tag:blogger.com,1999:blog-75565663607434377902024-02-20T14:19:13.678+05:30CMB- Cinema, Music and Books. Dedicated to the Golden Era of Hindi Film Music..All photos used in the blog are courtesy :Original Source. Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.comBlogger42125tag:blogger.com,1999:blog-7556566360743437790.post-6514615506628185182018-03-11T23:41:00.002+05:302018-03-15T23:55:09.188+05:3025 Years, 25 Best Male Solos- Golden Period of Hindi Film Music(1950-1975)<div dir="ltr" style="text-align: left;" trbidi="on">
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<br />
<b>Year: 1950.</b><br />
<b>Song: Upar Gagan Vishal</b><br />
<b>Movie: Mashal</b><br />
<b>Singer: Manna De</b><br />
<b>Music: S D Burman</b><br />
<b>Lyrics:Pradeep.</b><br />
<br />
<br />
Bombay Talkies was taken over by Ashok Kumar and Shashadhar Mukherjee from Devika Rani in the 40s. Slowly and gradually, it became the MGM of Bombay, producing hits after hits and nurturing new talents. Bombay Talkies can be attributed towards identifying and developing talents like Dev Anand, Lata Mangeshkar, S D Burman, Manna De and Kishore Kumar. Mashal was a big hit and established both SD Burman as well as Manna De as the prominent forces in the musical world. The song had introduced concepts like thrilling use of chorus and playing a song in the background. Kavi Pradeep, along with Bharat Vyas, was one of the few lyricists those days who insisted on usage of pure Hindi words in their creations, when the rest of the lot were erudite Urdu poets. So, you could hear words like "vishal", "paataal" etc in this song as well, giving it a unique ornamentation. Till date, it remains an iconic and pathbreaking song<br />
<br />
<b>Year: 1951.</b><br />
<b>Song: Awara Hoon</b><br />
<b>Movie: Awara</b><br />
<b>Singer: Mukesh</b><br />
<b>Music: Shankar Jaikishen</b><br />
<b>Lyrics: Shailendra</b><br />
<br />
You may love Raj Kapoor school or you may hate it, but you can never ignore it. Raj Kapoor was the Indian Vittorio De Sica in Hindi movies, without any serious challenge coming from anywhere. Awara hoon, clearly established Shankar Jaikishen as the leading composer duo of Hindi films, dethroning Husnlal Bhagatram, of whom they were once assistants, and kept the laurel in tact till Laxmikant Pyarelal happened, almost a decade and a half later. And of course, there was Shailendra. Inarguably, here was finally a lyricist with whom all the music directors loved to work. The depth and realism in poetry was lost forever with his untimely death in 1966. Mukesh was singing for Raj Kapoor right from his earliest days, but there was always a Talat Mehmood or a Mohd Rafi chipping in between occasionally. With Awara, he officially got the stamp of Raj Kapoor's voice. After that, only Manna De could get some occasional assignments for the senior Kapoor under R K Films, no one else.<br />
<br />
<b>Year: 1952</b><br />
<b>Song: Man Tarpat Hari Darshan</b><br />
<b>Movie: Baiju Bawra</b><br />
<b>Singer: Mohd Rafi</b><br />
<b>Music: Naushad</b><br />
<b>Lyrics: Shakeel Badayuni</b><br />
<b><br /></b>
As a director, Vijay Bhatt might not have a very impressive portfolio to talk of, but he gave us Baiju Bawra; and that is good enough to get his name etched in the history of Hindi cinema. Again, a pathbreaking album, Baiju Bawra established Mohd Rafi as the official lead male playback singer. While composers preferred Talat more in that period, Rafi demonstrated much more versatility and proved to be a better hand when it came to the semi-classical genre.Man Tarpat, based on Raag Malkauns, is still considered to be one of the finest semi classical Bhajans in Hindi films. And in devotional genre, Rafi did not have any peer coming anywhere close to him, right till his death.<br />
<br />
<b>Year: 1953</b><br />
<b>Song: Shaam e gham ki kasam</b><br />
<b>Movie: Footpath</b><br />
