Categories
Centenary Celebrations

Sahir’s Songs of Romance – Four-film Associations

Of the 122 films for which Sahir Ludhianvi penned lyrics, in a career spanning from 1948 to 1989, the decades of 50s and 60s account for 84 films – 44 films during 1950 to 1959 and 44 films during 1960 to 1979 – which statistically works out to a huge 69%.  By the turn of ‘60s GenNext music directors were in the process of  taking over the baton from music directors of the earlier generation. The character and importance of Hindi film songs too was undergoing a major shift. In such a transforming scenario of the decade of 1970 to 1979, Sahir Ludhianvi remained active and relevant, by penning songs for 26 films (~21%). His quantitative work during 1980 to 1989 did seem to have thinning out – 8 films (~6+%).

The two leading music directors of GenNext breed, R D Burman and Laxmikant Pyarelal had adapted almost contrasting styles of music direction during the decade of 70s. Our journey of Sahir Ludhianvi’s Romantic songs brings us to Sahir’s association of four films with R D Burman, ,one of these two music directors,  in our present episode.

R D Burman, (June 27, 1939 – January 4, 1994) had yet not joined as assistant to his father in Pyasa (1957), the last film, that Sahir and S D Burman did together. However, RD was always part of SDB team, as an understudy of the father. However, when R D Burman teamed with Sahir Ludhianvi in 1973, R D Burman was firmly in his saddle with his own distinct style of rhythm composition, coupled with highly imaginative orchestration.

Tera Mujhse Hai Naata Koi YuNhi NahiN Dil Lubhata Koi…. Jane Tu Ya Jane Na, Mane Tu Ya Mane Na – Aa Gale Lag Ja (1973) – Kishore Kumar

dhuaN dhuaN tha wo sama
yahaN wahaM jane kahaN
tu aur main kahiN mile the pahle
dekha tujhe to dil ne kaha
jane tu ya jane na

dekho abhi khona nahiN
kabhi juda hona nahiN
abke yuNhi milte rahenge dono
wada raha ye is sham ka
jane tu ya jane na

The song has another version, in the voices of Shushma Shreshtha and Kishore Kumar. Sahir Ludhianvi has altered the lyrics in sync with the new situation. This version had earned acclaim of the critics too.

dekho abhee khona nahiN, kabhee juda hona nahin
ab khel mein yuNhee rahenge ham dono
vada raha yeh is sham kaa
yuNhi nahiN dil lubhata koi

vade gaye batein gaiN, jagi jagi rateein gai
chaha jise mila nahi, to bhi hamein gila nahNi
apna to kya jiye marein chahe kuch ho
tujhko to jeena ras aa gaya
jane too ya jane naa

O Thehro Meri Jaan, Waada Karo NahiN Chhodogi Tum Mera Saath , Jahan Tum Ho, Wahan Main Bhi Hoon…..Chhuo NahiN Dekho Mera Haath, Zaraa Peechhe Rakho Haath, JawaaN Tum Ho JawaaN Main Bhi HuN – Aa Gale Lag Ja (1973) – Kishore Kumar, Lata Mangeshkar

suno meri jaan, haNske mujhe yeh keh do
bheege laboN ki narmi mere liye hai
ho, jawaaN nazar ki masti mere liye hai
hasiN ada ki shokhi mere liye hai
mere liye leke aayi ho yeh saugaat

mere hi peechhe aakhir pade ho tum kyuN
ek main jawaan nahiN hoon, aur bhi to hai
oh, mujhe hi ghere aakhir khade ho tum kyuN
main hi yahaN nahiN hooN aur bhi to hai
jaao jaake le lo jo bhi de de tumhein haath
jahaN sab hai, vahaN main bhi hooN

Kaanp Rahi Main Abhi Jara Tham Jaanam, Baaki Hai Raat Abhi, Haanf Rahi Main, Le LuN Jara Dum Jaanam, Na Kar Ye Baat Abhi  –  Joshila (1973) – Asha Bhosle

tune, o re mere jaani
jo hai ji mein thani
usse daruN main, daruN main …
tu jo, pass mere aaye
jaan meri jaye
aahein bharuN main
th th trak trak th ra
th th trak trak th ra
jane de re, rok jara hath abhi
kaanp rahi main

abhi, gul hai diye sare
pass aa ja pyare
ban ja diwana, diwana
jara, mast main bhi holuN
to ye tujhe boluN
tu hai nishana
th th trak trak th ra
th th trak trak th ra
main bhi huN, tu bhi hai sath abhi
kaanp rahi main

Maine Tujhe Maanga Tujhe Paya Hai, Tu Ne Mujhe Maanga Mujhe Payaa Hai … Aage Hamein Jo Bhi Mile, Mile Na Mile Gila NahiN – Deewar (1975) – Asha Bhosale, Kishore Kumar

chhanw ghani hi nahiN, dhoop kadi bhi, hoti hain rahoN mein
gam ho ke khushiyaN ho sabhi ko humein lena hain bahoN mein
yuN dukhi ho ke jinewale, kya ye tuze pata nahiN
maine tuze manga, tuze paya hai

jhid hain tumhein to lo lab pe na shikawa kabhi bhi layenge
has ke sahengeN jo dard ya gam bhi jahaN se payengein
tuzako jo bura lage, ayesa kabhi kiya nahiN
maine tuze manga, tuze paya hai

Meri Najhar Hai Tujhpe Teri Najhar Hai Mujhpe Isi Liye Rehate HaiN Dono Khoye Huye…. Tere Bina Jiyra Mane Na Lagi Agan Hai Ye Kaisi Haye Jane Na Manwa, Ho Sajna, Ho Tere Bina Jiyra Mane Na – The Burning Train (1980) – Asha Bhosle

tere liye kaliyaN maiN chunti rahuN
aashaaoN ki malayein bunti rahuN
jage mein bhi sapno mein khoi rahuN
sote mein bhi aahat si sunti rahuN
o sajna balma mujhko kya ho gaya
ho januN na januN na, tere bina jiyra mane na
lagi agan hai ye kaisi haye janae na balam ho sajana
meri najhar hai tujhpe teri najar hai mujhpe

….. …… …… …… …… ….

bichhad ke unse na jab dil kisi tarah bahla
sharabkhane ka rukh
sharabkhane ka rukh ekhtiyar hamne kiya
na aanewaloN ka kyuN
na aanewaloN ka kyuN intajhar kyuN hamne kiya
na aanewaloN ka kyuN intajhar kyuN hamne kiya
kisi ke vade pe kyuN, aitbar humne kiya

If R D Burman has maintained his unique style, Sahir Ludhianvi, too, has, retained the basic character of his poetry, in this era of film songs in the era of more predominance of action over the content, resulting in a unique combination of two different styles blending into a creative association.

In our next episode, we will again change the track from ‘70s to the earlier decades, with Sahir Ludhianvi’s five-film association with O P Nayyar.

Categories
Centenary Celebrations

Sahir’s Songs of Romance – Three Film Associations

Sahir Ludhianvi was one lyricist who would not hesitate to take up cudgel with  anyone when the matter was the pride of lyrics. He firmly believed in, and even demanded for, the primacy of lyrics, in comparison with a music composition of the song or the delivery of the song by way of singing by a singer. He was the only lyricist in those time, who demanded, and got, royalty for his lyrics. His fight for accepting royalty almost equal to Lata Mangeshkar is already a story laced with several colours in the annals of Hindi film music history. Many of his relationships broke down over this issue – the cases of those with Jaidev or S D Burman are the more known ones. It also remains an almost accepted fact that his association with a production banner or the music director turned out to be the most bankable instrument, as can be seen in the cases of Jaidev or N Dutta, whose careers could never reach the full potentials after their association with Sahir had ended.

Jaidev (B: 3-8-1918 | D: 6-1-1987) and Sahir Ludhianvi, both, had a common period  of their youth spent in Ludhiana. So, when they got together in Joru Ka Bhai (1955) it was expected to a reunion which would be very fruitful. But, the prides of both the talented artists created the situation where the relationship remained soured from the first stage. Fate gave them another chance in Hum Dono (1961). Their work together in this film revived the hopes. But the egos clashed again in the next outing, Mujhe Jeene Do (1963), and the paths separated out. Fate intervened once again in Laila Majnu (1976) when Jaidev took up the unfinished work of Madan Mohan. But that was too late to fill up the chasm of the separation of minds.

Surmai Raat Hai Sitare Hai, Aaj Dono Jahaan Hamare Hai, Subah Ka Intezaar Kaun Kare – Joru Ka Bhai (1955) – Lata Mangeshkar – Music: Jaidev

phir yah rut yah samaaN mile na mile
aarzu kaa chaman khile na khile
vaqt kaa aitabaar kaun kare

le bhi lo ham ko apani baahoN mein
ruh bechain hai nigaaho mein
iltejaa baar baar kaun kare

nayi raat dhalati jaati hai
ruh gam se pighalati jaati hai
teri zulfoN se pyaar kaun kare

Surmai Raat Dhalati Jaati Hai, Ruh Gam Se Pighalati Jaati Hai, Teri ZulfoN Se Payar Kaun Kare, Ab Tera Intezar Kaun Kare – Joru Ka Bhai (1955) – Talat Mahmood – Music: Jaidev

tumko apna bana ke dekh liya
ek baar aazma ke dekh liyaa
baar baar aitbaar kaun kare

ae dil e zaar saugwar na ho
unki chaahat mein beqaraar na ho
badnaseeboN se pyaar kaun kare

