Shammi Kapoor - Romantic Moods

When listing songs for my post on Rafi’s love songs, I found that my initial list had so many songs picturised on Shammi Kapoor. I had to diligently weed them out to get songs featuring other heroes on the list. But they were too good to not post, so I decided to myself that I would eventually write a post on Shammi Kapoor in various romantic moods. Friend and long-time blog reader, Madhulika of Dustedoff, gave me the impetus by enthusiastically seconding the idea.

Years ago, I’d posted a list of Dev Anand’s romantic moods. Though he did not play a pure romantic hero in most of his films, Dev could – and did – charm many a heroine on screen. Shammi Kapoor, however, was the quintessential romantic hero. He chased, wooed, and charmed his heroines across the hills and valleys of different hill stations. And in his prime, there was an animal grace and magnetism about the man that had women swooning over him, both onscreen and off.

Unlike Dev, Shammi threw himself energetically into wooing his heroines. He often channelled his inner junglee, and it was hard not to give into his boyish eagerness, or be swept away by his mobile face or his liquid, expressive brown eyes. If ‘romance’ were personified during that period, it would be Shammi. 

So, even though I eschew everything that Valentine’s Day stands for, on a day that purportedly celebrates love, here are ten films, ten songs, ten heroines (all solos; the duets to follow), ten shades of love – Shammi Kapoor in ten romantic moods.
Awe: Sadhana
Is rang badalti duniya mein
Rajkumar (1964)
Music: Shankar-Jaishan
Lyrics: Hasrat Jaipuri

 

If I had to choose one song in which Rafi’s voice melded so wholly with Shammi Kapoor’s expression, it would be this one. A swoon-worthy number, watching this song has always made me go weak in the knees. Shammi distils romance to its purest essence – there’s a quiet intensity in his expression as he serenades his beloved, and the awe in Rafi’s voice comes shining through Shammi’s very expressive brown eyes. Rajkumar Bhanupratap (Shammi) entreats Princess Sangita (Sadhana) not to bedeck herself so – itra na karo tum saj dhaj kar – for even honour may be compromised – imaan ki neeyat theek nahin… Hasrat’s lyrics go on to list all those whose intentions are not honourable – all men, this crazed lover (himself), the storm, even God himself…
Kaise Khuda hafiz keh doon
Mujhko toh kisi ka yaqeen nahin
Chhup jaao hamaare aankhon mein
Bhagwan ki neeyat theek nahin
This soft, romantic ballad sees Shammi at his most restrained – and most charming.

Teasing: Ameeta
Chhupnewaale saamne aa
Tumsa Nahin Dekha (1957)
Music: OP Nayyar
Lyrics: Majrooh Sultanpuri

 

Another quiet ballad, though the emotion differs from the previous song. Though still romantic, Rafi infuses this song with playfulness, a teasing that tells the girl in hiding that he knows she is there, and also that he knows she loves him.
Daud ke aana paas mere
Pyaar nahin toh aur hain kya
Door khadi hairaan hai kya
Daanton mein yuun ungli na dabaa
And his voice and his charm lure her out of her hiding place.
When we were discussing this post, Dustedoff suggested Yun toh humne laakh haseen dekhe hai for ‘teasing’ – which, while it is teasing, is not romantic. The duo has just met and he has tricked her into sharing the sole tonga at the railway station. They are not in love – yet. Whereas, by the time Shankar (Shammi) is singing this song, he has already fallen in love with her, and she’s well and truly in love with him.

