.“Guide, The Film: Perspectives” – Lata Jagtiani & Other Writers | Blue Pencil, New Delhi, 2019 | ISBN: 978-81-939555-2-9 – review is a good by-product of COVID-19 lockdown. A quote by RK Narayan, pointedly mentioned in the post, has all the more relevance in these times – loneliness is the only truth in life. The post also adds a very perceptive conclusion that “Marco discards Rosie, who, in turn, discards Raju, and, finally, Raju discards the physical world to self-actualise”, because there is room for only one at the peak of self-actualisation.
The immortal voice: The echoing memories of KL Saigal on his birth anniversary – Sharad Dutt offers a tribute to KL Saigal on his 116th birth anniversary (4 April 1904 to 18 January 1947). A film career that merely lasted fifteen years (1932-1946), K L SAigal performed in just about 36 films and rendered about 185 songs in Hindi, Urdu, Persian, Punjabi, Bangla and Tamil, thus proving the dictum that it’s not the extensiveness but the intensity of those renderings that bequeaths the mantle of immortality.
Versatile musical genius – Kamal Dasgupta – Sharad Dutt – With a career of about fourteen years, Dasgupta have approximately 8,000 songs under his belt including 80 Bengali movies – his unique contribution was the invention of a shorthand method for swaralipi
The isolation of Bhuvan Shome is all too real in a time of social distancing – The thing about Bhuvan Shome is that actually, very little happens. In terms of its actual plot, the 96-minute Hindi movie, adapted from a Bengali story by Banaphool, could easily be a 20-minute short film. But then it wouldn’t be the classic it is, the movie that pioneered an entire cinematic movement. As a tribute to Utpal Dutt’s 91st birth anniversary, watch Bhuvan Shome not only for the pioneering example of cinema it is, but also for its strangely beautiful depiction of a different kind of loneliness.
Johnny Walker: Comedy’s Humane Face – Johnny Walker (a.k.a. Badruddin Jamaluddin Kazi) worked under a strict self-imposed regimen as to his demeanour. He was never loud. He never took recourse to slapstick and was never vulgar. He became another name for comedy in Hindi cinema. And if there were ever an idol to symbolize mirth and laughter, it would not be surprising if it resembles Johnny Walker in appearance.
Jawani Diwani was candyfloss Bollywood, but it turned many stereotypes on their head – To mark Balraj Sahni’s death anniversary (13-04-1973), here’s a throwback to Jawani Diwani, a movie that he is not known for, but that would be poorer without him. it is his character upon whom the wheel of Jawani Diwani turns. His is not the lead role, but it is the one that makes the gossamer-thin plot move forward, and he plays it with the restraint and dignity we all know him for.
Baaja that was Harmonium that was Music – Indian music has a history of a strange love-hate relationship with the harmonium. The present post presents songs which has visually appealing presence of Harmonium. I have picked up one song from this post here:
‘Mera Sundar Sapna Beet Gaya’ – Filmistan Studio – It as a banner which with its wonderful music based high quality movies mesmerized its viewers leaving an indelible imprint on their minds. It was this banner which gave us ace composers like S D Burman(Shikari, 1946) and Hemant Kumar (Anand Math, 1952) and well-known producer-director like Subodh Mukherjee. The beautiful and bubbly actress of the 1950s, Shyama had also made her debut as a heroine under this banner. Hindi Cinema’s first totally western music inspired song – Aana Meri Jaan Meri Jaan Sunday Ke Sunday – was also made under this banner.