Abhi Na Jao Chhod Kar Ke Dil Abhi Bhara NahiN – Hum Dono (1961) – Mohammad Rafi, Asha Bhosle – Music: Jaidev

abhi abhi to aai ho, bahaar banake chhaai ho
havaa zara mahak to le, nazar zara bahak to le
ye shaam dhal to le zara, ye dil sambhal to le zara
maiN thodi der ji to lun, nashe ke ghunt pee to luN
nashe ke ghunt pee to luN
abhi to kuchh kaha nahiN, abhi to kuchh suna nahNi

sitare jhilamilaa uthe,
charaag jagamagaa uthe
bas ab na mujhako tokanaa …..
na badhake raah rokna
agar maiN ruk gayi abhi to jaa na paaungi kabhi
yahi kahoge tum sadaa ke dil abhi nahiN bharaa
jo khatm ho kisi jagah ye aisa silsilaa nahiN

adhuri aas, adhuri pyaas chhod ke, adhuri pyaas chhod ke
jo roz yunhi jaaogi to kis tarah nibhaaogi
ki zindagi ki raah mein, javaaN dilo ki chaah mein
kai mukaam aayenge jo ham ko aajmayenge
buraa na maano baat kaa ye pyaar hai gila nahiN

haaN, yahi kahoge tum sadaa ke dil abhi nahiN bharaa

haaN, dil abhi bharaa nahiN nahiN nahNi nahiN nahiN

Maang Mein Bhar Le Rang Sakhi …Anchal Bhar Le Taare Ke Milan Ritu Aa Gayi….Jaegi Tu Un Sang Jo Tohe Lage Pyare, Milan Ritu Aa Gayi – Mujhe Jeene Do (1963) – Asha Bhosle, Chorus – Music: Jaidev

koi chandi ke rath mein aya hai
mere babul, mere babul ki rajadhani mein
maiN use dekhati huN chhup chhup kar
ek halachal si hai jawani mein
tadake ek ek ang sakhi re
aaj khushi ke mare, milan ritu aa gayi

surkh chudaa hai meri baaho me
surkh jodaa mere badan par hai
sab ki nazarein hai mere chahare par
aur meri nazar sajan par hai
machali jaye umang sakhi ri
dhadakan kare ishaare, milan ritu aa gayi

meri doli saja rahe hai kahar
phul bikhare hue hai raahoN mein
phul bikhare hue hai raahoN mein
jinki baho ki arazu thi mujhe
jaa rahi huN maiN unaki bahoN mein
angna lage tag sakhi ri
piya jab banh pasare, milan ritu aa gayi

Raat Bhi Hai Kuchh Bhigi Bhigi, Chand Bhi Hai Kuchh Madhdham Madhdham, Tum Aao To Aankhein Khole Soyi Hui Payal Ki Chham Chham – Mujhe Jeene Do (1963) – Lata Mangeshkar – Music: Jaidev

kisko bataaeN kaise bataaeN
aaj ajab hai dil kaa aalam
chain bhi hai kuchh halkaa halkaa
dard bhi hai kuchh maddham maddham

tapte dil par yu girati hai
teri nazar se pyaar ki shabanam
teri nazar se pyaar ki shabanam
jalate hue jangal par jaise
barakhaa barase ruk-ruk tham-tham

hosh mein thodi behoshi hai
….   ……  ……..   ……. …..
behoshi mein hosh hai kam kam
….   ……  ……..   ……. …..
tujhko paane ki koshish mein
….   ……  ……..   ……. …..
dono jahaaN se kho gae ham
….   ……  ……..   ……. …..

chham-chham, chham-chham

Madan Mohan (B: 25—6-1924 | D: 14-7-1975) was another music director who did justice to the poetry of Sahir Ludhianvi, as can be seen in just one example of radiff[1] kise pesh karuN in the set of three ghazals in the same film, Ghazal (1964), viz.

Nagma-o-sher Ki Saugat Kise Pesh KaruN – Lata Mangeshkar

Ishq Ki Garmi- e-jaazbat Kise Pesh KaruN – Mohammad Rafi, and

Rang Aur Noor Ki Baraat Kise Pesh KaruN – Mohammad Rafi

Each one is as exquisitely penned by Sahir as is composed Madan Mohan.

Chand Madhdham Hai AasmaN Chup Hai, NeeNd Ki God Mein JahaaN Chup Hai – Railway Platform (1955) – Lata Mangeshkar – Music: Madan Mohan

door vaadi mein doodhiyaa baadal
jhuk ke parbat ko pyaar karte hain
dil mein naakaam hasratein lekar
ham teraa intazaar karte hain

in bahaaroN ke saaye mein aajaa
phir mohabbat javaaN rahe na rahe
zindagi tere naamuraadoN par
kal talak meharbaaN rahe na rahe

roz ki tarah aaj bhi taare
subah ki gard mein na kho jaayein
aa tere gham mein jaagti aankhein
kam-se-kam ek raat so jaayein

Jiya Kho Gaya Ho Tera Ho Gaya, Main KahuN To Kaise KahuN, Jiya Kho Gaya – Railway Platform (1955) – Lata Mangeshkar – Music: Madan Mohan

gair hai phir bhii tu mujhko apna lage
terii har baat chahat ka sapna lage

uthate uthate jhukuN, jhukte jhukte uthuN
aur takra gai do nigahein
phul se khil gaye dil se dil mil gaye
jaise milti hai manzil se rahein

mujhko apne pe bhii laaj aane lagii
main akele mein chhup chhup ke gane lagi

Mujhe Ye Phool Na De Tujhko Dilbari Ki Qasam, Ye Kuchh Nahi….Tere HothoN Ki Tajhagi Ki Qasam –  Ghazal (1964) – Mohammad Rafi, Suman Kalyanpur – Music: Madan Mohan

najhar hasiN ho to jalve hasiN lagte hai
main kuch nahiN huN mujhe husn ki qasam

tu ek saaz hai chheda nahi kisi ne jise
tere badan mein chhupi narm ragini ki qasam

ye ragani tere dil mein hai mere tan mein nahi
parkhne wale mujhe teri sadgi ki qasam

gazal ka lauch hai tu najam ka shabab hai tu
yakin kar mujhe meri hi shayri ki qasam

Unse Nazarein Mili Aur Hijhab Aa Gaya, Zinagai Mein HasiN Inquilab Aa Gaya – Ghazal (1964) – Lata Mangeshkar, Minoo Purushottam – Music: Madan Mohan

bekhabar the umar ke taqaazoN se ham
hamko maalum na tha aise bhi din aayege
aayina dekhe to aap apne se sharamaayege
…..    ……  ……   …… ……
bekhabar the umar ke taqaazo se ham
aaj jaana ki sach much shabaab aa gaya

aankh jhukati hai kyoN saans rukati hai kyoN
in savaalo ka khud se javaab aa gaya

dil ke aane ko ham kis tarah rokate
jispe aana tha khaana kharaab aa gaya

Is Reshami Pazeb Ki Zankar Ke Sadquay … Jisne Yeh Pehnai Hai Us Dildar Ke Sadquay – Laila Majnu (1976) – Mohammad Rafi, Lata Mangeshkar – Music Madan Mohan

us jhulf ke qurbaN lab-o-rukhsar ke sadquay
har jalwa tha ik shola husn-e-yar ke sadquay

jawani mangati thi yeh hasin jhankar barsoN se
tamanna bun rahi thi dhadakno ke tar barsoN se
…..   ……    ……  …… 
chhup-chhup ke aanewale tere pyar ke sadquay

jawani so rahi thi husn ki rangin panaho mein
chura laye ham unke najani jalwe nigaho mein
….. ……   ……    …… ……….
kismat se jo huwa hai us didar ke sadquay
…       …..          …….  ……        ……..

us jhulf ke qurban lab-o-ruksar ke sadquay

najhar lahra rahi hai jism pe masti si chhayi hai
dubara dekhne ki shauk ne halchal machai hai
…..   ……   …….    ……….  ……
dil ko jo lag gaya hai us ajhar ke sadquay

Ye Diwane Ki Zid Hai…Apne Diwane Ki Khatir Aa – Laila Majnu (1976) – Mohammad Rafi – Music: Jaidev

jahaN mein quais jhinda hai
to laila mar nahiN sakati

ye da’awaa aaj
duniya bhar se
manwane ke liye aa

….  ….. ….. .   ….. …..    ……

tere dar se main khali laut jauN
kya qayamat hai
tu meri ruh ka kaa’aba
meri jaan-e- ibaadat hai

jhabeen-e-shauq ke
sajdon ko apnaane
ki khaatir aa

Sahir’s lyrics also spans over two decades with the common link of 1976 film Laila Majnu However, the subject of the film, Laila Majnu, and support of music of two music directors – Jaidev and Madan Mohan  – who could  truly lend music to his poetry, provide ample opportunity to Sahir Ludhiyanvi to maintain his elements in his lyrics even after the quite transformed period of HFM in the second half of ‘70s.

In the next episode, we will take up Sahir Ludhianvi’s romantic songs composed by R D Burman for four films they did together.

[1] Radiff (Arabic: رديف) is a rule in Persian, Turkic, and Urdu poetry which states that, in the form of poetry known as a Ghazal, the second line of all the couplets (bayts or Shers) must end with the same word/s. This repeating of common words is the “Radfif” of the Ghazal. (Source: Wikipedia)

Categories
Centenary Celebrations

Sahir’s Songs of Romance – Two Film Association(s)

Sahir Ludhianvi is regarded as a poet whose poetry typically did not have the joy or colour in the traditional sense of a poem.  His poems did follow the broad traditions of Urdu Nazm, or that of a Hind film song. If his poetry tended to ring a note of reality, his films songs sounded a very distinct note, that set Sahir’s film songs into a very different orbit. Here is a case in point:

hazār barq gire laakh āñdhiyāñ uTTheñ
vo phuul khil ke raheñge jo khilne vaale haiñ

Let thousands ice fall, lakhs of dust-storm rise
The flower shall blossom that is so destined.

Sahir Ludhianvi’s association with as many as 31 music directors, for the 122 films for which he penned songs, certainly provided Sahir to blossom into as many different shades that he was destined to blossom into.

