An Afternoon Tryst with Madan Mohan and Lata Mangeshkar

Photo courtesy: Rediff.in

You really appreciate summers in Massachusetts, when Winter blesses you with 120 inches of snow, and it's followed by a cold, wet Spring. So here I am, sitting on a lazy Sunday summer afternoon, savouring a plate of roasted sweet potatoes and fresh fennel, a glass of rosé wine by my side, and this is the perfect occasion for Madan Mohan songs. I have long wanted to write a post on him, one of my favourite music directors. I'd even planned when I would post it - on his birth anniversary. But they have come and gone for two years running, and I still haven't buckled down to writing a detailed post on this master composer. 

It is with a sense of shock that I realised that his death anniversary is only a couple of days away. That wasn't enough time to do justice to a 'The Masters' post, so I decided to do the next best thing. His collaboration with Lata Mangeshkar is legendary - it is said that Lata's voice has an added sweetness when she sings her Madan bhaiyya's compositions. So why not a post on Lata Mangeshkar's songs for Madan Mohan - a perfect tribute to the maestro on his 40th death anniversary?

This wasn't that easy either; there are so many Madan Mohan compositions for Lata that I love, and winnowing through them to get just a dozen songs was a difficult task in itself. (In fact, I ended up with a baker's dozen, since I didn't quite know which song to discard from my final list.) So while these are not my only favourite Madan Mohan for Lata Mangeshkar compositions, these are the songs that suit my present whimsy.

1. Rasm-e-ulfat ko nibhaye 
Dil ki Raahen (1973)
Lyrics: Naqsh Lyallpuri

According to Naqsh Lyallpuri, it was courtesy Madan Mohan that he was paid for the other three songs in this film, and it was again thanks to the composer that he got the opportunity to write the lyrics for Rasm-e-ulfat. The lyrics were written in about four hours, and Madan Mohan, as was his wont when he was pleased, invited Naqsh Lyallpuri to dinner, preparing his signature mutton dish all the while humming the ghazal. 

There are no videos available of this song, but the film, a sensitive look at an inter-religious romance, was produced by BR Ishara and starred his wife, Rehana Sultan. With the film a flop, the songs too languished, appreciated only by music lovers who owned the records of cassettes of the score. The fact that the songs are still remembered today, reminds us that good music will eventually find a way to be remembered.   

2. Hai tere saath meri wafa
Hindustan ki Kasam (1973)
Lyrics: Kaifi Azmi

Most of us don't want to see one Priya Rajvansh; in Hindustan ki Kasam, Chetan Anand inflicted two of her on the viewers. Based on 'Operation Cactus Lily', Hindustan ki Kasam  dealt with the role of the Indian Air Force in the 1971 Indo-Pak war. Though considered one of the finest war films made in India, along with the director's previous outing Haqeeqat, with real Indian Air Force air craft including Gnats and Hunters flown by war veterans, Hindustan ki Kasam flopped miserably at the box office. 

 

Chetan Anand was a Madan Mohan regular, and the latter composed some lovely melodies for the film, including the beautiful Manna Dey solo Har taraf ab yahi afsaane hai.  This song, is a particular favourite for the way that Lata Mangeshkar has sung it, and for the music that soars and ebbs in the background, sometimes allowing the singer's voice to take over. The video I linked to is missing one verse; here's the audio version with all three verses.

3. Baiyya na dharo
Dastak (1970)
Lyrics: Majrooh Sultanpuri

The only film which fetched Madan Mohan an award - a National Award for Best Music - Dastak was a film that was far ahead of his time. A sensitive look at a newly-wed couple who discover that their new residence once housed a woman of ill-repute, and the husband's insecurities throttling his wife's talent, Dastak introduced Rehana Sultan to the Hindi film audience. 

Its box office failure also affected the chances of its music, and the score, which included Hum hain mata-ae-kucha-o-bazaar and Tumse kahoon ek baat, remained something only music afficianados listened to, and appreciated. Baiyya na dharo is quintessential Madan Mohan, with quietly complex melodies. It is an interesting song to listen to - Lata's voice flows with such effortless ease that she makes the song sound astoundingly simple. Until you try to sing it.  

4. Chand madham hai (1955)
Railway Platform
Lyrics: Sahir Ludhianvi

This is one Lata-Madan Mohan song that I can listen to any time, and not get tired of it. Originally a nazm titled Intezaar, Sahir Ludhianvi reworked it for Railway Platform, which saw the debut of a young man called Balraj Dutt, better known by his reel name of Sunil Dutt. 