<b>Singer: Talat Mehmood</b><br />
<b>Music: Khayyam</b><br />
<b>Lyrics: Majrooh Sultanpuri</b><br />
<b><br /></b>
While there can be many clones for many voices, one voice that remains inimitable even today is that of Talat Mehmood. And the decade of the early 50s belonged to him, if not in popularity then definitely in terms of huge musical values which he imparted in that period to Hindi film music. Khayyam, as a composer, perhaps remains to be the most productive music director in terms of quality to quantity ratio. While his career never really took off after Footpath and he really needed to wait till 1976 for Kabhi Kabhie to happen, he kept on producing high quality albums like Phir subah hogi, Aakhri Khat and Shagoon. Shaam e gham ki kasam is exquisite in every term of description. Two antaras are distinctly composed, a trait of Khayyam composition which he retained later also. And, of course, a Dilip Kumar on screen for a Talat song, a sight pretty common those days which was to become scarce in coming years.<br />
<br />
<b>Year: 1954</b><br />
<b>Song: Jaayein to jaayein kaha</b><br />
<b>Movie: Taxi Driver</b><br />
<b>Singer: Talat Mehmood</b><br />
<b>Music: S D Burman</b><br />
<b>Lyrics: Sahir Ludhianvi</b><br />
<b><br /></b>
By 1954, Bombay Talkies had become history for S D Burman, and Navketan was his present. This also signified one of the most illustrious Actor- Music Director association, that of Dev Anand and him. Jayein to jayein kaha is the song of the year both from qualitative as well as populist perspective, as SD received a Filmfare Award for the same also that year. Based on Tagore's "He khoniker atithi", SD really improvised the tune to give a Ghazalish feel, with apt support from the great Sahir. This song also signifies the peak period of association between SD and Sahir, a combo of extreme quality and individual self respect.<br />
<br />
<b>Year: 1955</b><br />
<b>Song: Tu Pyar ka sagar hai</b><br />
<b>Movie: Seema</b><br />
<b>Singer: Manna De</b><br />
<b>Music: Shankar Jaikishen</b><br />
<b>Lyrics: Shailendra</b><br />
<b><br /></b>
There are prayer songs in the films, and then, there is Tu pyar ka sagar hai. So distinct is its stature that many schools use it frequently even today in the evening prayer sessions. Coming again from Shankar Jaikishen- Shailendra combo, the song belongs as much to Manna De as it does to the chorus. Clearly, the song of the year.<br />
<br />
<b>Year: 1956</b><br />
<b>Song: Sur na Saje</b><br />
<b>Movie: Basant Bahar</b><br />
<b>Singer: Manna De</b><br />
<b>Music: Shankar Jaikishen</b><br />
<b>Lyrics: Shailendra</b><br />
<br />
Basant Bahar, as an album, was Shankar Jaikishen's answer to Naushad's Baiju Bawra- with a small twist. Shankar Jaikishen used Manna De as the prime vocal for the hero Bharat Bhushan in all the classical songs. Rafi pitched in only in the devotional one. But, the result was noting short of a magic. Personally, I hold Basant Bahar as the best classical based album in Hindi films, proving the huge spectrum of domains which Shankar Jaikishen could cover. This was so unlike SJ, and they never confined themselves to one segment and kept on experimenting and spreading their fields. Sur na saje is the song of the album.<br />
<br />
<b>Year: 1957</b><br />
<b>Song: Jaane woh kaise log the</b><br />
<b>Movie: Pyasa</b><br />
<b>Singer: Hemant Kumar</b><br />
<b>Music: S D Burman</b><br />
<b>Lyrics: Sahir Ludhianvi</b><br />
<b><br /></b>