Presenly, we will take up Sahir Ludhianvi;s Songs of Romance with the music directors with who he did films in his career. These music directors re, in the sequence of their first year of association, are: Usha Khanna, Rashid Are, Chitragupt, Kalyanji Anandji and Sapan Chakravarty

Usha Khanna (B: 1942), is a member of the rare elite club of female music directors in the Hindi films. Her first ever Hindi film was Dil Deke Dekho (1959).the two films where she worked with Sahir Ludhianvi are Hum Hindustan (1960) her second film and then Lakshmi a good 22 years later.

Hum Jab Chale To Ye Jahan Jhume, Aarzu Hamari AasmaN Ko Chume – Hum Hindustani (1960) – Mohammad Rafi – Music: Usha Khanna

Sahir has penned only this song for ‘Hum Hindustani’!

hamse hai fizaoN meein rang-o-bu
ham hai is jamiM ki aarzu
nadiyo ki ragini hamse hai
har taraf ye tajhgi hamse hai
hum chale to chal pade jhindagi

Halat Se Ladna Mushkil Tha, Halat Se Rishta Jod Liya– Lakshmi (1982) – Asha Bhosle – Music: Usha Khanna

The song is set to a mujra composition, but the lyrics have a profound sense of regret for not having been able to fight the circumstances. As such, this is not a song of romance that has happiness of love, but has the quintessential poetic bitterness of reality, and hence would stand excluded from the present series.

However, as noted in the preamble to the preamble, Sahir ‘s film songs sound a very different note even when they depict the bare realities of the world. Here is one such illustration.

chunri ranga li maine bindiya sajali maine
….. ….   …    ….. …
jhumar ki mang patti dil se saja li maine
…. ….  ….. …..
kar liye solah
kar liye solah singar singar singar
najro ki pyas bujhalo jamane walo
jalwo se dil bahlalo jamane walo

Rashid Attre (a.k.a. Abdul Rasheed Attra, B: 15 February 1919 – D: 18 December 1967) possessed varied musical talents.  His initiation to Hindi films took place in Calcutta in 1942. He moved to Bombay (as it was then called) in 1943 and worked successfully till 1947 when he migrated to Pakistan. His last film in Bombay was Shikayat, which was released in 1948. In his second innings at Pakistan, he composed for as many as 80 films.  Rashid Aatre and Sahir Ludhianvi have combined in two Pakistani films – Solah Anne (1960) and Farangi (1964). In the absence of the authentic source for the songs, I have refrained from presenting any song here.

Chitragupt (a.k.a. Chitragupt Shrivastava -B: 16 November 1917 – D: 14 January 1991) has composed music for more than 150 films, in a career spanning from 1946 to 1988 (his one film was released posthumously in 1998) but does not seem to have received the credit duet to him. Chitragupt’s two films with Sahir Ludhianvi are Vaasana (1968) and Sansar (1971).

I have picked up two songs each from Vaasna and Sansar, each presenting different mood within the shade of romance.

Ye ParabatoN Ke Dayare, Ye Sham Ka DhuaaN, Aise Mein Kyon Na Chhed De Dilo Ki DastaaN – Vaasana ((1968) – Mohammad Rafi, Lata Mangeshkar – Music – Chitragupt

jara si zulf khol do, fiza me itr ghol do
najar jo baat kah chuki woh baat munh se bol do
ki jhum uthe nigaah me bahaar ka sama

yeh chup bhi ek savaal hai, ajib dil kaa haal hai
has ik khayaal kho gaya, bas abb yahi khayaal hai
ki fasala na kuchh rahe hamaare darmiya

yeh rup rang yeh paban chamakte chaand sa badan
bura na mano tum agar toh chum lu kiran kiran
ki aaj hausalo me hai bala ki garmiya

Itni Nazuk Na Bano.. Had Ke Andar Ho Nazakat To Adaa Hoti Hai… Had Se Badh Jaye To Apni Sazaa Hoti Hai – Vaasana (1968) – Mohammad Rafi – Music: Chitragupt

jism kaa bojh uthaaye nahi uthta tumse
zindgaani kaa kada bojh sahogi kaise
tum jo halki si hawaao me lachak jaati ho
tez jhonko ke thapedo me rahogi kaise

koi rukta nahi thahre hue raahi ke liye
jo bhi dekhega voh katraake guzar jaayega
hum agar vaqt ke hamraah naa chalne paaye
vaqt ham dono ko thukraake guzar jaayegaa

Mile Jitni Sharab Main To Peeta HuN, Rakhhe Kaun Ye Hisaab Main To Peeta HuN – Sansar (1970) – Kishore Kumar – Music: Chitragupt

koi apna ager ho to toke mujhe
main galat kar raha huN to roke mujhe
kise dena hai jawab …..
main to pita huN

Raja Jani Raja Jani Na Maro Nayanawa Ke Teer Re – Sansar (1971) Krishan Kalle – Music: Chitragupt

abhi nadan hu mai najuk jan hu
mujhe aise na maro yuhi halkan hu
mujhe aise na maro aise na maro
tikhi tikhi nazroN se dekho na sawriya
…  …..   ….  …
sah na sakungi abhi kachi hai umariya kachi hai umariya
maro na katari do dhari uthe teer re raja jani dilbar jani

Kalyanji Anandji carved their path of success in the face of stiff competition from the array of top-line music directors. They have composed music for over 250 films. With Sahir Ludhianvi, they have two films – Nanha Farishta (1969) and Shankar Shambhu (1976).

O Re Sharabi Tujh Mein Ek Kharabi… Sikha Na Tune Kisi Se Pyar Karana… Tujhe Aa Main Pyar Sikha DuN – Nanha Farishta (1969) – Asha Bhosle – Music; Kalyanji Anandji

ho sake to samjhle raat kya kah rahi haiN
raat kya kah rahi hain
ye dhadkati khamoshi baat kya kah rahi haiN
kya kah rahi haiN
thoda sa ishaara ho to palbhar mein
abhi laakho rang luta duN
aa main pyar sikha duN

Bheege Hue JalwoN Par Aise Na Najhar Dalo, Dil Chahe Idhar Rakhkho Par Aankh Udhar Rakhkho.. – Shankar Shambhu (1976) – Lata Mangeshkar, Mohammad Rafi – Music: Kalyanji Anandji

in garam nigaho se jajbat bhadakte hai
ahsaas sulagta hai arman dhadkate hai
ruk jao ruk jao
ruk jao abhi dil par itna na asar dalo

soyi hui dhadkan ko khud tumne jagaya hai
sanso se pukara hai najro se bulaya hai
mat apni khatao ko
mat apni khatao ko ab aur ke sar dalo

kab hamne kaha tumse hum tum pe nahi marte
tum kuch bhi kaho tum par ilzam nahi dharte
beraham ho beraham ho
beraham ho katil ho ye katal bhi kar dalo

Sapan Chakravarty (a.k.a. Swapn Chakraborty), though known more as assistant to R D Burman, and two of the more known songs in his voice – Mere Saath Chale Na Saya (Kitab,1977) and Preetam Aan Milo (Angoor,1982) – has composed music for 5 Hindi and 15 Bengali films.

Jaaney Aaj Kya Hua Aisa Kabhi Hua Na Tha, Sanso Mein Ghule Nasha Jaisa Kabhi Ghula Na Tha, Tumhi Bolo Kya Karein Aisa Hoga Pata Na Tha – 36 Ghante (1974) – Kishore Kumar, Asha Bhosle – Music: Sapan Chakravarty

chhaya chhaya dur tak
rango ka gubbar hai
aisa toh na tha jahan
ho na ho yeh pyar hai
khawabo ka sama saja
jaisa kabhi saja na tha

Tum Bhi Chalo Hum Bhi Chale, Chalti Rahe Zindagi, Na ZamiN Manzil Na AasamaN, Zindagi Hai Zindagi – Zameer (1975) – Kishore Kumar, Asha Bhosle – Music Sapan Chakravarty

behte chale hum masti ke dhaaroM mein
gunje yahi dhun sada dil ke taaroN mein
ab ruke na kabhi pyar ka kaarwa
neet nayi rut ke rang mein dhalti rahe jindagi

Before we end our present episode, a detour to Sahir Ludhianvi- Khayyam’s two films – out 7 they did together – is in order. Phir Subah Hogi (1958) and Shagoon (1964) are the films belonging to the Golden era period of Hindi films whereas other five films belong to the post-golden era period.

Phir Na Kije Meri Gustakh Nigahi Ka Gila
Dekhiye Aapne Phir Pyar Se Dekha Mujhko

Main Kaha Tak Na NigahoN Ko Palatane Na Deti
Aapne Kai Baar Pukara Mujhko – Phir Subah Hogi (1958)- Mukesh, Asha Bhosle – Music: Khayyam

Is kadar pyar se dekho na hamari janib
dil agar aur machal jaye to mushkil hogi

tum jahaN meri taraf dekh ke ruk jaaoge
vohi manjil meri taqadir ki manjil hogi

ek yunhi si nazar dil ko jo chhu leti hai
kitne armaan jagati hai tumhe kya maalum

ruh bechain hai kadmo se lipatne ke liye
tumko har saans bulati hai tumhe kya maalum

har nazar aap ki jazbaat ko uksati hai
maiN agar hath pakad luN to khafa mat hona

meri duniya-e-mohabbat hai tumhare dam se
meri duniya-e-mohabbat se juda mat hona

Itane Qareeb Aake Kya Jaane Kis Liye
Kuchh Ajanabi Se Aap haI Kuchh Ajanabi Se Hum

Woh Ek Baat Thi Jo Faqat Aap Ke Liye
Woh Ek Baat Kah Na Sake Aap Hi Se Hum – Shagoon (1964) – Talat Mahmood, Mubarak Begum – Music Khayyam

aisi to koi qaid nahi dil ki baat par
apas ki baat hai to dare kyo kisi se ham

tum dur ho to maut bhi aaye na ham ko raas
tum paas to jaan bhi de de khushi se ham

maut ek vaham, aur haqikat hai zindagi
ik dusare ko maangege is zindagi se ham

Shagoon has two more romantic gems – ParabatoN Ke PedoN Par Sham Ka Basera Hai (Mohammad Rafi, Lata Mangeshkar) and Tum Chali Jaogi ParchhaiyaN Rah Jayegi (Mohammad Rafi).

