My
previous post came about because Hemant Kumar’s demise coincided with Dev
Anand’s birthday. Coincidentally, nine out of ten songs in that post were
composed by SD Burman. Today is SD Burman’s birth anniversary. It is also the
birth date of another man, who was closely associated with him – lyricist
Majrooh Sultanpuri.
SD with Majrooh and Anand Bakshi
Photo: Courtesy Hamara Photos; Shashank Chickermane
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Majrooh Sultanpuri was one of the famous quartet of lyricists that
included Sahir Ludhianvi, Shakeel Badayuni and Shailendra. While
Majooh and indeed, SD himself, are worthy of posts of their own – posts for
another day – I decided that a shared birthday was too good an opportunity to
pass up. Especially since, following his fallout with Sahir Ludhianvi after Pyaasa, SD shared a very close and
successful working relationship with Majrooh.
Here,
I present a selection of favourite songs that were penned by Majrooh Sultanpuri
and set to tune by SD Burman. The list has been divided into 'songs picturised on Dev Anand' and their 'songs for other actors' because it so happened that many of the songs on this list were picturised on the actor.
Paying Guest (1957) / Singer: Lata Mangeshkar
Though
they had earlier worked together for a few songs (Geeta Dutt’s Woh sapne wali raat milan ki from Pyar (1950) comes to mind), Paying Guest marked the beginning of a
closer association, one that would last more than a decade and a half.
Chand phir nikla is one of my personal favourites as much
for melody and the words as for Lata Mangeshkar’s rendition. To me, it’s one of
the finest intezaar songs ever
written. So sure is Shanti (Nutan) that Ramesh (Dev Anand) will not come that
her heartbreak is reflected in the words –
Ye raat kehti hai woh din
gaye tere
Ye jaanta hai dil ke tum
nahin mere
Khadi hoon main phir bhi
nighaahein bichhaye
Main kya karoon haaye, ke tum
yaad aaye
The
heartbreak is mixed with helplessness and yet, hope that she’s mistaken after
all. His memories torture her days, and though she’s sure he’s left her for
another, she cannot help herself from waiting for him.
A
young man (Dev Anand) is forced to share closenquarters with a young woman
(Kalpana Kartik) because they are masquerading as a married couple. Of course,
once safely behind closed doors, the young lady makes it clear that they are
definitely not going to share the
room. The man is banished to the bathroom where he tries to make himself comfortable
in the bathtub. And from within its cold confines, he playfully begs her to
come to him for he is alone. Trusting him to stay where he is, the young woman,
also playfully, responds, ‘So ja nindiya ka bela hai’.
Bin tere kaisi andheri ye raat
hai
Dil mera dhadkan meri teri saath
hai
Tanha hai phir bhi dil tanha
hai
Laaga sapnon ka mela hai
A
playful, conversational song that segues into the romantic where he completes her
sentences Aaja panchhi akela hai also
has a tinge of flirtatiousness.
Kala Pani (1958) / Singer: Mohammed Rafi
A
young man. A kotha. A tawaif. The rhythmic sound of ghungroos, light and shadow capturing
every fleeting expression on the young man’s face as he tries to entrap the tawaif – sheehse mein aap ko bhi utaare
chale gaye – who’s the keeper of a very crucial secret. Voice, words,
melody combine in that magical way that makes you miss – almost – the accompanying
instruments that complement all three. Majrooh’s lyrics are romantic with
cynical undertones. (Or cynical – with romantic overtones?)
Dekha kiye tumhe hum banke deewane
Utra jo nasha toh hum ne ye jaana
Saare woh zindagi ke sahaare
chale gaye
It’s
as if SD reserved his best compositions for Navketan; or is it that the Anand brothers
knew their music and demanded – and got – the best from the composer? Whichever
it is, the combination of the banner and composer gave us some of the best film
scores from the golden period.
Jewel
Thief (1967) / Singer: Asha Bhosle
One
of my favourite Asha Bhosle solos, this song has made an appearance on my blog
before. It’ beautifully sung, and I love the little riffs of melody – how nothing
seems to really follow the ‘rules’; the music is ‘cut’ when least expected. I
don’t know what the technical term is, but the lines are all in different
metres. And Asha drops her voice from the higher registers – Muhobath ki ijaazat hai toh chup kyun rahiye
job hi chaahe kahiye – to the lower Raat
akeli hai – pause – buhj gaye diye, with
consummate ease. SD’s music complements that, the notes soft and seductive
rising to those exuberant high notes before lapsing into soft sighs.
A
very young Tanuja, trying hard to seduce an older man (Dev Anand) with whom she’s
infatuated, gamely exhorts him to stay back for the night for she loves him,
even if he does not reciprocate.
Tum aaj mere liye ruk jao
Rut bhi hai fursat bhi hai
Tumhe na ho na sahi
Mujhe tumse muhobath hai
Muhobath ki ijaazat hai toh
chup kyun rahiye
Jo bhi chaahe kahiye…
Implicit
in those words is a promise of something more.
Manzil (1960) / Singer: Manna Dey
I
love the play of words in this song:
Hum dum se gaye humdum ke liye
Humdum ki kasam humdum na mila
The
guitar, the percussion, the slow seductive movements of a bar dancer (Sheila
Vaz) who seems impelled to move to the melody, and Manna Dey’s voice, which seduces
the listener, not just on screen but off it as well – Manzil had some wonderful songs, and rather strangely, three
different voices for the hero.
