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SINGERS MAKE MERRY IN HINDI FILMS

                                               

           The music lovers would love to hear songs that convey the navarasas that is anger, love, courage, wonder, sadness, fear, disgust, joy and frustration.

         When Kundan Lal Saigal sang “Jab Dil be Tutugaya, ab jaan be tutugaya” in Parwana, the singer expresses his hope, anger and disenchantment in all possible manner to his lover. The song  “Diya Jalao” in raga Deepak sung by the same singer for the film Tarzan, released before Independence still lingers in the minds of people, as it conveys navrasas in a phased manner. The song Soja Rajakumari’ depicts navrasa and only his “Piya Milan ho gaana” does not speak about sadness, Can anyone forget Talat Mohammad’s “Tasveer Banata hoon Taqdeer Mere Manzil” in Baradari, where he conveys that he is leaving his heart and soul to his darling in navrasas.. Similarly, “Jalte hain jiske liye” in Sujata succinctly informs his sacrifice to his lover. but the courage is absent. However, “Aaye Mere Dil kahin aur chal” in Daag warns his sweet heart that if he takes his love for granted, she has to face dire consequences in nine forms. . “Ande Jahan ke Andhe Raat” in Patita has enamoured the music lovers, as the song depicts a message to the public that where there is darkness, nights cannot remain bright, but the moot point is does he wonder about it?

                       

       If the film ‘Awara’ and the hero Raj Kapoor became immensely popular in the Soviet Union, it is partly due to the title song “Awara Hoonmmm, kyakar isume jo asman ka tara hoon” rendered beautifully by Mukesh. The lyrics point out the exercise in futility of the hero “I am an orphan. It conveys navrasas in a fine-tuned manner. What am I going to do with star in the moon”? When a vehicle owner in the film ‘Shree 420’ gets irritated by the passer-by Rajkapoor and shouts at him “Arre Oh 420”, the showman looks at his car no 840 and retaliates with “main tho 420 hoon, lekin aap” and subsequently Mukesh starts with “Mera jhoota hai Japani, panthuloon Englishthani, sarpe lal thophi, firbhi dil hai Hindustani”.  The lyrics announces in a crystal clear manner that “though everything is from abroad, my heart is Indian”. The song depicts anger, sorrow, joy, fulfillment and dejection in three wonderful stanzas.

                       

     In ‘Shree 420’, the song “Pyarhua ikrar hua”, sung wonderfully by Manna Dey and Lata Mangeskar, remind us in a particular stanza with “tuna rahoke, mainna rahoonga, phirbhi rahe eh nishaniya”, as the lyricist informs the listeners that “the lovers Raj Kapoor and Nargis console each other with “neither you will remain alive, nor I, but the surroundings will remain as it is”. Here the navrasa has been conveyed meticulously.    The song in Anand by Mukesh narrates “Kahi dur par din dal jaye, chandki dulhan badhan churaye, chupkaise aaye”, as the meaning goes like “the day starts at a distance, the moon sign changes with a pin drop silence”. The song shows how the hero Rajesh Khanna bravely awaiting his death owing to cancer by displaying navrasas beautifully.  

                           

        The film “Baiju Bawra” ran for more than a year, mostly due to its songs. “Duniya Ko rakhwale, Sun dardbare mere nyale”(god, since you protect the world, would plead with you to save the life of my love) made Mohammed Rafi, the household name. The hero Bharat Bhushan is carrying the heroine Meena Kumari to the temple, urging the almighty to save her life. Here the navrasa instills hope in the minds of people with negative mentality, as all rolled into one in that particular song. Suhani raat daal chuki, naa jaane tum kab awagi”(marvellous night is coming to an end, but when will you return” is the poser from the hero to the heroine in the film “Dulari”, sung beautifully by Rafi in his silken voice.  The immortal singer is also posing a question in the voice of hero Guru Dutt “mujhe raaasta dikhakar, tere karavanko loota(you have shown me the path, but you have ruined your career) to his friend ‘Rahman’ when his conscience pricks over his love affair with the heroine Waheeda Rehman, while his friend was unaware of it till the climax scene. “Ikhasi samko, dilmera kogaya” by Rafi conveys problem confronting an individual in the world in all possible manner.  Navrasa has not been missed in any of those sings.

