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| 24.07.1937-04.04.2025 |
As long-time readers of my blog know, I’m not a fan of Manoj Kumar. His pop-nationalism scarred my senses; the regressive roles of women in his films annoyed me, and his films never resonated. As an actor, while he initially was earnest and could be quite charming, his mannerisms soon took over to a point where he was a caricature of himself. Yet, as a scriptwriter, filmmaker, editor, and yes, even as an actor, Manoj Kumar left a legacy behind that’s worthy of being commemorated.
For
instance, he had a lot of inputs into his character in the first part of Mera
Naam Joker; he allegedly ghost-directed Shaheed, which paved the way
for his official directorial ‘debut’; his films like Upkaar, Roti Kapda
aur Makaan and Shor, etc., were films that spoke of societal ills,
albeit wrapped in a sugar-coated pill. If, in his later years, he became a
parody of himself (Kalyug ke Ramayan, Clerk, Deshwasi), there was a
beating heart and genuine emotions in his earlier films that resonated with his
audience. They were highly successful at the box office and spoke to the viewers
in ways that were both simple and simplistic. In short, his contributions to
Hindi cinema cannot be dismissed.
Born
Harikrishan Goswami in Abbottabad in the erstwhile North-West Frontier Province
(now Khyber Pakhtunkhwa, Pakistan), Manoj Kumar and his family came to Delhi
after the Partition. He made his debut in Fashion (1957), followed by a handful
of forgettable roles until he was cast as the lead in Kanch ki Gudiya
(1961). But it wasn’t until Hariyali aur Rasta (1962), where he was cast
opposite Mala Sinha, that Manoj Kumar finally tasted success. He hit the big
league with Woh Kaun Thi? (1964) and the very next year saw him consolidate
his position with Shaheed, Himalay ki God Mein and Gumnaam
(all in 1965).
His
successful career as an actor continued into the late 60s until the Rajesh
Khanna wave swept the nation. By then, however, Manoj had already directed Upkar
(1967) and its success spurred him to make his own films. Purab aur Paschim
(1970), Shor (1972), Roti Kapda aur Makaan (1974) were all
successful at the box office. Outside ventures like Balidaan (1971),
Beimaan (1972), Sanyasi (1975) and Dus Numbri (1976) were
also bonafide hits giving his acting career a boost.
In
1981, Manoj realised his ambition of directing his idol, Dilip Kumar; the multi-starrer
Kranti, set during British rule, was a blockbuster hit. It was the last high-profile
role that Manoj Kumar would do. His next few films did not do well and the
actor wisely took a break from acting.
In
tribute, then, to an actor-director-producer-editor-lyricist who established a
name for himself in the annals of the Hindi film industry, I post a list of my
favourite Manoj Kumar songs. Here, in no particular order, though the songs I
like most tend to cluster around the top:
Ae
watan ae watan
Shaheed (1965)
Singer:
Mohammed Rafi
Music:
Prem Dhawan
Lyrics:
Prem Dhawan
Based on the story of Bhagat Singh, the revolutionary freedom fighter, Shaheed was a tautly made film that resonates even today. The stirring lyrics by Prem Dhawan only add to the tone of the film as Bhagat Singh (Manoj Kumar) vows to fight until his last breath in the service of his motherland. Manoj tenders what is perhaps his career-best performance as the young revolutionary. Manoj is both sincere and earnest in his portrayal of a man whose love for his country overrides any fear for personal safety. In a later interview, he talked about how he had spent nearly four years reading everything he could about Bhagat Singh.
Prem Dhawan also composed the music for this anthem of protest and Rafi’s voice infuses the lyrics with the spirit of youthful courage and determination. Sublime!
Meri khwaabon mein khayaalon mein
Honeymoon (1960)
Singer: Mukesh
Music: Salil Chowdhury
Lyrics: Shailendra
Honeymoon, in which Manoj Kumar was cast opposite a pretty Sayeeda, is one of Manoj Kumar’s earliest films, which sank without a trace. But Salil Chowdhury’s music remains to remind us that a great many good songs languish in obscurity because the films failed. This Mukesh solo is one of them.
Aaj mausam ki masti mein gaaye pawan
Banarasi Thug (1962)
Singers: Lata Mangeshkar, Mohammed Rafi
Music: Iqbal Quereshi
Lyrics: Hasrat Romani
Before he fully internalised the image of ‘Bharat’, Manoj Kumar appeared in many films as the romantic lead. This film, in the initial stages of his career, was one such. Cast opposite Vijaya Chowdhury, Manoj plays a young man who, on his way to meet a prospective bride chosen by his mother, is trapped into marrying another young woman. The mukhda of this song mirrors that of Ik chameli ke mandve tale (Cha Cha Cha/ 1964, also by Iqbal Qureshi) as well as Chand jaane kahaan kho gaya (Main Chup Rahoongi/1962; Chitragupt).