It is an aching melody, with a quiet sadness threaded through the notes; the despair emphasised by the sadness of Sahir's poetry and Lata's plaintive voice. I like that Madan Mohan allows Lata's voice to shine centre stage, the music receding during the verses, only to swell and weave their magic during the interludes. 

5. Khelo na mere dil se
Haqeeqat (1964)
Lyrics: Kaifi Azmi

Ah, I must confess to having some heartburn here. I dithered for so long between Zara si aahat hoti hai, and this song, and Khelo na... won by a whisker! According to an interview with Sanjeev Kohli, his son, this was Madan Mohan's favourite song in Haqeeqat, and he was very sad that, due to the length of the film, Chetan Anand trimmed it from the final version. Due to that, there is no video of the song, unless some kind soul finds the missing reels and uploads them. I love the violins in the prelude and interludes, poignant and melodious, complementing Kaifi Azmi's lyrics that sing of the aching apprehension of a love not yet realised. Lata's clarity of notes, the softness of her voice even while touching the high notes, give a superb composition a gloss that lifts it to the status of a classic.  

6. Ja re badra bairi ja 
Bahana (1960)
Lyrics: Rajinder Krishen

Yet another song for which there is no available video, and I wonder if it was picturised on Meena Kumari? Once again, I'm struck by the way the music takes a step backward when Lata is singing, only to come into prominence during the interludes. It's almost as if there is a real jugalbandi between the composer and the singer, each one complementing the other, but never imposing themselves. Perhaps it is my husband's influence, but I'm actually beginning to recognise (some) instruments - jal tarang and flute? (Correct me if I'm wrong.)    

7.  Main toh tum sang nain milake
Manmauji (1962)
Lyrics: Rajinder Krishen

This was Madan Mohan doing what he does best - a gentle, slightly melancholic melody, where Lata's pure notes are perfectly complemented by the master composer's music; his interludes, in fact, much lighter in tone than the anguish that underlines Lata's voice. 

If you have doubts about Madan Mohan's versatility, all you have to do is to listen to Kishore Kumar's duet with Lata Mangeshkar, Ek tha Abdul Rehman or his frothy solo, Zaroorat hai zaroorat hai, from the same film. But musically, I much prefer Main toh tum sang nain milake. Its anguished lyrics too resonate better with me.

8. Lag jaa gale 
Woh Kaun Thi? (1964)

Lyrics: Raja Mehdi Ali Khan

One of the films for which Madan Mohan was at least nominated for a Filmfare Award, but which, as usual, eluded him, Woh Kaun Thi? had a whole clutch of beautiful songs. I dithered for long between Naina barse rimjhim and Lag jaa gale, but chose the latter for its sheer melody that is achingly, hauntingly sweet; its effect heightened by the allure of Lata's voice - ethereal, enticing, seductive. Her notes sound clear and pure, and she brings out a sense of the ephemeral, a desire to snatch a few moments of happiness from the Fates. 

That the song still sounds as fresh as ever more than half a century after it was originally composed is a testimony to the composer's greatness. Raja Mehdi Ali Khan's lyrics capture the 'here-today-gone-tomorrow' feeling with great simplicity, and Madan Mohan's sublime composition is certainly one of his finest. I hesitate to say this is the 'best' Lata-Madan Mohan composition, but it comes very close to being one of their best collaborative efforts, and that is saying something. One cannot, of course, ignore the lyrical efforts of Raja Mehdi Ali Khan (or Madan Mohan's arrangers) in creating this masterpiece.  

9. Mere piya se koi 

Ashiana (1952)
Lyrics: Rajinder Krishen

This is an earlier Lata, one whose voice still hadn't lost the depth it once had before film composers realised that in her, they had someone who could effortlessly soar into the higher octaves, and insisted on the high clear voice that she perfected because it dovetailed with their vision of the young, virginal heroine.

Lata is still effortlessly touching the high notes here, but her voice is 'heavier', for want of a better word. This was one of Madan Mohan's earliest films, his first film as an independent composer having been Aankhen in 1950. It is when I hear these songs that I begin to realise how fortunate we were/are that we grew up with/were introduced to such melodies...   