If Raj Kapoor was our de Sica, then Guru Dutt was definitely our Orson Welles. Guru was a master storyteller and often cited as a pioneer in introducing the Noir concept of movie making in Hindi cinema. In terms of theme, lighting and angles, Pyasa was a classic noir to the core. For a dark theme, you need dark music to create the requisite impact. And S D Burman- Sahir combo delivered in their final outing together, what many consider to be their best. While the entire album boasts of one classic after another, I carefully choose this single Hemant Kumar song as the winner. This clearly seemed to come directly from SD's heart- his selection of singer, his type of tune with Bengali influence all over and words clearly crafted against the backdrop of the set tune, clearly to the dislike of Sahir. And, finally one personal comment, in fact very personal comment regarding Pyasa, which I would like to make here. I genuinely feel Pyasa should have been sent for the Oscars that year in stead of the highly overrated and melodramatic Mother India. Our chances of winning would have been slightly better.<br />
<br />
<b>Year: 1958</b><br />
<b>Song: Yeh mera deewanapan hai</b><br />
<b>Movie: Yahudi</b><br />
<b>Singer: Mukesh</b><br />
<b>Music: Shankar Jaikishen</b><br />
<b>Lyrics: Shailendra</b><br />
<b><br /></b>
After a few years of bad patch, Mukesh was back with a bang in 1958. Not that he was singing more that year, but his productivity had seemed to have increased manifolds. Whatever he used to touch in 1958, would turn into 24 carat gold. He had only one song in this album, and whatever you remember today of that movie, is due to this timeless classic amazingly rendered by the maestro. Yahudi was the only occasion when director Bimal Roy worked with SJ duo for music, perhaps because his otherwise pet MDs- Salil and SD- were not comfortable working with historical or devotional theme. Yahudi also features a song by Geeta Dutt, one of the very rare occasions when SJ had used her vocals.<br />
<br />
<b>Year: 1959</b><br />
<b>Song: Jalte hai jiske liye</b><br />
<b>Movie: Sujata</b><br />
<b>Singer: Talat Mehmood</b><br />
<b>Music: S D Burman</b><br />
<b>Lyrics: Majrooh Sultanpuri</b><br />
<b><br /></b>
<b><br /></b>
The time of Talat had definitely passed by then. The music had slowly changed to be trendier, rhythmic and more modern and heroes were no longer those suave and gentlemanly as they used to be. Talat also found it difficult to keep track with the changing times and also got astray with his acting obsession in between. However, for this one song of Sujata, S D Burman literally brought him back into his team from sideline to score a stunning goal of the year. Just like Jayein to jayein kaha, this was another Tagore adaptation( Ekoda tumi priye), for which SD found Talat to be the best suited voice again. Picturized on Sunil Dutt over telephone, this became Talat's swan song in every aspect. As the decade changed, he became more and more obsolete to the world. But, for the genuine music lovers, there cannot be another Talat Mehmood again.<br />
<br />
<b>Year: 1960</b><br />
<b>Song: Chaudvi ka chand ho</b><br />
<b>Movie: Chaudvi ka chand</b><br />
<b>Singer: Mohd Rafi</b><br />
<b>Music: Ravi</b><br />
<b>Lyrics: Shakeel Badayuni</b><br />
<b><br /></b>
If the entire decade of the 60s can be associated with one singer, then it has to be Mohd Rafi. He simply left everyone else far far behind with the advent of the decade. Ravi, as a music director, had debuted way back in 1954, but Chaudvi ka Chand, a Guru Dutt productions, was finally his moment of glory. Perhaps the only time you saw Guru Dutt in the movies in colour, the title song of Chaudvi ka chand proved to be a blockbuster hit also due to a gorgeously looking Waheeda rehman on screen. Again, a clear cut choice for the song of the year.<br />
<br />
<b>Year: 1961</b><br />
<b>Song: Kabhi khud pe kabhi halaat pe</b><br />
<b>Movie: Hum Dono</b><br />
<b>Singer: Mohd Rafi</b><br />
<b>Music: Jaidev</b><br />
<b>Lyrics: Sahir Ludhianvi</b><br />
<b><br /></b>