As we once again traversed across the whole career span  of Sahir Ludhianvi, it is observed that Sahir has been able to maintain the quality of lyrics across each different music directors, even during the last, post-Golden Era. One may presume the pressures changing tastes of the cine-going public. However at no time one can say that he got away with ‘filmy-style’ lyrics even for Sahir’ songs in’70s..

We end here our present episode of homage to Sahir Ludhianvi, through his romantic songs with the five (plus one) 2-film-association music directors.

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Centenary Celebrations

Sahir’s Songs of Romance – One Film Association(s)

This is the year of Sahir Ludhianvi’s birth (March 8, 1921) centenary. As can be expected, there was an avalanche of articles in magazines, newspapers and blogs in the month of March 2021. At first glance, that gave me the impression that everything that needs to be said about Sahir Ludhianvi has been already covered in all these articles. One easily remembers many of his 724 songs, particularly of his most productive decades of 50’and ‘60s, too. As such, I was not able to figure an approach where I can get to know Sahir’s songs, in more details, more intensely, and more systematically.

As I kept pondering through the commemorative articles, two aspects attracted my attention –

  • One, apart from the Golden Era music directors S D Burman, N Dutta, Ravi, Roshan, O P Nayyar, Madan Mohan, Khayyam, Jaidev or Kalyanji Anandji, Laxmikant Pyarelal and R D Burman of second generation, or Rajesh Roshan of the still next generation of music directors, he has worked with many other music directors as well.
  • Two, he is generally remembered for his poems of rebel. However, as a lyricist he would certainly have written songs of pure romance as well.

These two aspects have led me to pen the present series of articles under the title, Sahir’s Songs of Romance. I plan to cover all music directors with whom Sahir Ludhianvi has worked in his career spanning from his inception to the world of HFM in 1948 till his passing away, including the films which were either released thereafter or even not released.

I have selected the songs that have different happy forms of expressions of love, whether sublime or mundane. Thus, the songs that have feelings of pathos or bitterness are excluded. I have also chosen not include qawwalis here.

I have studiedly maintained my intervention to the minimum. I have selected as much of the lyrics of first lines of the song that Sahir uses to set the tone of romance in the song. Then, I have also presented the selected lines from each song, which in my view, manifests Sahir’s versatility as poet and as a lyricist. Listening to the YT clip provides the charm of the entire song.

We will begin the series with Sahir’s Songs of Romance, composed by the music directors who had only one film association with Sahir Ludhianvi and then will proceed with ascending numbers of associations.

One Film Association(s)

Sahir Ludhianvi has penned lyrics for 122 films, spanning his association with 31 music directors. Of these 31 music directors, as many as fourteen music directors have had one film association with Sahir. Sahir’ first step into the Hindi Film Music world was in 1948, which, incidentally, happens to be a one film association with music director G D Kapoor. In his most prolific decade, 50s, Sahir had six one-film associations, the highest for any decade. Of these, three films were in 1953 only, just as he was settling into a successful association with S D Burman. 60s have only two one-film associations. The decade of 70s when Sahir had done 26 films, four were one-film associations. 80s has one one-film association. Thus, the present episode also provides us a vintage view of the entire career of Sahir Ludhianvi’s entire carrier.

Here, I have not been able to include any song, composed by G D Kapoor (Azadi Ki Raah Par, 1948), Nirmal Kumar (Lal Nishan, 1959) and Robin Chatterjee (Masoom, 1960). Azadi Ki Rah Par and Masoom had subjects wherein a romantic film had, in fact, no place. Lal Nishan has only one Sahir song, which is a qawwali. As such, the music directors of these films, G D Kapoor, Robin Chatterjee and Nirmal Kumar are not represented in this episode.

Meri NaghmoN Mein …. Un Mastaanaa Aankhon Ki Kahaani Hai, Mohabbat Hi Mohabbat Hai Jawani Hi Jawani HaiAlif Laila (1953) – Talat Mehmood – Shyam Sundar

Mohabbat meri duniya hai
Mohabbat shaayari meri
Mohabbat mera naghmaa hai
Mohabbat zindagi meri
Mohabbat ke sahaare…
ek nayi duniyaa basaani hai

mohabbat hi mohabbat hai
jawani hi jawani hai……

Kisi Ne Nazar Se Nazar Jab Mila Di…..Meri Zindagi Ha Ha Meri Zindagi, Jhum Kar Muskara Di Meri Zindagi – Humsafar (1953) – Talat Mahmood, Asha Bhosle – Ali Akbar Khan

zubaN se to hum kuchh na bole the lekin,…

nigahoN ne dil ki kahani suna di

.. har ek sans masti me dubi huyi hai….
khuda janta ki kya se pila di

meri taza duniya pe rang aa gaya hai
kisi ne khayalo ki mehfil saza di

Ye Mausam Ye Hawaye Ye Rut Suhani Fir Na Aayegi…. Jawani Mauj-e- Dariya Hai Jawani Jo Laut Ke Na Aayegi – Shole (1953) – Hemant Kumar, Geeta Dutt – Dhaniram

nigahe mila or ek jam lele …

jawani ke sir koi lizam lele….

nigahe mila….

nigaho ke saaye me palti hai duniya….

hasino ke hamraah chalti hai duniya…

hasino ke pehlu me aaram le lo…nigahe mila…..

Aaj Kisi Ke Dil Ke Haatho Ne, Dil Ke Taaro Ko Chhed Diya – Savdhan (1954) – Asha Bhosle – Vasant Ramchandra

aaj meri tanhaai apne aap se bhi sharmaane lagi
dil ki dhadkan nagama bankar, hontho par lahraane lagi

jo saahil ko saath baha le
un dhaaro ko chhed diya

har jhokhe se mujhko unake saath ki khushbu aati hai
tanman mein ek thandi thandi aag bikharti jaati hai
jaane kisaki shokh najar ne…

angaaro ko chhed diyaa

Dil Ki Duniya Mein Aa Ke Na Jaana … Tujhe Meri Qasam Na Rulana, Ya Rabba Teri Teri… Yaad.. – Chingaari ( (1955) – Lata Mangeshkar, Unknown male voice – Manohar

aaja pyar ke tarane gaye…
aaja aisa ek jaha basaye

chand ka diya ho
jismein tare loriya sunaye….
sapno ke dole mein jhula jhulaye hamein bag-e- sama

bhigi bhigi rat ye najare
dil ki bat kahte hai sitare
aankho me nur bhar de dil me sarur bhar de

arzu yahi hai meri justzu yahi hai
na ja dilbar na ja ankhyio me aake
o mere dilruba mere dil se
na ja hai ye dil ki dua

Kashti Ka Khamosh Safar Hai, Shaam Bhi Hai Tanhayi Bhi, Dur Kinare Par Bajati Hai Laharo Ki Shahnayi Bhi ….. Aaj Mujhe Kuchh Kahena Hai – Girl Friend (1960) – Kishore Kumar, Sudha Malhotra  – Hemant Kumar

kabse tumhaare raste pe main phul bichhaaye baithi huN
kah bhi chuko jo kahna hai mani aas lagaaye baithi huN

dil ne dil ki baat samajh li, ab munh se kya kahana hai
aaj nahi to kal kah lenge, ab to saath hi rahna hai

kah bhi chuko, kah bhi chuko jo kahna hai

chhodo ab kya kahna hai

Umr Huyee Tumse Miley Phir Bhi Jaane Kyun Aisa Lage Pahli Baar Mile HaiN – Bahurani (1963) – Lata Mangeshkar, Hemant Kumar – C Ramchandra

jhum uthaa tan, man me ek aisi baat aa gai
jiski thi lagan, ….
aaj vo milan ki raat aa gai

akele rah gaye, akhiyaan bah gayi

umr hui tumase mile phir bhi jaane kyo
aise lage jaise pahali baar mile hai

Chor Hamne Fasaya… Haye…. Ke Bach Na Paya, Aaha…. Pakad Mein Aaya – Bhai Ho To Aisa (1972) – Lata Mangeshkar – Sonik Omi

haye re kabhi nain ghumaye kabhi hoth chabaye
maine iska pyar bhadkane ko sabhi teer chalaye
maiN thi tak mein

kabse fasa aaj sabab se
ho ab to chakha du maja

Ab Se Pehle To Ye Dil Ki Haalat Na Thi…Aaj Kya Ho Gaya … Zindagi Dusaro Ki Amanat Na Thi – Nawab Sahib (1978) – Usha Mangeshkar – C Arjun

apne andaaz par naaz karte the hum

humko apni qasam
gair se baat karne ki fursat na thi

aaj kya ho gaya

Baahon Mein Teri Masti Ke Ghere, Saanson Mein Teri Khushboo Ke Dere – Kala Patthar (1979) – Lata Mangeshkar, Mohammad Rafi — Rajesh Roshan

khvabo me jisako tanha javani baraso se takati thi,

tu vahi hai

chhune se jisako sine me meri lau jag sakati thi,

tu vahi hai

kuchh khvab mere, kuchh khvab tere

 yun milate jate hai

dil khilate jate hai,

lab gun-gunate hai

sason me teri, khushabu ke dere khushabu ke dere

Ye Aankhein Dekhkar Hum Saari Duniya Bhool Jate Hain – Dhanwaan (1981) – Lata Mangeshkar, Suresh Wadkar – Hridaynath Mangeshkar

tum apni mahki mahki julf ke pecho ko kam kar do
musafir in mein girkar apna rasta bhul jaate hai

… …..  … …. ….. …. …

bahut kuch tumse kahne ki tamanna dil me rakhte hai
magar jab saamne aate ho to kahna bhul jaate hai

Mohabbat mein zuba chup ho to aankhein baat karti hai

ye kah deti hai vo baate jo kahna bhul jaate hai

With this we come to the end of the present one-film association phase of Sahir Ludhianvi’s collaboration with different music directors. As can be expected, the range of music directors, films and film subjects, is very wide. Even the span of years also spreads over Sahir Ludhianvi’s entire career. Apparently, the duets – one of the most popular and universal formats for expression of romance on the screen – is predominant in the present episode. However, we easily get to feel Sahir’s creativity, his range of words, ease of use of different languages and different forms specific to such languages. 

