. Kedar Sharma (probably) used this situation for the first time in 1946 film Duniya Ek Sarai

Doing Something Different This Baisakhi is a tribute to some of the Shikhs who did a god deal of work in cinema, regardless of whether they faced the camera, wrote the song, composed it, sang it, or filmed it.

Gulzar wearing a turban

And, now, we take up the tributes in April, 2018:

BALRAJ SAHNI -A Journey from Shanti Niketan To Bollywood that ended on 13 April, 1973, about a month before his birthday, and immediately after completing the dubbing of his last epochal film, Garm Hawa.

Ace animator and filmmaker Bhimsain dies at 81 – The filmmaker died on 17-4-2018 night in Mumbai. – In 1970, Bhimsain made his first animated film, The Climb, which won the Silver Hugo Award at the Chicago International Film Festival. A series of films followed that embraced a range of styles and concerns, including Na, Ek-Do, Munni, Freedom is a Thin Line, Mehmaan, Kahani Har Zamne Ki and Business is People. The best-known and the best-loved among them is the National Film Award-winning Ek Anek Aur Ekta (1974), meant for children and the children within all of us. After Gharonda (1976), he also directed Dooriyan (1979). Bhimsain also directed live action and animated shows for television in the 1980s and ’90s, such as the children’s comedy Choti Badi Baatein, Vartmaan, and the first Indian computer-generated animation series Lok Gatha (1992).

B R CHOPRA – One Of The Architect of Golden Era Of bollywood. His first ever production was flop, before he went on direct Afsana (1951) and then founded his own banner B R Films in 1955.

Black Sounds Beautiful is a tribute to Benny Goodman, perhaps the greatest jazz clarinetist ever, who was a great inspiration to musicians’ abroad, like our C Ramchandra and his arranger Johnny Gomes, who played the clarinet as well.[A few nuggets as exmaples]… Wo Humse Chup Hain Hum Unse Chup Hain (Sargam, 1950) ǁ Tum Kya Jaano Tumhaari Yaad Mein (Shin Shinaki Bubla Boo, 1952)….The post goes on narrate very interesting aspects of clarinet. So, Is the post a tribute to clarinet? Indeed, that is what the title is all about.

Shakeel Badayuni – The Creator of Immortal Love,Romance and Dejection Songs resisting all temptation to write about social causes.

G S Nepali-The Forgotten Lyricist  whose association with Bollywood spanned around two decades, beginning in 1944 and ended with his death in 1963

People with Books in Hindi Cinema is celebrating World Book Day by presenting 10 scenes in Hindi Films with a character is shown with a book.

April, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to Hasrat Jaipuri – Beyond Shanker Jaikishan: 1953 – 1955, in continuation with April, 2017 episode of Hasrat Jaipuri’s songs for ‘other’ music directors for 1950-1953.

We also have more excellent articles on Hasrat Jaipuri :

And, now the posts on other subjects:

Songs that tell a story – The purest form of this genre is when a character simply tells a story to a group of children without any allegorical meaning. But the more common form is when a protagonist uses this device to narrate his (or her) feelings which he/she was hesitant to tell directly.

Ten of my favourite Swimming Pool songs – was a favorite location for Hindi Films, as that provided the maximum possible liberty to show the beauties in as natural conditions as can be decently done. Placing a song along with further  justified the swimming pools.

My Favourites: Bathroom Songs are not the song that a novice singer sings in the privacy of the bathroom so as to avoid the ridicule in public. These are the songs that magnify the ‘bathing (female as well as male beauty’ (within the bounds of what Censor Board of India would permit).

Amitabh Bachchan isn’t the only one who is unhappy about the 60-year cap on copyrightArchana Nathan – Film families and producers too believe that their inheritance should be their right.

Mirror Mirror on the Wall – “Vanity and her junior partner pride are often used interchangeably, and they do mean somewhat the same thing. The post goes on to list articulations of vanity through songs in Hindi cinema. The vain actor is listed, and the lyricist too. Relevant words are mentioned where found necessary.. To cite an example from our films, there is a Lata Mangeshkar song in Samrat Chandragupta (1958), which goes thus: Mujhe dekh chaand sharmaaye, ghata tham jaaye, Main nikloon to kahe haaye—zamaana kahe haaye!” (“The moon blushes when he sees me, the cloud misses a heartbeat, and the world goes wow when I step out”). Do note that this is not praise from others. These are examples of people admiring themselves.”

Barsat Ki Raat Part 2: The Qawwali DuelsMonica Kar, with additional inputs from Peeyush Sharma, revisits the classic musical Barsat Ki Raat 1960, exploring the evergreen memorable songs and scenes of this delightful romantic story. While Part 1 dealt with the romance that began on a rainy night, Part 2 explores the multi-hued nuances of the three stunning qawwalis in the film, easily among the best musical duels the world of Hindi film music has ever seen.

Praised to the Skies is about a very high romantic flattery of uncommon kind, that would make the recipients go red with the blush.

Songs Picturised in a Recording Studio – Such songs actually are meant to underline the circumstances in the movie or the emotions, a character is going through at that point! Or the songs appear as a part of the movie, where the character is a singer. [I, of course, immediately recollect Tum Jo Hamare Meet Na Hote from Aashiq in this category.]

Never on a Sunday is a collection of songs filmed while (usually) the heroin waters Tulsi (Holy Basil) plant….Apart from this, the article needs for reading the use of two altogether different situations that is no..no on a Sunday…!!!!!!

We may never watch it but a new book lets us read the script of Satyajit Ray’s unmade sci-fi film – In 1967, Satyajit Ray wrote the script for ‘Alien’, a film that was to be produced by Columbia Pictures in Hollywood. But the ill-fated movie was never made.

Edited by Sandip Ray, Harper Collins India.

Jaane Kya Dhoondti Rehti Hai: Of a World Where Love Is Incinerated – Among the most introspective nazms in Hindi films, Jaane kya dhoondti rehti hai from Shola Aur Shabnam (1961) rises high above the apparent, inflicting a stinging comment on the rich-poor divide in society. Anand Desai and Antara Nanda Mondal explore the finer nuances of this smoldering song of catharsis, written by Kaifi Azmi, composed by Khayyam and sung by Mohd Rafi.

The ‘Bedardi’ Songs , the songs in sad and happy situations …

The Tragedy Queen and the “Nautch Queen of New Jersey” (thoughts after reading two very informative articles) – which are The Truth Behind Pakeezah Unveiled and Nautch Queen of New Jersey  respectively.

SoY has presented Best songs of 1947: And the winners are? in the series. We will commence our Micro View soon enough.

In our tradition of ending our post with article on Mohammad Rafi or a topical song of his, I have picked up songs that basically have link with the topics discussed in the present post.

Main Kho Gaya Yahin Kahin -12 o’clock (1958) / OP Nayyar / Majrooh Sultanpuri

Aji Ham Se Bach Kar Kahan Jaiyega – Aarzoo (1966) – Shankar Jaikishan- Hasrat Jaipuri

Aa Bedardi Balma – Chhora Chhori (1955) – With Lata Mangeshkar – Roshan – Kedar Sharma

I earnestly seek your suggestions / inputs / criticisms so as to make our Film Blog Festival more interesting and live.