                                 

         The song “Chahunga mein tujhe, Saam Savere” (a friend assures another friend, I will remain with you forever, whether it is morning or evening). Songs like “Din Dal Jaaye, Raath Na Jaaye”(Guide), “Mere Mehboob Tujhe”,(Mere Mehboob) “Madhubanki Raathika nache, madhu”(Kohinoor) “Emera Prem Pathru Pdukar()Sangam), Ehesan thera ho(Junglee), Looto hamne lakho hazing deke”(Tumsa Nahin Dekha) “Eh Sulf agar khul ke, bikar jaye to accha”(Kajal) and many such memorable and emotional songs rendered by Rafi conveys his powerful impact on classical to qaawali and ghazal. The singer also excelled in Sharabi-(alcohol-range) songs like “Ham Bekdimein tum ko pukare”(Kala Pani), “Mujhe duniya walon sharabhi na samjoh”, “mein sharabi nahi, me sharabhi nahi”(Khilona). There was thunderous applause during the showing of “Parda hai, Parda hai “, a qawali number (Amar, Akbar, Antony) in theatres in late 1970s, but it misses anger and frustration.

 

        The former BJP President at the Centre Nitin Ghatkari always used to sing Manna Dey’s popular song “Zindagi, kaisi hai bagle kya hai, kabi to has aye, kabi to rulaye”(Anand). Manna Da had carved a niche of his own in his classical songs like “Cham Cham Bazare payalian”,(Janwar) “Tere naina Talaash karun ik”,(Talash) “naza sun to na jaa”, or his other songs like “Pasnewale”,(Upkar) “Dil ka Haal Suno Dil wala”,(Shree 42) Tuje Suraj kahoon ya chanda, tuje suraj kahoon ya thara,”,(Ek Phool Do Mali), "Eh Bhai jara dekhe chalo"(Mera Naam Joker),  “Yari hai iman mera yaru mein zindagi”.(Zanjeer).

 

        Kishore Kumar in his unique style had sung many hear-rending songs like “Zindagi Ka Safar”,(Safar) “Kuchto log kahangi, logon ka kaam hai kahena”, and “Singari koyi”(Amar Prem), “dek sakhtahoon mein kuchbhi hote hua, nahin mein, nahin dekh sakta tuje rothe hua”,(Majboor) ‘Diye Jalthe hain”(Namak Haram). “tere binabi kya jeena(Mukadar ka Sikander), “Rukh jananahi tu kahi haar ke”(Imtahan) “Phoolon ka Thara hoom, sabka kahna hai”(Hare Rama Hare Krishna).

 

              Mahendra Kapoor came out with a sizzling performance in Hamraz with songs like “Namuju pa kejiyo”, Tum magar sath lena ka wada karo, nilgaganke chale and “Mere Deshki darti”(Upakar). Jesudas became popular after his scintillating songs like “Jane Jan Mein” with Lata Mangeskar”  and the ever-hit songs like “aajse pahle, aaj se pyara, “tuhimere dilme”(Chitchoor) and the response reached dizzy heights for his song “kakar sajni aayena baalam”.

 

                   When S.P. Balasubramanian started his duet “ham bane, tum bane, tuje ke liye with Lata in the film “Ek duje ke liye”, the composer Laxminant of Laxmikant-Pyarelal duo was not confident of his ability to sing in Hindi initially. However, when he sung another song in the same film “tere mere geeth me, kaisa haia bandhan anjana”,(navrasa abound) with Lata, he gained the confidence of other actors and singers. Within no time, SPP became the regular singer for Salman Khan. The song in Sagar for Kamal Hasan “Sach mere yaru hai, oh mere pyar hai” sung by SPP was in no way less popular than the other song “Sagar Kinare, dile pukare”, sung by Kishore, as it conveys navrasa.  Interestingly, Kishore’s son Amith Kumar said the song was a replica of “Yehi hai Tamanna” sung by Rafi in another film earlier.

 

        Lata’s voice has mesmerized the people. Can anyone forget songs like “Aaja re, pardesi, main to kabse kadi ikrar”(Madhumathi) “Kahideer chale”(Beez Saal Baad) “Mein Tulsi Tere Angken men”(Main Tulse Tere Anken), “Tera Mera Pyar Amar” (Asli Nakli), “Aaah jane Jaa”(Intaqam), “Rangeenare”(Prem Pujari), “Doondo Doondore Saajna”(Ganga Jamuna), “Aaaj phir jheene ki thammanna hai”(Guide) and the list goes on. All conveys navrasa in a fine-tuned manner.