We end the post with a few songs of Mohammad Rafi, each one of which basically has a link with the topics discussed in the present post, we have picked up:
Jaane Kahan Gayee Dil Mera Le Gayi Woh – Dil Apna Aur Pree Paaryi (1960) – Mohammad Rafi – Shankar Jiakishan – Shailendra
Phir Teri Yaad Naye Geet Sunane Aayee – Bekhabar (1964) – S Mohinder – Raja Mahendi Ali Khan
O Lakshmi O Sarsu O Sheela O Rajni… Dekho Kya Kay Laya Ye Mausam Is Bar – Kahin Aur Chal (1965) [Unreleased] – Shankar Jaikishan – Hasrat Jaipuri
Hame Pyar Karne Na Dega Zamana, Agar Ho Sake To Mujhe Bhul Jana – Pyar Ki Baazi (1967) – with Geeta Dutt – Jimmy – Indeevar
I look forward to your inputs to enrich the contents of Carnival of Blogs on Golden Era of Hindi Film Music.
Disclaimer: This monthly series of posts is my best-effort-based compilation of posts on Hindi film songs that I normally visit regularly. As I record my sincere thanks to all the original creators of these posts, any other posts that I have nor covered herein shows my lack of awareness of existence of such posts and is by no means any disrespect to their work. The copyrights to the posts, images and video clips remain the properties of the original creators.
This 3rd part of the Solo Songs of Vintage Era Male Singers for the year deals exclusively with K L Saigal’s solo songs.
Solo Songs of K L Saigal
We see presence of two KL Saigal ilms in 1946. This makes 1946 as truly a year of fag end of the dusk of the vintage era, where Sun of vintage era – K L Saaigal – almost on the brink of sunset, still shines enough to pale the nacent rsing stars of the golden era like Mohammad Rafi, Mukesh or Manna Dey.
Apart form this mundane fact, what makes our Micro View more interesting is the fact that we het to listen some much-less-heard K L Saigal songs alongwith some of those songs which are still as known as any of the peak golden era male singer songs.
K L Saigal’s Popular Songs
These songs are known and liked today as much they were liked then.
Gham Diye Mustquil Kitna Nazuk Hai Dil – Shahjehan – Naushad Ali – Majrooh Sultanpuri
Jab Dil Hi Toot Gaya Ham Jee Ki Kya Karenge – Shahjehan – Naushad Ali – Majrooh Sultanpuri
Ae Dil-e-Beqarar Jhoom….– Shahjehan – Naushad Ali – Khumar Barabanqvi
Chah Barbaad Karegi Hamein Maloom Na Tha – – Shahjehan – Naushad Ali – Majrooh Sultanpuri
K L Saigal’s Other Songs
As compared to the earlier songs, these songs can be identified as less-heard songs of K L Saigal. Perhaps, that is why, listening to these songs turns out to be an extra degree of pleasurable experience.
Alla Hoo….Khayyam Hai Allah Wala Matwala – Omar Khaiyyam – Lal Mohammad – Dr. Safdar ‘Aah’
Hare Bhare Baag Ke Phoolo Pe Riza Khayyam – Omar Khaiyyam – Lal Mohammad – Dr. Safdar ‘Aah’
Insaan! Kyo Rota Hai Insaan – Omar Khaiyyam – Lal Mohammad – Dr. Safdar ‘Aah’
Mere Sapno Ki Raani Ruhi Ruhi …. – Shahjehan – Naushad Ali – Majrooh Sultanpuri
Kar Lijiye Chal Kar Meri Zannat Ke Nazare – Shahjehan – Naushad Ali – Majrooh Sultanpuri
In the next episode, we will conclude Micro View of Male Solo Songs for 1946 with My Top Male Solo Songs.
Second Sunday in May presents an alphabetical list of actresses who did exceptional work as mothers, with just one film per person, along with the actor or actress they played a mother to… and then goes on to narrate a very depressing, but real, story of bitter war over property after Nirupa Roy and then her husband’s passing away.
Shyam: The Big Heart behind the Swashbuckling Hero – By Antara Nanda Mondal – Shyam – the screen idol of the forties with his irresistible charm, good looks, style and panache left behind a brief but redoubtable repertoire of films. Even 67 years after his untimely death, Indian cinema remembers this actor with awe and affection. Bimal Chadha, the nephew of Shyam, (eldest son of Shyam’s younger brother Harbans Chadha), and his family have lovingly treasured Shyam’s memories, photos, letters, handwritten cards, books and belongings.