This is a song that never fails to bring a lump to my throat; there is such an ache in the lyrics, the music, and the voice. 

10. Saanwri soorat man bhaayi 
Ada (1951)
Lyrics: Prem Dhawan

Enough of plaintive melodies, with apologies to Wordsworth. Here is a very 'unlikely' Madan Mohan composition - 'unlikely', not because Madan Mohan never composed light, frothy songs, but because he was better known for his ghazals or his 'melodies', many of which held anguished notes. Once again, a lesser known film, not a great commercial success, and the score languished as well, though this song played quite frequently on Radio Ceylon. 

This was the first film for which Lata Mangeshkar sang for her munh-bole bhai, after a misunderstanding caused her to turn down his debut film, Aankhen. According to Lata, she first met Madan Mohan, when they recorded a duet Pinjre mein bulbul bole under Ghulam Haider's baton for Shaheed (1948). However, it was not used in the movie. Later, when Madan Mohan got a break as an independent composer, someone misled her about Madan Mohan, and she refused to sing for him. The misunderstanding was quickly cleared up by Madan Mohan, and from this film on, she would sing some of her career's finest songs under her rakhi brother's baton. 

11. Yun hasraton ke daag
Adalat (1958)
Lyrics: Rajinder Krishen

Like Haqeeqat and Woh Kaun Thi?, I had several moments of serious dithering when it came to choosing a song from Adalat. I love Unko ye shikaayat hai, but as I said when I began this post, these songs were chosen on a whim. So Yun hasraton ke daag it is! 

Adalat  was one of those films where it was far, far, better to listen to Madan Mohan's exquisite compositions than it was to actually watch the very convoluted plot meander to its tiresome end. Once again, I actually recognise the sounds of the tabla  and the sarangi in the interludes. (Yes, they are both visible in the video, but I wasn't actually watching the video when I was listening to the song. And besides, half the time there is one instrument playing in the orchestra, and quite another shown on screen. Meri veena tum bin roye is a perfect example of this.)

12. Bairan neend na aye
Chacha Zindabad (1959)
Lyrics: Rajinder Krishen

Truth to tell, I hadn't heard of this film before; neither had I heard this song before this afternoon. But it is a song that I quickly grew to like.

Anita Guha was rather lucky - she had some lovely Lata compositions picturised on her, especially in Sanjog and Dekh Kabira Roye.  I have no idea how Chacha Zindabad at the box office, but this film also had the wonderful Manna Dey-Lata Mangeshkar duet, Preetam dharas dikhao. This song, another plaint, is a masterpiece from the Madan Mohan - Rajinder Krishen - Lata Mangeshkar trio, and is well on its way to become one of my favourite songs.  

13. Woh jo milte the kabhi 
Akeli Mat Jaiyo (1963)
Lyrics: Majrooh Sultanpuri

I think this song has all the hallmarks of a Madan Mohan composition - exquisite melody, sensitive and poignant lyrics (by Majrooh, instead of Madan Mohan regular Rajinder Krishen) beautifully rendered by Lata Mangeshkar, and a film that flopped at the box office. It seems to have been the master composer's curse that many of the films for which he wove the magic of his musical genius either did not deserve his compositions, or they inexplicably failed despite a good plot line. (Or the truly great songs were edited out of the film in the final version.) 

I have never watched Akeli Mat Jaiyo, simply because it stars Rajendra Kumar and I'm wary of him, though I did like him in Mere Mehboob and Kanoon (and I'm sure there were a couple of other movies that I can remember if I put my mind to it, but the wine is clouding my faculties), but honestly, I usually steer clear of his films. But it has Meena Kumari! And Madan Mohan's songs! One day, perhaps...

And so I come to the end of this post, having just skimmed the surface of two great talents. And while Lata Mangeshkar is still alive, her rakhi brother passed away, a deeply hurt man, on the 14th of July, 1975. He was only 51. Perhaps it is of no consequence, but one of his songs from Baghi (1953) that Lata Mangeshkar always sang in tribute to her Madan bhaiyya had these words:

'Hamaare baad ab mehfil mein afsane baiyaan honge, 

Baharen hum ko dhoondengi, na jaane hum kahaan honge.'

In hindsight, it appears almost prophetic. 

*Shaking off my sudden mood of melancholy* What are your favourite Madan Mohan compositions for Lata Mangeshkar?

If anyone is interested in listening to the songs in the background, here's the playlist.