Tiki riki tiki riki takuri
Woh Kaun Thi? (1964)
Singers: Asha Bhosle, Mohammed Rafi
Music: Madan Mohan
Lyrics: Raja Mehdi Ali Khan
As I said in one of my earlier posts on which this song featured, who knew Manoj Kumar could smile? And dance? Here, he keeps pace with Helen, in a rambunctious Twist. Madan Mohan’s score for Woh Kaun Thi? featured one lovely melody after the other, but they were all subsumed by the tsunami that was Lag ja gale. This song, coming as it does in the first part of the film, reflects Dr Anand’s (Manoj Kumar) happiness as he dances with his fiancée, Seema (Helen). Little does he know then that his life will soon be turned upside down.
Manoj Kumar looked like he was having a lot of fun in this song.
Ibtida-e-ishq mein hum
Hariyali
aur Raasta (1962)
Singer:
Mukesh, Lata Mangeshkar
Music:
Shankar-Jaikishan
Lyrics:
Hasrat Jaipuri
After a string of failures, Manoj Kumar must have been relieved when he was cast opposite one of the top heroines of the time – Mala Sinha. And even happier when the film was a stupendous success. Manoj plays Shankar, an orphan brought up by his father’s friend, Shivnath (David). Shivnath’s daughter, Shobhana (Mala Sinha) is his childhood playmate and their friendship turns into love. Unfortunately for the young couple, Shankar is already promised to Rita (Shashikala). But, before the trauma-drama erupts, the couple-in-love get to sing some lovely songs, including this one. Manoj looks handsome and charming and Mala Sinha is at her prettiest best in this song.
Zulfon ko hata le chehre se
Sawan ki Ghata (1966)
Singer: Mohammed Rafi
Music: OP Nayyar
Lyrics: SH Bihari
Gopal had been sent away from home by the man he considers his father, in accordance with the wishes of Rana (Jeevan). Now, a grown-up Gopal (Manoj Kumar) has returned to find out what happened to his father and to rekindle his childhood friendship with Seema (Sharmila Tagore), Rana’s daughter. This song comes as he runs into Seema on his way home. She has no idea he is her childhood playmate (and he only learns her identity accidentally), and is quite miffed when he does the stalking-as-wooing bit.
Jaane teri nazron ne kya kar diya
Grahasti (1963)
Singers; Lata Mangeshkar, Mohammed Rafi
Music: Ravi
Lyrics; Shakeel Badayuni
Grahasti was more about Ashok Kumar and Nirupa Roy than about the younger leads (and Mehmood got an inordinate amount of screen time) but the romance between Manoj Kumar and Rajshree was rather cute and believable. For a change, the young couple are already in love. This song, a preliminary to their engagement (when Ashok Kumar’s character sees them cavorting in a garden) is a pleasant melody. (It is nice to see Manoj Kumar do something other than be patriotic.)
Tum kahan le chale ho
Poonam ki Raat (1965)
Singers: Lata Mangeshkar, Mukesh
Music: Salil Chowdhury
Lyrics: Shailendra
I must confess that this is not one of Salil Chowdhury’s stellar scores. The most popular song in this film is Saathi re tujh bin jiya udaas re…, but then, the film itself isn’t very appealing. While it had all the elements to make a good ghostly suspense thriller, the half-baked plot and ham-handed direction ensured that it was a mess. But, this romantic number, enacted on screen by Prakash (Manoj Kumar) and Jyoti (Kumud Chhugani, in her debut), is a passable duet.
Raha gardishon mein har dum
Do Badan (1966)
Singer: Mohammed Rafi
Music: Ravi
Lyrics: Shakeel Badayuni
Manoj Kumar bears full responsibility for unleashing the trainwreck that’s Do Badan on an unsuspecting public. He allegedly took Raj Khosla to watch a rerun of Deedar (1951) and asked him to remake it. The story was ‘reworked’ and we were treated to a film that plumbed the depths of despair and sacrifice. The only saving grace I could find was its songs including Asha’s Jab chali thandi hawa, Lata’s Lo aa gayi unki yaad, and this Rafi solo. However, I must be in the minority in hating this film – it marked its Silver Jubilee at the box office.
Tauba ye matwali chaal
Patthar ke Sanam (1967)
Singer: Mukesh
Music: Laxmikant-Pyarelal
Lyrics: Majrooh Sultanpuri
This light-hearted song (sung by the hero who realises that both women are playing him) wooing both women so he can assure them their ploy is working, is a ray of light in a film that had a very convoluted plot. Two women (Mumtaz and Waheeda Rehman), pretend to be in love with a man (Manoj Kumar), who pretends to love both of them. What can go wrong? Add: children exchanged at birth; parents who want to decide their children’s lives; a villain (Pran) who wants to marry a woman who doesn’t want him… all the elements of a successful potboiler.
Manoj Kumar died on 4th April 2025, leaving on his final journey wrapped in the tricolour. It was a fitting tribute to a man who had come to symbolise nationalism. The songs I picked in tribute may not necessarily be the ones that are typically chosen to celebrate the actor. But I deliberately eschewed songs from his more ‘patriotic’ films because, while some of them are very nice indeed, I preferred to focus on songs where the actor was clearly having fun. But then, choices differ; that’s what makes it so interesting. What songs would you pick?