We wil take up Sahir’s Songs of Romance with two-film association music directors in our next episode.

Categories
Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – March 2021

Welcome to March 2021 edition of IXth Volume of Carnival of Blogs on Golden Era of Hindi Film Music.

We pay our special tribute to Sahir Ludhyanvi on his birth centenary:

Sahir Ludhianvi at 100: Why the poet and film lyricist was the original ‘Angry Young Man’Akshay Manwani – With his incisive poetry and plainspokenness, Ludhianvi consistently raised uncomfortable questions and expressed bitter truths.

Remembering Sahir Ludhianvi: Privileged to have sung his lyrics, says museBella Jaisinghani – “Do you know, it was Geeta Dutt and I who originally sang ‘Kabhi Kabhi mere dil mein’ for a Chetan Anand film in 1959-60. It got shelved and I don’t even have a recording. Khayyam Sahab’s tune was nearly the same as the one that was released later’ says Sudha Malhotra.

No other poet expressed separation in the same manner as Sahirsaab: Gulzar – I remember that he was never allowed to leave the stage without reciting his famous poem on the Taj Mahal — ‘Meri mehboob kahi aur mila kar mujhse’ — it was very, very popular with the people.

Sahir Ka Khayal Aaya: Sahir’s Anti-War Poem in a Unique PlayAntara Nanda Mondal – To commemorate legendary poet-lyricist Sahir Ludhianvi’s 100th Birth Anniversary, Delhi-based theatre group Pierrot’s Troupe’s premiered its unique monologue play Sahir Ka Khayal Aaya on March 7 at LTG Auditorium, New Delhi.

Sahir at 100: The ‘pal do pal ka shayar’ who doesn’t fade even 41 years after his deathUnnati Sharma and Shreyas Sharma – his lyrics and poetry still resonate for their philosophical tinge, symbolism & social consciousness.

We now move on to other tributes and memories:

Remembering Indeevar – Part I and Part II pay the tribute to The lyricist on the occasion of his 24th death anniversary.

50 years of Anand: a tribute – Everyone who loves Hrishikesh Mukherjee’s Anand agrees that it is one of the warmest, most life-affirming of Hindi films. As it turns fifty, the dominant memory is of the terminally ill hero, played by Rajesh Khanna, spreading cheer and inspiration, determined to live a badi zindagi (big life) even if he isn’t fated for a lambi (long) one.

50 years of Anand — Hrishikesh Mukherjee’s timeless classic is an ode to lifeUnnati Sharma – If director Hrishikesh Mukherjee had had his way, his 1971 classic Anand would have looked a lot different. One of Bollywood’s first superstars Raj Kapoor would have played the title character, and Bengali star Saumitra Chatterjee would have been Dr Bhaskar Banerjee.

Remembering Ninu Mazumdar – the composer and the singer is a tribute to Ninu Mazumdar on his 21st death anniversary (9 September 1915 – 3 March 2000)

Shailendra Sharma @ Golden Era of Bollywood has posted following memorial tribute posts:

March 2021 episode of Fading Memories, Unforgettable Songs takes up Ghulam Mohammed and His Singers: 1943 – 1949. In the month of his death anniversary, we commence an annual series that relives his known and less known songs.

Ghulam Mohammad – A Tribute lists popular songs of Ghulam Mohammed, as a follow-up to Ghulam Mohammad’s rarely heard songs.

On Basu Bhattacharya’s Anubhav: Middle Cinema, meet avant-garde, the first film in Bhattacharya’s ‘marriage trilogy’, the other two being Avishkaar and Griha Pravesh

We will now take up the articles on other subjects:

Amitabh Bachchan and India’s battle to preserve its film heritageSoutik Biswas – Shivendra Singh Dungarpur, an award-winning filmmaker, archivist and restorer, of the Film Heritage Foundation has been at the forefront of restoring and preserving Indian films efforts.


A still from the 1958 Bollywood drama Night Club, now preserved in the archive

The Perils of Alcohol: Hindi Films’ Moral Lessons and Tips for Women is a list of ‘drunken women songs’, with following caveats:

  • Caveat 1: The woman must be the heroine, not the vamp. That knocked Hoon abhi main jawaan out of the running.
  • Caveat 2: She must truly be drinking, not pretend drinking. (That took care of a host of ‘sharabi’ songs..)
  • Caveat 3: It has to be alcohol, no other forms of intoxication allowed. NoDum maaro dum or Ye aankhen uff yumma.
  • Caveal 4: All songs had to be from pre-80s’ films.

Pick of the list is Aaj ye meri zindagi– Yeh Raaste Hai Pyar Ke (1963) – Asha Bhosle- Ravi- Shakeel Badayuni.

Romancing with ‘Zindagi’ confines the list to the songs in which ‘Zindagi’ is the main subject

Songs that Shun Love – for example Jis Pyaar Mein Yeh Haal Ho – Phir Subah Hogi, 1958 – Md.Rafi and Mukesh – Khayyam; Sahir Ludhianvi

Once Upon A TimeYe Un Dinon ki Baat Hai is divided into three sections – Pen Portraits, Reminiscences and Perspectives.

On Shadow Craft, a book about the aesthetics of black-and-white Hindi cinema – For anyone who loves black-and-white cinema – and likes the idea of a creative work being encountered in its original form rather than disfigured to meet contemporary tastes – the computer-colourisation of old films is cause for teeth-gnashing.

Songs of the Unsure/Insecure Lover – for example – Main Tumhi Se Poochti HunBlack Cat, 1959 – Md. Rafi and Lata Mangeshkar – N.Datta – Jan Nisar Akhtar.

In continuation to our tradition of ending 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.

Beta Dar Mat….Aahein Bhar Mat… – Bahi Behan (1959) – N Dutta – Sahir Ludhyanvi

Log Kahte Hain Ke Hum Tum Se Kinara Kar Lein – Bahu Begum (1967) – Roshan – Sahir Ludhyanvi

Qaza Zaalim Sahi..Ye Daawa Aaj Duniya Bhar Se – Laila Majnu (1976) – Jaidev – Sahir Ludhyanvi

Hum Mein Hai Kya Ke Humen Koi Haseena – Nawab Saheb (1978) – C Arjun – Sahir Ludhyanvi

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.

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – November 2020

Welcome to November 2020 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We first pay our tributes to Soumitra Chatterjee who passed away on 15-11-2020 and Sean Connery who passed away on 31-10-2020.

Phenomenon called Soumitra – In Mrinal Sen’s Akash Kusum, Soumitra Chatterjee plays an ambitious middle-class executive, who is losing everything he values because of one bad decision. The Hindi remake Manzil starred Amitabh Bachchan, but a back-to-back viewing of both these films will tell you how nuanced Chatterjee’s turn as Ajoy was.

Soumitra Chatterjee and Aparna Dasgupta in Akash Kusum. (Express archive photo)

Soumitra Chatterjee dies at 85Sandipan Deb – Soumitra Chatterjee was an actor who never appeared in a Bollywood film, in spite of lucrative offers. He received Dadasaheb Phalke award in 2012

My friend, Soumitra Chatterjee – Sharmila Tagore on Soumitra Chatterjee: The basis of our friendship was his persona, his values, just the inimitable way he was. There was so much to learn from him, he leaves behind a rich legacy.

Satish Acharya | The Gulf News

Satish Acharya pays tribute to veteran actor Soumitra Chatterjee, and his iconic partnership with legendary director Satyajit Ray, with who he worked in 14 films together.

Bidding Adieu to a Colossus – The man who was such a huge part of Ray’s cinema won his national honours for films he did with other directors

Soumitra Chatterjee – A Habit of Our LivesAmitava Nag attempts at an objective tribute to the magnificence of a true legend

More to read

Soumitra Chatterjee (1935-2020): A pictorial tribute to the legendary actor

Shaken. And Stirred. When Connery walked away from his character after Diamonds are Forever, and Roger Moore took over the mantle, fans were dismayed, as ‘Bond’ became less dark and dangerous, and more humorous and light-hearted. [My notes: I, too, belong to the category of “bond’ films who stopped seeing these films thereafter.]

Dusted Off also takes looks at Sean Connery beyond his James Bond image while reviewing The Hill (1965).

We pick up other tributes and memories:

It’s 100 years of the egg-headed detective who stole our hearts – Sandipan Deb  [ My notes: Agatha Christie has a very forgettable connection in the form of Gumanm (1965) , which was adapted from her And Then There Was None.]

Mughals Engulf Bollywood – D P Rangan, on 158th Remembrances Day of Bahadurshah Zafar, takes a look across influence of Mughal influence over Hindi Cinema  and songs.

Kamal Barot – a forgotten voice is a rare, tribute to one of the very talented singers of Hindi Cinema on her 82nd birthday. The post covers her solos, NFSes and of course MF and FF duets, triads and traiads+

In Hum Dono, lyricist Sahir Ludhianvi turns melodrama into a meditation on love, war & life – Starring Dev Anand in a double role, along with Sadhana and Nanda, Hum Don is film takes on the classic lookalike trope, set against the backdrop of World War 2.

The Divas: Zeenat Aman – she may not be as much of an actress as the others, but it was always a pleasure to see ‘Zeenie Baby’ on screen. She had chutzpah, and serious ‘actress’ or not, she marched to her own drummer, setting the screen on fire while doing so.

In continuation of the Hemant Kumar Centenary celebrations, Hemant Kumar’s solo songs under ‘other’ batons presents Hemant Kumar as a playback singer under direction of music directors over Hemant Kumar’s career from 1951 to 1972.