Preening: Shakila
Baar baar dekho
China Town (1962)
Music: Ravi
Lyrics: Majrooh Sultanpuri

I had originally listed this song under ‘Pride’ but in a comment on my earlier post, Dustedoff listed this under ‘preening’. I think that adjective fits this song better because he really is preening himself on having a girlfriend as beautiful as Shakila. When Rita (Shakila) comes to the club where Shekhar (Shammi) is a performer, he begins to sing about her, about how she’s beyond compare…
Ye bemisaal husn lajawaab ye ada… (this incomparable beauty, this unquestionable grace)
Not only is he so proud of this new love, he even questions a club patron who gets up to leave midway: Are you jealous of my love?
Balle balle, uthke mister kyun chale
Pyar pe mere kaho kyun jale
Baith bhi jaao meherbaan
Dua karo mile tumhe bhi aisa dilruba….
“Do sit down and pray that you will get a beloved like mine…”
Yes, ‘preening’ is the right word! 

Romantic: Kalpana
Ae gulbadan
Professor (1962)
Music: Shankar-Jaikishan
Lyrics: Hasrat Jaipuri

 

How could any red-blooded woman watch Shammi Kapoor in this song, and not fall in love? Shammi, who in this film, proved that there was more to him than his exuberance, is so quietly romantic that it is hard not to swoon.  Especially when his soul, his voice, was Rafi, meltingly romantic himself.
Kya haseen mod par aa gaye zindagani
Ki haqeeqat na ban jaaye meri kahaani
Jab aahe bhare ye thandi pawan
Seene mein sulag uthti hai again
Tujhe dekh ke kehta hai mera mann
Kahin aaj kisi se muhobbat nah ho jaaye
I can now believe that Hasrat Jaipuri had a very romantic ‘misaaj’ – his lyrics ooze romance (of the old-world kind).

Apologetic: Saira Banu
Ehsaan tera hoga mujh par
Junglee (1961)
Music: Shankar-Jaikishan
Lyrics: Hasrat Jaipuri

"Love means never having to say you're sorry" is all very well, but there are times when a sincere apology works wonders in any relationship. Rajkumari (Saira Banu) is rightfully angry at the humiliation she has faced at Sekhar’s mother’s hands. More so, because he was responsible for it. But, after she leaves, Sekhar does stand up for his love and then comes to her to apologise for having hurt her. He loves her, he tells her; she’d taught him to laugh, and now, if she wishes, he’s willing to cry. 

He begs her to listen to what he has to say, and if she would forgive him, and let him stay, he would be eternally grateful. If not…
Chaahe bana do chaahe mita do
Mar bhi gaye to denge duaaen
Ud ud ke kahoge khaak sanam
Ye dard-e-mohabbat sehne do mujhe
Tums muhobbat ho gayi hai mujhe
Palkon ki chhaon mein rehne do
Ehsaan tera hoga mujh par…
Rafi’s voice exudes a quiet, sincere passion that is reflected in Shammi Kapoor’s melting brown eyes – the sincerity makes you want to forgive your man a thousand wrongs. And Saira’s character feels the same way. 

Grateful: Asha Parekh
Tumne mujhe dekha
Teesri Manzil (1966)
Music: RD Burman
Lyrics: Majrooh Sultanpuri

Like Is rang badalti duniya mein, this is one song that never fails to move me to tears. Not just for the real-life context in which this song was shot – it was the first sequence that Shammi Kapoor shot after he returned to work following the untimely demise of Geeta Bali, the love of his life. But, also because, even in the context of the film, this is a very touching scene. Majrooh’s lyrics are poignant enough, but the irony in the scene is enough to make you feel for Shammi’s character.
Rocky/Anil (Shammi Kapoor) has written a letter to Sunita (Asha Parekh) revealing who he is, and his connection with her sister. He hopes that she will be able to forgive him for his duplicity and, if she were to come to his performance in the evening, he would know his love for her had won the day. Unfortunately for him, Ruby (Helen) intercepts the letter, reads it, and ensures that Sunita only gets it after she reaches the club. So, Anil, seeing her is bursting with love and gratitude for a Fate that seems to have given him a second chance. Only…
Kahin dard ke sehra se rukte chalte hote 
In hothon ki hasrat mein tapte jalte hote
Meherbaan ho gayi zulf ki badariyaa 
Jaaneman, jaan-e-jaan…

Earnest: Madhubala
Dheere chal dheere chal ae bheegi hawa
Boyfriend (1961)
Music: Shankar-Jaikishan
Lyrics: Hasrat Jaipuri

A moonlit night. Soft, caressing breezes and softly billowing curtains. A young, and very handsome Shammi Kapoor (dressed in all black! Swoon!). A beautiful Madhubala – talk about sleeping (or pretending to be sleeping) beauties! Who says lullabies can't be romantic?