Jaidev was an assistant to S D Burman for a long long time and correspondingly, was well known to the Navketan team as well. When SD was not at the best of his health in 1961, Dev Anand and Team decided to gift Jaidev a movie as an independent music director as a reward to his long term loyalty to the banner. And Jaidev delivered his best, simply his best. Since SD was no longer working with Sahir, the latter was also out of the camp for quite some time since Funtoosh in 1956. With Jaidev, Sahir got that one last shot in the Navketan camp, never to return again after SD's re entry later in 1962. Hum Dono is not only the album of 1961, but also a testimonial to the genius of a composer called Jaidev. I chose this masterpiece Ghazal, rendered supremely by Rafi, for an intoxicated Dev Anand, while the other Dev looks on.<br />
<br />
<b>Year: 1962</b><br />
<b>Song: Humko tumhare ishq ne kya kya</b><br />
<b>Movie: Ek musafir ek haseena</b><br />
<b>Singer: Mohd Rafi</b><br />
<b>Music: O P Nayyar</b><br />
<b>Lyrics: S Rizvi</b><br />
<b><br /></b>
Ek musafir ek haseena was based on the classic Hollywood hit of the 40s called Random Harvest. Hollywood had left melodrama behind in the 60s, but we still adored such theme. O P Nayyar, by that time, had decided to average only one movie a year, concentrating more on quality than quantity. And indeed, it was the most valuable period of Nayyar's career. What started with EMEH, continued well until Kismat in 1968- and for those 6/7 years, he remained one of the highest paid music directors in the industry.<br />
<br />
<b>Year: 1963</b><br />
<b>Song: Poochho na kaise maine</b><br />
<b>Movie: Teri Surat Meri annkhein</b><br />
<b>Singer: Manna De</b><br />
<b>Music: S D Burman</b><br />
<b>Lyrics: Shailendra</b><br />
<b><br /></b>
Poochho na kaise is not an original tune if we stick to the fundamentals. The mukhda is a note to note copy of Nazrul Islam's "Aruna kanti ke go jogi bhikhari". However, since SD was very close to Nazrul during his Calcutta days in the 30s, there is a parallel theory that he might have some role to play in the original Nazrul tune itself. Anyways, coming to this particular song, Manna De again proved his mastery when it came to Classical music. Rafi had one in the same movie- Nache man mora; but clearly Poochho na kaise was far more impactful and neatly executed. And not to forget Shailendra, the "Kaviraj", here- ek pal jaise ek yug beeta, yug beete mohe neend na aayi.<br />
<br />
<b>Year: 1964</b><br />
<b>Song: Man re tu kahe na dheer dhare</b><br />
<b>Movie: Chitralekha</b><br />
<b>Singer: Mohd Rafi</b><br />
<b>Music: Roshan</b><br />
<b>Lyrics: Sahir Ludhianvi</b><br />
<br />
There can be many disagreements from many people regarding my selections of Song of the Year for the previous years, but I think, for this particular year, there would be the maximum consensus, as Man Re is clearly not only the song of the year, but also to many people, song of the century. Yes, I really mean it. Roshan Lal Nagrath had debuted in 1950 with Neki aur Badi, and continued giving quality music throughout the 50s but success eluded him. Barsaat ki Raat in 1960 was a turning point for him in his career. He never looked back after that, till his untimely death in 1968. Chitralekha had only one Rafi song, and it was good enough for the master to create something immortal, everlasting. Sahir excelled, once again- "koi na sang mare"...<br />
<br />
<b>Year: 1965</b><br />
<b>Song: Din Dhal Jaye</b><br />
<b>Movie: Guide</b><br />
<b>Singer: Mohd Rafi</b><br />
<b>Music: S D Burman</b><br />
<b>Lyrics: Shailendra</b><br />
<br />
SD was back with a bang for Navketan this time, with the album of his career. While Kishore Kumar did make a comeback for Dev after quite a while with a blockbuster hit, the album from a male singer perspective, belonged to only and only Rafi. After Hum Dono, this was another killer performance from Rafi for Dev, and this time, perhaps even better. Din dhal jaye is simply the most celebrated intoxicated sad songs rendered ever. Shailendra gave a lifetime performance for this, before biding adieu to the world just a year later. Industry lost its best poet.<br />