Hum dum se gaye begins with a conversation and snatches of the song being recited in the background in a rather sombre mood. Those words change mood when the actual song begins, turning what's a melancholy emotion into a lighter frothier creation.
Sitaron se Aage (1958) / Singer: Asha Bhosle
It’s very unlike a SD Burman
song – at least, different from songs that I normally associate with SD. With a long prelude, and interesting interludes, the sound is something I would expect from say, Madan Mohan. This is a beautiful song, nevertheless, even if the orchestration is richer than I would have expected for such a song. Majrooh's lyrics would evoke that sense of wonderment at being in love:
Dil pe nahin hai aaj qaboo
Khulti nahin zubaan
Ulfat ki mauj le chali hain
Mujhko na jaane kahaan
Chanda ki chandni ka jadoo
Ye raat ye sama...
Tone deaf as I am, I ended up recognising the tune from one of the antaras of Dene wala jab bhi deta from Funtoosh (1956) – Apna bhi ghar is jahaan mein. The film was the last film that Lata Mangeshkar and SD Burman would work on together for some time, their rift having begun with Miss India.
Chalti ka Naam Gaadi (1958) / Singer: Kishore Kumar
One
of the most delightful songs on this list, I love how SD incorporated different
sounds into his melody – the sound of a wrench tapping against the engine, and
later against a hub cap on the work bench, or the blowing of an old horn or
even just the wa-wa-wa-wa-wa sounds that Kishore makes with his mouth. A
teasing song, it is sung by the mechanic (Kishore Kumar) just to irritate the rich
miss (Madhubala) who orders him to repair her car. Majrooh’s words complemented
that mischief in Kishore Kumar’s voice:
Tan bheega hai sar geela hai
Uska koi pench bhi dheela hai
Tanti jhukti chalti rukti
Nikli andheri raat mein
Mile ek ajnabi se
Koi aage na peeche
Tumhi toh kaho ye koyi baat
hai!
According to authors Anirudha Bhattacharya and Balaji Vittal, this was inspired by Tennessee Ford’s 16 Tons, but SD Indianised it enough to make it his own. Not only that, it showed how he
could do more than just compose songs; he could adapt his melodies to serve the
narrative.
Sujata (1959) / Singer: Geeta Dutt
There
are some loris that I absolutely love
– this is one of them. Majrooh keeps his lyrics simple yet comforting, while SD
intuitively composes a melody with music that’s barely there. Geeta’s voice is soothing as she sings for a
young mother who’s singing her baby to sleep, her voice carrying over to the
next room where a lower-caste orphan, unwillingly ‘adopted’ by the young couple,
suddenly stops wailing as the maternal affection washes over her as well.
Chand kiran si gudiya naajon
ki hai pali
Aaj agar chaandaniyaa aana
meri gali
Gun gun gun geet koi haule
haule gaana
Neend bhare pankh liye jhoola
jhula jaana
Nanhi kali sone chali hawa
dheere aana
Majrooh’s
words are sweetly ironical, for one of the two babies who are soothed by the
lullaby is certainly not ‘naajon ki hai
pali’.
Bewaqoof (1960) / Singers: Kishore Kumar, Asha
Bhosle
Bewaqoof was an IS Johar film that he launched
immediately after his BAFTA nomination for Harry
Black and the Tiger. The film sounds like one of Nasir Hussain’s plots with
babies interchanged at birth (or not), and the imposter laying claim to the inheritance.
The film may not have been a success even with Kishore Kumar’s on-screen
antics, but the songs were delightful. Tu
mi piaci cara is marred only by Majrooh mistaking ‘Grazia’ (grace) for ‘Grazie’
(thank you) and Kishore’s mispronunciation of ‘Grazia’ as ‘Garcia’.
This
film also includes the comical Arre haan dildaar (Manna Dey, Shamshad Begum) picturised on IS Johar and
Krishnakumari. The singers’ vocal calisthenics – singing the Hindi lyrics in
various accents: Bengali, Tamil and Sinhalese as the listeners keep changing
radio stations - are reflected in the pair’s facial contortions.
Talaash (1969) / Singer: Manna Dey
A
classical composition by SD Burman, beautifully rendered by Manna Dey lending life
and emotion to Majrooh’s words. His lyrics also reflect the crux of the film –
lookalike women who are not exactly what they seem:
Yahan do roop hain har ek ke
Yahan nazrein uthana zara dekh ke
Jab us ki muhobbat me gum hai
tu
Wahi soorat nazar aayegi char su
Kaun kya hai haan man ke siva
ye koi kya jaane
Tere naina talaash kar jise
Woh hai tujhi mein kahin deewane
Abhimaan (1973) / Singer: Lata Mangeshkar
Another
contextual song where the lyrics reflect both the narrative and the emotions of
the character singing on screen. A young wife, encouraged by her husband to
sing, is at the pinnacle of her career. Only now, her supportive husband, whose
success has been eclipsed by his wife’s, is suffering from his complexes and
his ego. The strain on their marriage is reflected in the lyrics as well:
Tere pyar mein badnaam door
door ho gaye
Tere saath hum bhi sanam
mashoor ho gaye
Dekho kahaan le jaaye bekhudi apni
Ab toh hai tumse har khushi
apni
According to Bhattacharjee and
Vittal, the bamboo flute has a prominent presence in the score of this
film.
These, then, are my choices of the moment that showcase the creative collaboration of two talented men. What would yours be? Feel free to add them to the comments.
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