SJ’s music is a soft complement to Rafi’s mellifluous voice; Shammi’s patent moves are slowed down considerably, as he begs the breeze to blow gently over his sleeping beloved. The charm of this song is enhanced by the impish smile on Madhubala’s face as she enjoys his serenade but pretends to be oblivious. 

I doubt Shammi had to try very hard to be romantic in this scene; as he himself confessed once, he had fallen head over heels in love with Madhubala on the sets of Rail ka Dibba, their first film together. So much so, he kept forgetting his lines. And, he said, Madhubala was so impish, she knew the effect she had on him, and relished it thoroughly!

A promise: Rajshree
Meri mohabbat jawaan rahegi
Janwar (1965)
Music: Shankar-Jaikishan
Lyrics: Hasrat Jaipuri

 

After the initial nok-jhonk, Sapna (Rajshree) has fallen in love with Sundar (Shammi Kapoor) but not without qualms. Sundar belongs to a wealthy family; she is an orphan, she’s poor, and has doubts that the relationship will work. Will he keep faith with her? Sundar hastens to reassure her – his love will remain ever youthful and eternal. And if he were to die…
Tumhaare pahloo mein gar mare hum
Toh maut kitni haseen hogi
Chita mein jalkar bhi na mitegi
Sada raha hai, sada rahegi…
– and with Rafi's sublime voice, who can resist?

Serenade:  B Saroja Devi
Jaan-e-bahaar husn tera
Pyar Kiya Toh Darna Kya (1963)
Music: Ravi
Lyrics: Shakeel Badayuni

 

A quietly romantic serenade from a lesser-known film, this song deserves to be better known than it is. Shammi is just as restrained here as he could ever be even as he praises his beloved for her extraordinary charm.
Haaye ye teri mast adaayen ye baankpan
Kirnon ko bhi main chhoone na doongaa tera badan
Tujhse nazar milaaye ye kiski majaal hai
Jaan-e-bahaar husn tera bemisaal hai
He ends by thanking her for loving him. It’s not often that someone is self-aware enough to understand that s/he is not God’s gift to men/women that they feel the need to express their gratitude to the person who loves them, warts and all. 

Anguish: Nutan
Chal diya kaarvaan lut gaye hum yahaan
Laila Majnu (1953)
Singer: Talat Mahmood
Music: Ghulam Mohammed
Lyrics: Shakeel Badayuni

Who says love has to be all rainbows and roses? It can also mean the anguish of heartbreak, for if you love, you leave yourself vulnerable. And Qais’s love for Laila is doomed from the start. His obsession with Laila leads to the villagers calling him ‘Majnu.n’ or the ‘love-crazed’. A startlingly young Shammi plays the obsessive Majnu to the beauteous Nutan, who was barely 17.
O jaane waale thahar zara,
Fariyaad hamaari sunta jaa
Daaman pe likhi hai ashqon ne,
Roodaad hamaari sunta jaa
Jee sakenge na hum,
Tumse hoke juda
Jaa meri zindagi,
Tera haafiz Khuda
For a change, it is Talat Mahmood who lends his voice to this ode of love and loss.
So, ten solos. Ten heroines. Ten films. Ten shades of love. What better way to celebrate Valentine’s Day? Which songs would you choose to depict Shammi Kapoor in various shades of romance?

p.s. And, since I have hopped onto the bandwagon of celebrating love, why not dive in all the way? For the rest of month, this blog will feature songs that celebrate romantic love. Watch this space.