<br />
<b>Year: 1966</b><br />
<b>Song: Tumne mujhe dekha</b><br />
<b>Movie: Teesri Manzil</b><br />
<b>Singer: Mohd Rafi</b><br />
<b>Music: R D Burman</b><br />
<b>Lyrics: Majrooh Sultanpuri</b><br />
<br />
<b><br /></b>
Rahul Dev Burman officially debuted in 1961 with Chhote Nawab, but came to serious notice 5 years later with Teesri Manzil. Even veterans like Shankar Jaikishen and Madan Mohan now started taking this new generation seriously. The sound which RD created in Teesri Manzil was never heard before. Here was a composer who was going to stay, who could blend melody with rhythm and give consistently good scores. While the entire album is full of classics, my personal pick for the year would be this amazingly beautiful Rafi solo where for the first time, pathos were mixed with drums and saxophone and melody of sorrow was clubbed with pace and rhythm.<br />
<br />
<b>Year: 1967</b><br />
<b>Song: Tumhari zulf ke saaye mein</b><br />
<b>Movie: Naunihal</b><br />
<b>Singer: Mohd Rafi</b><br />
<b>Music: Madan Mohan</b><br />
<b>Lyrics: Kaifi Azmi</b><br />
<b><br /></b>
The reason why you would see less of Madan Mohan here is because he, along with the brigade of Salil Chowdhury, Anil Biswas and C Ramchandra, largely remained a female vocal (read Lata) based composer. In fact, remove Lata, and what you get from Madan Mohan is a precipitate of some random Talat and Rafi. Although, number wise, Rafi sang as many as 150 songs for Madan Mohan, it was only in the 60s that the combo really started delivering significant scores. Rafi, also can boast of being the only other singer than Lata, who could get monopoly shares in a Madan Mohan album like Ghazal, Laila Majnu, Haqeeqat etc. From 1967, I choose this tender romantic gem, which might not have become too popular at the time of its release but today is treated like a true classic.<br />
<br />
<b>Year: 1968</b><br />
<b>Song: Chandan sa badan</b><br />
<b>Movie: Saraswati Chandra</b><br />
<b>Singer: Mukesh</b><br />
<b>Music: Kalyanji Anandji</b><br />
<b>Lyrics: Indeevar</b><br />
<b><br /></b>
Although there exists a Lata version of the same Yaman based classic, the Mukesh version is far more appealing and impactful owing to the mastery on the lower notes by the maestro coupled with his signature nasal baritone. Post Kavi Pradeep and Bharat Vyas period, it was Indeevar who again started bringing the pure Hindi words to craft poetries. Chandan sa badan is as simple and beautiful as melody can get. One of the lifetime compositions from the Gujarati brothers.<br />
<br />
<b>Year: 1969</b><br />
<b>Song: Woh shaam kuchh ajeeb thi</b><br />
<b>Movie: Khamoshi</b><br />
<b>Singer: Kishore Kumar</b><br />
<b>Music: Hemant Kumar</b><br />
<b>Lyrics: Gulzar</b><br />
<b><br /></b>
With the nearing of yet another new decade, we got the first official superstar of Hindi film industry. And this new star had a new voice, which we could earlier hear only when he himself was the actor or on Dev Anand, that too intermittently. After 20 years of long and painful wait, the time had finally come for Kishore Kumar. And suddenly, all the composers were found to be pretty comfortable working with him. Woh shaam is a landmark song from this singer in Kishore Kumar perspective. Not only does he nails Yaman to perfection, he extracts the impeccable emotion required to do justice to this song. The composer, who was an ace singer himself, must have felt very very proud on his singer selection here. And with no Shailendra nearby and Sahir reducing his work significantly, we got a new face of poetry called Gulzar with this.<br />
<br />
<b>Year: 1970</b><br />
<b>Song: Jaane kaha gaye woh din</b><br />
<b>Movie: Mera Naam Joker</b><br />
<b>Singer: Mukesh</b><br />
<b>Music: Shankar Jaikishen</b><br />
<b>Lyrics: Hasrat Jaipuri</b><br />
<b><br /></b>