Aakrosh, Om Puri’s masterclass in the art of silence, is especially powerful after Hathras – Om Puri, Naseeruddin Shah, Amrish Puri and Smita Patil star in Govind Nihalani’s 1980 directorial debut that explores caste politics and the oppression of Adivasis.

Shailendra Sharma @ Golden Era of Bollywood has posted following memorial tribute posts:

November 2020  episode of Fading Memories, Unforgettable Songs takes up Salil Chowdhury and Shailendra’s Songs Fading From the Memory: 1957. Till now we have covered the years

1953-1955 in 2018, and

1956 in 2019.

We will now take up the articles on other subjects:

How Sai Paranjpye found the ‘eccentric, lovable and unforgettable characters’ for her comedy ‘Katha’Sai Paranjpye – Edited excerpts from the renowned filmmaker’s memoir – A Patchwork Quilt – A Collage of My Creative Life, Publisher: HarperCollins India.– reveal the making of the 1982 classic

In book on early Indian cinema, a look at the romance and risk that went into filmmakingRudradeep Bhattacharjee – Debashree Mukherjee’s ‘Bombay Hustle: Making Movies in a Colonial City’ studies the transition from silent films to the talkies.

Ten of my favourite wind instrument songs expands over previous list of string instrument songs and percussion instruments to enlist the songs wherein the singer on the screen plays a wind instrument.

Female Dance Duets – Part 1 and Part 2, and Part III are now further followed by Part IV  (Public performance other than stage dance) and Part V (FF duet dance songs not placed in any foure previous parts)..

In the Micro View of Songs of 1945  we have carried forward the micro view of solo songs  of Female singers  – now in the form of Amirbai Karnataki – Part 1 and Part 2Mohantara Talpade | Rajkumari | Hamida Bano and  Zeenat Begum. SoY has concluded the review of duets in Best songs of 1945: Wrap Up 3. Aahein na bharin, shikwe na kiye kuchh bhi na zubaan se kaam liya, Badariya baras gayi us paar and  Rani khol de apne dwar, milne ka din aa gaya emerge as the joint winners for the year 1945.

In continuation to our tradition of ending 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. Presently, we remember a few Sahir Ludhianvi’s Mohammad Rafi songs –

Hum Jab Chale To Ye Jahan Jhoome – Hum Hindustani (1960) – Usha Khanna

KahiN Qaraar Na Ho Aur KahiN Khushi Na Mile – Chandi Ki Deewar (1964) – N Dutta

Sun Ae Mehzabeen Mujhe Tujhse Ishq Nahin – Dooj Ka Chand (1964) – Roshan

Kya Miliye Aise Logon Se – Izzat (1968) – Laxmikant Pyarelal

Door Reh Kar Na Karo Baat Kareeb Aa Jao – Amaanat (1975) – Ravi

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.

Categories
Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – March 2020

Welcome to March 2020 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

March was the month when India celebrated its traditional festival of Holi.

The month also celebrated International Women’s Day on March 8.. SoY has scripted Nayika Bhed in songs. The aesthetics classification of women has been an important part of aesthetics in our ancient literature and arts, such as poetry, drama, dance, music, painting and sculpture. The post has listed Hindi films songs on the basis of the eight types of Heroine, based on अवस्था – The state of her being -, are most commonly referred as Nayika Bhed, e.g. Solah singaar sajaaungi, main piya ko rijhaaungi, main waari waari jaaungi by Shanta Apte from Panihari (1946), music SN Tripathi w.r.t. वासकसज्जा (One dressed up for union).

Incidentally, this Shanta Apte song also gives an opportunity to connect to a full-fledged Shanta Apte tribute post – ‘The stormy petrel of the Indian screen’: Shanta Apte – on SoY last month.

Main Chup Nahin Rahoongi: Ten ‘Outspoken Woman’ Songs also is an article on the occasion of International Women’s Day. Lara lappa lara lappa (Ek Thi Ladki, 1949) has strongly advocated gender equality way back in 1949.

We pick up other tributes and memories:

As it happens, we have some excellent posts  covering the past epidemics in different parts of world, as captured in Hindi films-

Looking Back at My Old Review of Dr. Kotnis Ki Amar Kahani – This was a film about a doctor who goes to China to help cure a plague, which incidentally is now at the root of coronavirus pandemic.

‘No harm in asking him, is there?’ How Rajendra Kumar got Bertrand Russell to be in a Hindi movie  – Edited excerpts from the biography ‘Jubilee Kumar’ reveal the story behind the Nobel laureate philosopher’s cameo in the 1967 movie ‘Aman’.

Dharti ke Lal – Earliest Depiction of the Great Bengal Famine – The Great Bengal Famine, a holocaust that obliterated nearly 3 million Bengalis in a span of a year or so is mostly forgotten and undiscussed. The first film to illustrate the tragedy of the famine was Dharti Ke Lal (Children of the Earth, 1946) by Khwaja Ahmad Abbas. Amitava Nag looks back at this classic.

A scene from Dharti Ke Lal

A Norwegian folk song that is cathartic, sublime and upliftingShobha Mudgal – As we seal borders and lock ourselves in fearing for the survival of the human race, this is a voice (singing about Heiemo, a girl who sings with such a perfect voice that even the water-spirit Nykkjen falls in love with her) that I find cathartic, sublime and uplifting.

In the Musical Memory of Meena Kapoor is in fact a second part of comprehensive post on Meena Kapoor on her first death anniversary 23 November 2018 by Shalan Lal.

Nutan’s understated yet powerful performance in Bandini is a masterclass in acting – Set in pre-Independence India, Bandini tells the story of Kalyani (Nutan), a young woman who has been sentenced to life in prison after she murders the wife of her lover, Bikash (Ashok Kumar).

7 Films That Prove Shashi Kapoor Was Way Ahead of His Time – Looking back at a collection of the actor’s and producer’s way-ahead-of-the-times films, when it was still possible to fly over the cuckoo’s nest – Dharmaputra (1961), Sidhdhartha (1972), Satyam Shivam Sundaram (1977), Kalyug (1980), New Delhi Times (1984), Utsav (1984), Sammy and Rosie Got Laid (1994)

Shashi Kapoor in Junoon is a masterclass in how to humanise an unlikeable man – Shyam Benegal’s historical drama based on a Ruskin Bond story, The Flight of Pigeons,  brings together the very best of Hindi cinema.

Shailendra Sharma @ Golden Era of Bollywood has posted following memorial tribute posts:

In our Manna Dey birth centenary series, after Manna Dey and his contemporary lead actors, we have taken up Manna Dey’s Comedy Songs. covers Manna Dey- In the January 2020 episode we began from the beginning of Mehmood’s acting career, till Ziddi (1964), and in February, 2020 episode, the songs composed by Roshan, Hement Kumar and Chitragupta had been covered . In the present, March 2020 episode we take up Mehmood’s Manna Dey comedy songs composed by R D Burman

March 2020  episode of Fading Memories, Unforgettable Songs takes up S N Tripathi: Unremembered music director of remembered songs: 1961 – 1968Prior to this, we have covered S N Tripathi’s unremembered songs

from 1941 to 1950 in 2017,

from 1951 to 1956 in 2018, and,

from 1957 to 1960 in 2019.

We will now take up the articles on other subjects:

Humour and fantasy in Arvind Desai and Chhoti si Baat is about two scenes from Hindi films of the 1970s, about the use of soft weapons against privilege

Mr India may have been played by Anil Kapoor but Sridevi was the best thing about it – the movie’s most iconic line, said to perfection by a wonderfully creepy Amrish Puri, reportedly wasn’t even going to make the final cut, but Javed Akhtar, who had written the film with his long-time writing partner Salim Khan before they split, insisted on it. And thank god for that, because what even is Mr India without “Mogambo…khush hua”?

Sahir Ludhianvi biopic to be adapted for the screen = The treatment will be based on Akshay Manwani’s biography ‘Sahir Ludhianvi: The People’s Poet’.

Also read:

‘I have lit fires with songs of rebellion’: Memories of Sahir Ludhianvi’s college years

Remembering Nehru, Gandhi, Ghalib: Four poems by Sahir Ludhianvi

The unspoken passion of Sahir Ludhianvi and Amrita Pritam

Sahir Ludhianvi’s hard-hitting, haunting words make ‘Phir Subah Hogi’ relevant even today – The 1958 Raj Kapoor and Mala Sinha-starrer was all about criticising the government, talking about cruel realities and helping the disadvantaged. BJP leader L.K. Advani revealed that he and Atal Bihari Vajpayee, who would go on to be prime minister, had once sought comfort in this film after an election loss in 1958.

A podcast about Gol Maal and other Hindi-film comedies – It centres on Hrishikesh Mukherjee’s Gol Maal, and such other themes of masquerade and self-discovery,  the contributions of Utpal Dutt and Rahi Masoom Raza, and the spectrum of comedy in Hrishi-da’s films (from Deven Varma’s deadpan “shabd-phenk” to the broad slapstick Biwi aur Makaan).

Rajendra ‘Jubilee’ Kumar’s lonely years: ‘I helped all those I could. Where are they today?’– In Jubilee Kumar, Seema Sonik Alimchand writes about the life of one of Bollywood’s biggest superstars and the year he almost had no films.

Nasir Husain’s Hum Kisise Kum Naheen is all about the music = R.D. Burman, Majrooh Sultanpuri, Kishore Kumar, Asha Bhosle, Mohd Rafi — this 1977 superhit was powered by its all-star music team.

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:

Jis Pyar Mein Ye Haal Ho – Phir Subah Hogi (1958) – with Mukesh – Khayyam – Sahir Ludhyanavi

Jiyo To Aise Jiyo Jaise Sab Tumhara Hai – Bahu Beti (1965) – Ravi – Sahir Ludhyanavi

Kya Hua Tera Wada – Hum Kissi Se Kum Nahi (1977) – R D Burman – Majrooh Sultanpuri

Ishq Ne Sar Par Todi Quayamat – Junoon (1978) – Vanraj Bhatia – Jigar Morarabadi

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.