 

                 As Lata rightly said, Asha Bhonsle was a multi-faceted singer. “Pardene rahne do par da uska”(Shikar) “Oh mere Sona re” with Rafi (Teezri Manzil), “Bangle ke peech therei”, “Duniya mein logon ko”,  and “Churaliya hai tumne jo dil ko”, among others. Asha teamed with composers O.P. Nayar and later R.D. Burman to give some scintillating songs like “Jeeva Nahuva Badal” “Isharon Isharon” with Rafi(Kashmir Ki Kali) and “Om mere Soni, therei tha manna”(Yaadon ke Baarat with Kishore), “Oh Haseena zulfowali jane jahan” with Rafi(Teezri Manzil). The moment we hear songs like “Taqdeer hai, taqdeer hai, taqdeer banalo, apne upar baroza tho dau lagale”, “Acchaje mein mujhi map kardo” with Rafi in CID and “Hal kaisa hai janab ka, kya kayal hai aapukka with Kishore, one cannot stop remembering the versatile singer ‘Gita Dutt’. But these sings cannot be bracketed as navrasa, as they miss frustration and despair.        

 

                 The singer Suraiya created a sensation when the composer Naushad selected her as the playback voice for leading lady Mehtab in Sharda (1942). The movie became a turning point in her career as a singer, with two of her songs “Panchhi ja, peechhe raha hai bachpan mera and Mere dil ko sajan samjhado becoming very popular. Her honey-rich voice in songs like 'Woh paas rahe ya door rahe', 'Tere naino ne chori kiya', 'Tu mera chaand main teri chaandni', 'Yaad karu tori batiya' and the rare classical number, 'Manmor hua matwala', created hysteria.

 

                   Noor Jehan made her debut as a playback singer in 1960 with the film 'Salma'. Her song “Kaisa Naseeb Lay” Thi(Jane-e-Bahar) has become popular not only in India, but in Pakistan, too. Hemant Kumar, a versatile singer and the music director in 1950s and 1960s had sung some unforgettable songs like “Natum hami jane, naham tumi jane” with Lata (Bath Ek Rath Ki), “Tumahara, intzar mein”(Kamoshi), and “Nishana tuto na jane”(Beez Saal Baad), among others. Shamshed Begum had created such a viable impact that she was even mentioned as “female voice of Saigal and Mukesh”. The song “beega beega pyar” with Rafi (CID) and “Duniya hai mere peeche, lekin mein there peeche” with Asha Bhonse in a Biswajit-Babita starrer had enthused the music lovers. The last one cannot be treated as Navrasa as it does not provide scope for anger and frustration.

 

                          Some singers like Suman Kalyanpur, Vaani Jayaram and Usha Mangeskar were considered to be unlucky, despite possessing enormous talents. Some of Suman’s duets with Rafi  like “Dil use de de jaan” and “Haina bholo bholo”(Andaz) had created such an impact that the music lovers started confusing her with Lata’s office, The song “aarti utharo re santoshi mathaa”(Santoshi Matha) took Usha to the spotlight.  Vaani started in a whirlwind fashion with “Bholire paapi hara, pappi hara”(Guddi), but unfortunately, she could not sustain her fame in the long-run due to circumstances beyond her control.

 

Navrasa missing in the following songs:

 

K.L. Saigal’s “Piya Milan ho gaana” does not speak about sadness.

In Talat Mohammad’s “Ande Jahan ke Andhe Raat” in Patita, the song depicts a message that where there is darkness, nights cannot remain bright, but the moot point is does he wonder about it?

 

There was thunderous applause during the showing of “Parda hai, Parda hai “, a qawali number sung by Rafi in Amar, Akbar, Antony in theatres in late 1970s, but somehow, it misses anger and frustration.

 

In the song “Singari koyi”, sung by Kishore Kumar in ‘Amar Prem’, joy is not expressed considerably, as the hero Rajesh Khanna cajoles the heroine Sharmila Tagore with dejection. 

 

The moment we hear songs like “Taqdeer hai, taqdeer hai, taqdeer banalo, apne upar baroza tho dau lagale”, “Acchaje mein mujhi map kardo” with Rafi in CID and “Hal kaisa hai janab ka, kya kayal hai aapukka with Kishore, one cannot stop remembering the versatile singer ‘Gita Dutt’. But these sings cannot be bracketed as navrasa, as they miss frustration and despair.       

 

Shamshed Begum had created such a viable impact that she was even mentioned as “female voice of Saigal and Mukesh”. The song “beega beega pyar” with Rafi (CID) and “Duniya hai mere peeche, lekin mein there peeche” with Asha Bhonse in a Biswajit-Babita starrer had enthused the music lovers.

 

 

 

 
 

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