Talat Mahmood: A Mesmeriser – DP Rangan pays a tribute to Talat Mahmood on his 20th death anniversary (24 February 1924 – 9 May 1998) by remembering his less heard songs.
Engagements With Shama is an interesting tale of relationship between shama and parwana (a flame and a moth) which then revolves around songs in which the flame waiting for the guests. Interestingly, the moth dones the role of a crazed lover.
Rhythms of Shankar Jaikishan – Legendary music composers Shankar Jaikishan created not only a mammoth repertoire of hit songs in Hindi film music, they also set many a style and precedent in the use of instruments to create sounds and rhythms. Anand Desai picks five songs from SJ’s ocean of music to exemplify their creativity in using classical Raags, Taals, acoustics, instruments and sounds to craft everlasting music:
G M Durrani would go down in the history of Hindi Film Music history as a singer who would have done well in the post-vintage era years, but for the sudden rise of the singers like Mohammad Rafi (in particular), Mukesh, Talat Mahmood and Manna Dey.
When we make this statement today, the statement stands out the test of period. But that is because we have advantage of the hindsight. Let us see how G M Durrani’s solo songs compare with the solo songs of the male singers of the Golden Era – Mohammad Rafi, Mukesh and Manna Dey – in the current year of Micro-Review.
Ab Kaun Hai Is Tute Hue Dil Ka Sahara– But Tarash – Ghulam Haider –
Tu Himmat Na Har Musafir – But Taraash – Ghulam Haider
Khel Nahi Gir Gir Ke Sambhalana, Rahi Dekh Sambhal Kar Chalna – Doli- Ghulam Mohammad – Majrooh Sultanpuri
Toota Hua Dil Le Ke Chale Apne Watan Se – Ek Roz – Shyam Sundar – Sarshar Salani
Ek Bewafa Ne Shish-e-Dil Chur Chur Kar Diya – Ek Roz – Shyam Sundar – Sarshar Salani
Hue Hai Qaid Muhabbat Ki Hukamrani Se – Heera – Husnlal Bhagatram – Shams Lakahanavi
I have not been able to locate the soft link to this song:
O Jaanewale Aane Ka Ikarar Kiye Jaa – Mitti – Lal Muhammad + Paignekar
Solo Songs of Surendra
Surendra did continue into the Golden years, but he is considered a vintage era actor-singer.
Ek Baar Phir Se Aaja, Dil Mein Mere Samaa Jaa – Elan – Naushad Ali – Jiya Sarhadi
Tera Jahaan Abaad Hai, Mera Jahan Barbaad Hai – Elan – Naushad Ali – Jiya Sarahadi
Kya Hai Naari Ki Shaan .. Duniya Ko Batlaunga Main – Manjhdhaar – Gyan Dutt – Shams Lakhanavi
Kyon Tu Mujh Se Rooth Gayi Aathon Pahar Dil Yahi Pukare – Manjhdhar – Gyna Dutt 0 Shams Lakhanavi
Solo Songs of K L Saigal
1947 has only one K L Saigal film – Parawana – which has 4 of his solo songs. However, the presence of only one K L Saigal film – and that to his last one- in the year, makes the year stand out as a vintage era year, as K L Saigal is one single icon that can be identified with the vintage era.