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – January 2020

Welcome to January 2020 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

The first post is about the end of the year –

Oh, what a world – As we get close to the end of the 2010s, it’s difficult to think about the state of the world. The post ends 2019 with four songs of 1940s/50s period of Indian Cinema. About different times, of course (with one even being about ancient times – supposedly), but also – needless to say – very relevant to our own.

Songs of Yore opened the New Year with some nostalgia of Americana @ Romancing the Route 66.

And, now the major event of January 2020 –

January 14, 2020 marked the 101st birth anniversary of poet and social activist Kaifi Azmi. Google Doodles has paid tribute to the legend who was one of the pioneers to bring Urdu poetry to mainstream Hindi films.

Google Doodle pays tribute to famous poet and songwriter Kaifi Azmi on 101st birthday

Google Doodle celebrates Kaifi Azmi’s 101st birth anniversary: Here are some of his best Bollywood songs

दिल को गहराई तक छूने वाले हैं कैफी आजमी के ये शेर

Remembering Kaifi Azmi’s dialogue in verse for the classic Hindi film ‘Heer Raanjha’ – The Progressive writer and film lyricist left his distinctive stamp on the 1970 adaptation of the Punjabi romance. – Chetan Anand’s Heer Raanjha was set in a rugged landscape and revolves around hearty village folk. Kaifi Azmi not only wrote the dialogues of lead charchters but also those of rest of ensemble cast as well.

We pick up other tributes and memories:

Mehfil celebrates ‘C Ramchandra’ Month! with the opening post on his songs that he himself sung, in the name of Chitalkar. This is followed up by –  C Ramchandra – The 1940sC Ramchandra – The 50s (Part I) and C Ramchandra – The 50s (Part II).

Utpal Dutt Today: How would the thespian have fared in the age of Netflix and Chill?Gautam Chintamani – It’s 26 years since Utpal Dutt passed on. Would he have achieved the same glory today with online platforms, where ‘content’ and ‘actor’ surpass the ‘star’, but have a much shorter screen life?

Flawed Genius – Sahir Ludhianvi was many things all at once – a failed romantic, a bitter cynic, a master egotist, a generous mentor, a firm friend. Above all, he was a stellar poet and master lyricist. This, then, is the man on whom the book – Akshay Manwani’s Sahir Ludhianvi: The People’s Poet (Harper Collins Publishers India; ISBN: 978-93-5029-733-9; Rs.399; 320 pages) – shines a spotlight.

The World of Javed Akhtar: 124 Rare Exhibits to Celebrate the Legend’s 75th Year  –  Silhouette Magazine goes backstage to speak to the curators, Pradeep Chandra and S M M Ausaja, and bring an exclusive preview.

Shailendra Sharma @ Golden Era of Bollywood has posted following memorial tribute posts:

In our Manna Dey birth centenary series, after Manna Dey and his contemporary lead actors, we took up Manna Dey’s Comedy Songs, starting with Manna Dey’s songs for Mehmood. The January 2020 episode explores Manna Dey- Mehmood bond from the beginning of Mehmood’s acting career, till blossoming into comedy songs in 1964 with Ziddi songs.

C.I.D. — when Bollywood musical met noir in signature Dev Anand styleSamira Sood -The 1956 classic also introduced one of Hindi cinema’s most loved actors – Waheeda Rehman. Ask anyone born after 1980 and they’ll tell you — if at all they’ve heard of C.I.D. — that the one thing about the movie that has immediate recall is the song Yeh Hai Bombay Meri Jaan.

RD Didn’t Get His Due, But He’ll Never Be Forgotten: Asha BhosleKhalid Mohamed – RD Burman passed away at the age of 54, on 4th January, 1994. And it was only posthumously – or should we say belatedly? – that he has been acknowledged as a music wizard.

January 2020  episode of Fading Memories, Unforgettable Songs takes up Jaidev: Brilliant, But Underrated, Composer:  1971, in continuation of the series on Jaidev. The first two articles related to Jaidev’s songs from  1955 to 1963 and from 1964 to 1970 .

Dr. Pradeep Sheety adds: Lata’s NFL Jayate Jayate Jayate … was originally a Kannada film song by Manna Dey, Amber Kumar and Krishna Kalle from the movie KALPAVRIKSHA,1969, with Jaidev’s music. Lyrics by Ku Ra Seetaram Shastri. A lovely song. Unlike the patriotic Hindi version, it is about the role of truthfulness and honesty in life.

We will now take up the articles on other subjects:

Smita Patil’s portrayal of a flawed, messy actor in Bhumika is fascinating and powerfulSamira Sood – Based on memoir of Marathi actor Hansa Wadkar, Smita Patil’s Bhumika, a film by Shyam Benegal, is a brutal & unflinching look at the life of a female movie star in Bombay. Not only Patil’s performance, but also the sensitive writing (Shyam Benegal and Girish Karnad, with Satyadev Dubey for dialogue) shine through.

Amol Palekar interview: ‘The challenge is always to try something else’Nandini Ramnath -One of Indian cinema’s best-loved actors is back with a new play after 25 years. What will it take to make him return to the movies?

Surrogate Songs – The purpose of such songs was really to focus on the lead actors who were quietly enjoying the song and dance, wishing in their hearts they could do it themselves. We will draw upon one song to understand the theme –

Bichhade huye milenge phir kismet ne gar mila diyaPost Box 999 (1958) – – Mohammad Rafi and Asha Bhosle – Kalyanji-Virji Shah – PL Santoshi

To which I have added my own submission –

Jaane Kahan Gayi – Dil Apana Aur Preet Parayai (1960) – Mohammad Rafi – Shankar Jaikishan – Shailendar

Night Songs By Shailendra, by Swapneel Sathe, is a night tour enjoying various flavors of emotions depicted from some selected night songs from the pen Shailendra.

Shabana Azmi is what Sarat Chandra Chattopadhyay thought of when he wrote SwamiMadhavi Pothukuchi – The 1977 film is an excellent tribute to Sarat Chandra Chattopadhyay’s book, which put the woman and her desires and angst in the forefront.

“Essayed Sisyphean roles with effortless ease” is a short review – for India Today – of a new book about Dilip Kumar – Dilip Kumar: Peerless Icon Inspiring Generations (by Trinetra Bajpai and Anshula Bajpai).

Chashme Buddoor, aka Saeed Jaffrey, and the art of making a small role fill the screenSamira Sood – The 1981 rom com and buddy film starring Saeed Jaffrey shows you don’t have to be centre stage or mainstream to have an impact.

Actor Saeed Jaffrey on the sets of Chashme Buddoor with Deepti Naval and Sai Paranjape | Twitter: @FilmHistoryPic

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:

Apni Chhaya Mein Bhagwan Bitha Le Tu Mujhe – Insaniyat (1955) – C Ramchandra – Rajinder Krishna

Tum Jahan Jaaoge – Chor Darwaza (1965) – Roy Frank –  Kaifi Azmi

Kitana Rangeen Hai Ye Sama – Picnic (1966) – With Asha Bhosle – N Dutta – Sahir Ludhyanavi

Tere Kooche Mein Tera Deewana  – Heer Raanjha (1970) –  Madan Mohan – Kaifi Azmi

Chanpa Khili Daar – Faisla (1974 /1988) – with Asha Bhosle – R D Burman – Majrooh Sultanpuri

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.

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music, March 2019

Welcome to March 2019 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

A tribute to Shashi Kapoor on his 81st birth anniversary: The many faces of the legendary Shakespeare Wallah

Rekha speaks through her eyes, which made her my choice for Umrao Jaan: Muzaffar Ali -For every art enthusiast, Muzaffar Ali’s home is a treat to the eyes. Speaking with him about his films while laying focus on his best-known work, Umrao Jaan (1981), we got to know a bit more about him and his process of bringing poetry and art to the 70mm screen and more.

Rarely Heard Ghulam Mohammad – on 51st death anniversarythe lyrics formed an important part, then the actual tune.

Remembering Ravi through the songs that he wrote, Lata sings for Ravi and The silent giant-killer and the man of many-splendoured talents: Ravi are rich tributes to a music director who did not get credit befitting his success.

Chalo Ek Baar Phir Se Ajnabi – Gumraah – Strangers Once Again – the situation in life becomes such that you start feeling it is better to be strangers than being lovers. Music composer Ravi takes all the care to handle the delicate situation with utmost care. He uses only the piano (violin and percussion is just an accompaniment) and Mahendra Kapoor’s voice to convey Sahir’s thoughts.

The real mesmeriser Talat Mahmood: His best non-film songs capture some of the most remembered non-film songs of Talat Mahmood.

The Story Of A Sindbad – Shankarrao Biniwale, is narrated to us by Kaushal Inamdar in Marathi here. The post is English translation of that article. Shankarrao Biniwale was an accomplished violinist, who went around the world and explored the origins of violin.

Shailendra Sharma @ Golden Era of Bollywood has posted following memorial tribute posts:

Farooq Sheikh – A Man For All Seasons, who worked with directors like M S Sathyu, Satyajit Ray, Muzaffar Ali, Sai Paranjape, Hrishikesh Mukherjee, Yash Chopra, Ketan Mehta, Ayan Mukherjee.

On Kundan Shah, Paigham, and Vyjayanthimala as the comic foil recollects a lighthearted scene in the 1959 Dilip Kumar-Vyjayanthimala-starrer Paigham

Flashback series: human pain and human comedy in Boot Polish (1954) recommends seeing the film because two child actors get top billing in a 1950s Hindi film… and earn it

March, 2019 episode of Fading Memories, Unforgettable Songs takes up S N Tripathi: Unremembered music director of remembered songs :1957 – 1960. This is the 3rd article in the series on S N Tripathi. First two covered his songs from 1941 to 1950 and from 1951 to 1956 respectively in 2017 and in 2018.

And, now the posts on other subjects:

Barahmasa in film songs = Literally meaning ‘twelve months’, in music it refers to folk or light classical form of north and east India, sung primarily in the rainy season. E.g.

His girl Friday: Sanjeev Kumar and the ‘computer’ in Trishul, an economical, unobtrusive little moment in a larger-than-life film. The scene is where we are introduced to the middle-aged version of the businessman RK Gupta, played by Sanjeev Kumar, and his superbly resourceful secretary Geeta (Raakhee). The office scene in Trishul isn’t subdued or quirky, but it performs a comparable function – telling us something important about a character, a situation and an environment with a few minute brush-strokes.

Songs At The Opening Credits Of The Movie – Title songs carried a gist of that particular film and the songs at the opening credits sort of served as the preamble of that particular film. Though at times both combined as one and solved both purposes. Opening credit songs might not essentially have the title of film in it. Sometimes the film might also have both, opening credits having the title as well as independent title song. We have picked up a few examples form the article:

Dhund,

Umrao Jan

Rang Birangi – serves the purpose of title songs and an opening credit song.

Somewhat Cross-dressed Women ‘Romancing’ Women in Performances: Ten Songs from which I have picked out a few, which are relatively less-known-

Few Marathi songs by prominent Hindi singers has listed Marathi songs sung by Geeta Dut, Sudha Malhotra, Mukesh, Manna Dey, Hemant Kumar and Moahammad Rafi, obviously excluding Lata Mageshkar, Asha Bhosle and Suamn Kalyanpuar. The post ends with a note on Lata Mangeshkar’s connection with Marathi cinema – a music director. Sixty-nine years back Lata Mangeshkar debuted as a Music Director in the Marathi movie Ram Ram Pavhana (1950). It is to be noted that in her first movie as a composer she used her own name. And it’s not clear why in the later four Marathi movies she gave music under the pseudonym- Anandghan. Anonymity I guess.  Her music was one of the 8 state awrds that Sadhi Manas got.

How SD Burman became as famous as the singers he worked with despite his thin, nasally voice – In edited excerpts from a reissued biography – Incomparable Sachin Dev Burman –  on SD Burman (known as Dada), H Q Chowdhury reopens the debate: was he a singer-composer or a composer-singer?

Who wrote the classic Hindi film ‘Aandhi’? And was it based on Indira Gandhi? Gulzar clears the air – In edited excerpts from an interview, by Saba Mahmood Bashir, in ‘Aandhi Insights into the Film’, Gulzar reveals how his Suchitra Sen-Sanjeev Kumar starrer got made.

Khilte Hain Gul Yahan – Sharmilee – Of Roses And Romance – One version rendered by Kishore Kumar and the other by Lata Mangeshkar. One is happy, the other is sad. The opening lines of both songs depict the sense of the opposites in the songs.

Songs with a Surprise! Share the opening lines by chance. The post has put up quite demaninding filters for the selection of these songs

    • The words should be from the opening lines of the songs
    • The songs should share at least four words.
    • The songs should not have been inspired from a well known ghazal or a bhajan,
    • The songs should be from two different films

Teri Dhoom Har Kahin – Kala Bazaar – Money Matters is a praise money situation –

Sooraj ke jaisi golaai
Chanda ki thandak bhi paayi
Thanke toh pyare duhai
Lai lai lai lai
Teri dhoom har kahin
Tujh sa yaar koi nahin
Hum ko toh pyare tu sab se pyara

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

Duniya Ki Haalat Naram Naram, Halwa Chhodo, Poodi Chhodo, Bajhiya Yeh Kha Lo Garam Garam–  Guzara-1(954) – Ghulam Muhammad – Raja Mehdi Ali Khan

Ghoda Peshauri Mera Tanaga Lahori  Mera –  Pyar Ka Bandhan (1963) – Ravi – Sahir Ludhyanavi

Beta Jamure Kah De Duniya Ko Lalakar Ke – Biradari (1966) – With Manna Dey – Chitragupta – Prem Dhawan

Kya Hua Maine Agar Ishq Ka Izahar Kiya – Yeh Dil Kis Ko Doon (1963) – with Asha Bhosle – Iqbal Quereshi – Qamar Jalalabadi

I am also not able resist temptation to recall one of my most favorite song – Ghulam mOhammad creation.

Hai Bas Ke Har Ek Unke Ek Ishare Pe Nishan Aur – Mirza Ghalib (1954)

I earnestly solicit your inputs for further broad-basing our cache for the content for our carnival of blogs on the 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.

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Carnival of Blogs on Golden Era of Hindi Film Music

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

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

We begin our March, 2018 episode with two obituaries. One is in memory of Sridevi and the other one is in memory of Shammi..

  • No One Could Have Expected This Loss – RIP, Sridevi
  • Sridevi’s superior southern style – Sridevi recast her gamut of talents professionally as an actor to comply with her limited northern brief
  • The Moonlight Has Dimmed – Sridevi was the quintessential director’s actress, molding herself like clay into what her directors demanded of her. Director Shekhar Kapoor once remarked that Sridevi made love to the camera. The quiet, reserved woman who sat quietly in one corner of the sets, makeup on, waiting for her co-stars to arrive or the shot to be ready, would transform once the director called ‘Action’.

Annu Kapoor on Shammi: In spite of setbacks, she always smiled – Born as Nargis Rabadi in 1931 in a Parsi family Shammi debuted against Sheikh Mukhtar in Ustad Pedro(1949), then as one of the lead actors of Malhar (1951). The film didn’t do well commercially even though she got noticed. Soon after, she was cast along with Dilip Kumar and Madhubala in Sangdil (1952).

We recall here one of her forgotten appearance in Musafirkhana (1955)

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

Remembering Baby Naaz, Sridevi’s voice in her early Hindi filmsSoumya Rao – Despite achieving acclaim early on as a child actress, Salma Baig spent her later years lending her voice to the cinematic dreams of others.

Chalo Ik Baar Phir Se: The Versatility of Ravi – The trademark of music director Ravi’s compositions? They are hummable, memorable and as alive in our memories as yesterday. Monica Kar looks at the phenomenon this giant, prolific, composer was and what he leaves behind.

Music Composer Ravi & The Golden Age Of Hindi Cine Music – A Suresh Sharma Film, showcasing his last composition

As a matter of mere coincidence, the choice of Romantic Songs by Sahir, in the course of celebrating Sahir Ludhyanavi’s 96th birthday (on 8th March, 2018),  happens to be duets. Here is one of the rare duets from the post: Chand Bhi Koi DeewanaPyas (1968) – Asha Bhosle & Mahendra Kapoor – N Datta

Recalling a Fine Actor and Poet – Sajjan (Lal Purohit), born in 1921 was a rare combination of actor and a poet. He wrote several geets that Talat Mahmood crooned in his soft voice:

‘The New York Times’ obituary of Madhubala notes her tragic life, compares her to Marilyn Monroe – The Madhubala tribute, published by ‘The New York Times’, is part of ‘Overlooked’, a series of obituaries of 15 trailblazing women.

Riding in Masculine Style  celebrates launching of ROXOR by Anand Mahindra from their US plant. M&M’s Jeep was one popular vehicle which actors have even been singing songs while driving it too. The post lists some cases of actors behind the wheel in a Jeep during a song, whether they themselves were lip-syncing or another actor was, or even if the song was being filmed background

Nasir Hussain-The King Of Musical Hits (16 November 1926 – 13 March 2002) had a ear for good, popular music.. He started his career as story writer in 1948. The famous films he wrote for Filmistan include Anarkali (1953), Munimji (1955), and Paying Guest (1957)

March, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to: S N Tripathi: Unremembered music director of remembered songs:: 1951 – 1956 in continuation with March, 2017 episode of his songs from 1941 to 1950.

And, now the posts on other subjects:

Parody songs: Part 1 and Part 2 are single parody songs and medley of songs respectively.

Songs in the praise of Nature lists the songs that mainly describe the beauty of nature, and also some may describe its connection to the character singing the song. E.g.

Mausam Hai Jawan – Tower House (1962) – Asha Bhosle – Ravi – Asad Bhopali

The Trio of DEV ANAND,DILIP KUMAR and RAJ KAPOOR in 1960s combined to formed the trilogy of the Indian cinema in the 1950’s and 60’s. All the three started their career as Hero before Independence. In the 1950s all of them were in the peak of their career. Each had their own brand value and distinct persona and loyal following. ..

Love gets spooky in ‘Lag Ja Gale’ from the suspense thriller ‘Woh Kaun Thi?’Nandini Ramnath – The song from Raj Khosla’s classic features Sadhana at peak etherealness. A remake of Raj Khosla’s Gothic-style suspense thriller Woh Kaun Thi? (1964) is on the cards. To be produced by KriArj Films, the movie will retain two of the biggest reasons behind its success: the songs Naina Barse Rimjhim Rimjhim and Lag Ja Gale.

Bollywood’s Connection with Goa – Goans played a major role in Bollywood music until the 1980s,Initially only Goans, having trained in Western music, knew how to compose music for orchestras, with a multitude of instruments playing in harmony.The biggest connection with Goa is Lata Mangeshkar and Asha Bhosle who are from Goa.

‘Devdas’ to ‘Daas Dev’: What torch songs say about Indian cinema’s favourite tragic heroArchana Nathan – There’s a song to fit every mood in every adaptation of Sarat Chandra Chattopadhyay’s classic novel.

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, i.e. two songs filmed on Shammi but wherein Mohamamd Rafi playbacks and one of the many Ravi- Sahir compositions for the year 1963. The second of the Rafi song on Shammi also is penned by Sahir Ludhyanvi ::

Thoda Sa Dil Lagaa Ke Dekh – Musafirkhana (1955) – with Shamshad Begum – O P Nayyar –  Majrooh Sultanpuri

This is an Asymmetric Duet where Rafi is in the support role.

Jahan Jahan Khayal Jata Hai, Wahan Wahan Tumhi Ko Paata Hai – Bade Sarkar (1957) – with Geeta Dutt – O P Nayyar

Itni Haseen, Itni Jawaan Raat Kya Karein – Aaj Aur Kal (1963) – Ravi – Sahir Ludhyanvi

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