Jine Kaa Dhang Shikhaye Jaa, Kante Ke Nok Par Khada Muskaye Jaa – Parwana – Khursheed Anwar – D N Madhok
Tut Gaye Sab Sapne Mere.. Ye Do Naina Sawan Bhado Barse Sanj Savaere – Parwana – Khursheed Anwar – D N Madhok
Us Mast Nazar Pe Padi Jo Nazar, Kajre Ne Kaha Mat Dekho Idhar, Dekho Ji Kabhi Ulajh Na Jaana – Parwana – Khursheed Anwar – D N Madhok
Muhabbat Mein Kabhi Aisi Bhi Haalat Ho Jaati Hai….Tabiyat Aut Gabrati Hai Jab Pahlayi Jaati Hai – Parwana – Khursheed Anwar – D N Madhok
We will take up Micro-view of solo songs of Other Male Playback singers for the year 1947, in our next episode.
Shamshad Begum with 3G, i.e. music directors Ghulam Haider, Ghulam Mohammad and Pt. Govind Ram,is a tribute to her on her 98th birth anniversary. The previous articles on Shamshad Begum @ SoY are available @ the tag Shamshad Begum.
The bit about Parveen Babi that you won’t find in the UG Krishnamurti biography – An outtake from the graphic novel by Nicolas C Grey and James Farley imagines the actress’s encounters with the philosopher. – Depicted here are the panels, which were not used in the final publication, the authors imagine the moment when Babi became a Krishnamurti follower – Reproduced with permission from This Dog Barking: The Strange Story of UG Krishnamurti, Nicolas C Grey and James Farley, HarperCollins India.
archivist and ‘Celluloid Man’ PK Nair’s last wish was that his personal collection of books, journals and diaries be handed over the Film Heritage Foundation (FHF) to preserve after he passes on. Yesterday’s Films for Tomorrow was released recently in Mumbai to commemorate P K Nair’s 84th birthday.
Antara Nanda Mondalnotes that this book is a remembrance of a person who was obsessed with not just the stories that cinema told, but with all its facets — the form, function and the ephemera of the moving image.
After a successful career in the Indian Foreign Service and the United Nations, Pran Nevile turned to writing specializing in the study of Indian art and culture. His other books include Lahore – A sentimental Journey; The Raj Revisited; Love Stories from the Raj; Rare Glimpses of the Raj; Stories from the Raj – Sahibs, Memsahibs and Others; Beyond the Veil – Indian Women in the Raj and Marvels of Indian Painting: Rise and Demise of Company School.
In a conversation with Sundeep Pahwa in his Gurgaon home, Pran Nevile responds to a series of questions on K L Saigal drawn up by Peeyush Sharma and Sundeep Pahwa.
The April 2017 episode of Fading Memories, Unforgettable Songs was dedicated to Hasrat Jaipuri, recalling his songs for music directors other than Shanker Jaikishan. This post has covered songs from the beginning of his career till 1953.
Here are posts on other subjects as well:
Ten of my favourite ‘not-quite-duet’ songs are ‘technically duets’: not songs in which both singers play an equal part in making the song what it is, but in which the ratio is somewhat skewed or in which one singer only hummed, while the other did the singing. E.g. Phir aane lagaa yaad wohi (Yeh Dil Kisko Doon, 1963): Interestingly, Yeh Dil Kisko Doon featured not one, but two, songs that were sung primarily by a man but had a woman pitching in occasionally to add another dimension to the song. In Kitni haseen ho tum, Asha Bhonsle sings half a line here, half a line there while Rafi sings the rest of the song. In Phir aane lagaa yaad wohi, however, the female singer (in this case, Usha Khanna) has even less to sing: all she sings is three words, repeated at intervals through the song: Pyaar ka aalam, while Rafi sings the rest of the song. It works very well in this dreamy dream sequence.
We end our present episode with Dual Versions of the Same Song by Mohammad Rafi and Lata Mangeshkar – Sharada Iyer has presented 21 such songs with a small note for each song. I have picked up Mohammad Rafi’s version of Agar Bewafaa Tujhko Pehchaan Jaate…from an unheard film, Raat Ke Andere Mein (1969). The song is written and composed by Prem Dhawan
I trust you will always feel free to proffer your suggestions for making this series of posts more lively and informative….