What Limelight was to Charlie Chaplin, MNJ was to Raj Kapoor. MNJ, as a subject itself, was highly inspired by Limelight.It took a lot of time to complete and a big setback was the death of Shailendra in between the project. But, Hasrat Jaipuri, as the other strong pillar of RK Films music, along with Shankar Jaikishen, delivered what many consider as the finest Shivrnjani adaptation in Hindi Film music. Mukesh, as always, emoted one of his finest high note renditions to the perfection. Jaane kaha gaye woh din is matchless, and wins the Song of the Year award, beating Zindagi ka safar by a whisker.<br />
<br />
<b>Year: 1971</b><br />
<b>Song: Kuchh to log kahenge</b><br />
<b>Movie: Amar Prem</b><br />
<b>Singer: Kishore Kumar</b><br />
<b>Music: R D Burman</b><br />
<b>Lyrics: Anand Bakshi</b><br />
<br />
Just like Shankar Jaikishen, who needed a Basant Bahar to break their stereotyped image, R D Burman needed Amar Prem. Amar Prem truly is not only the album of 1971 but also,perhaps, the album of the entire 70s. First time, we heard S D Burman crooning someone else's composition in Hindi films and then there those 5 solos- 2 from Lata and 3 from Kishore- all agonizingly close to each other in class. However, contrary to the popular choice of Chingari, I chose this Khamaj based beauty of Kishore, just because I find the poetry and lines of Bakshi sahab more original and more conscience stirring.<br />
<br />
<b>Year: 1972</b><br />
<b>Song: Yeh Jeevan Hai</b><br />
<b>Movie: Piya Ka Ghar</b><br />
<b>Singer: Kishore Kumar</b><br />
<b>Music: Laxmikant Pyarelal</b><br />
<b>Lyrics: Anand Bakshi</b><br />
<b><br /></b>
The early 70s belonged to only one man- Kishore Kumar. And it was in this period that he delivered some of the highest quality philosophical songs in Hindi film music. Laxmikant Pyarelal literally forced him to reduce his baritone and bring a soft, tender feel into the song making him sound like an entirely different singer altogether. Yeh jeevan hai was played in the background and created one more cult of using Kishore Kumar;s voice in the background to create a meaningful impact.<br />
<br />
<b>Year: 1973</b><br />
<b>Song: Main Shayar Badnaam</b><br />
<b>Movie: Namak Haram</b><br />
<b>Singer: Kishore Kumar</b><br />
<b>Music: R D Burman</b><br />
<b>Lyrics: Anand Bakshi</b><br />
<b><br /></b>
Clearly, this Badnaam Shayar poetry is something Anand Bakshi had never written before. Hrishikesh Mukherjee adapted the Hollywood story of Becket into a modern day masterpiece. The movie making of 70s had also matured a lot from its predecessor decades and the characters were much more than pure black or white. So, we have Rajesh Khanna, Amitabh Bachchan, Om Shivpuri- all of whom show grey shades of their characters from time to time without being a clear positive or negative. Made at the helm of Rajesh Khanna popularity, R D Burman created 3 distinctly different solos for Kishore, with this one being a clear cut winner because of the depth in poetry, pathos, philosophy and a track extremely difficult to keep pace with while singing.<br />
<br />
<b>Year: 1974</b><br />
<b>Song: Zindagi ke safar mein guzar jaate hai</b><br />
<b>Movie: Aap ki Kasam</b><br />
<b>Singer: Kishore Kumar</b><br />
<b>Music: R D Burman</b><br />
<b>Lyrics: Anand Bakshi</b><br />
<b><br /></b>
Rajesh Khanna perhaps did not realize that time that the words of the song would come true to his own career so bitterly a few years later. Zindagi ke safar mein is yet another poetic masterpiece from Anand Bakshi, and considered by many to be his philosophical best. The song itself has been voted by many people to be amongst the top of the male solos of all time. Kishore delivers yet another impactful rendition in the background, with this song traversing the storyline by almost 20 years in approximately 6 minutes. Amongst all the beautifully crafted elaborate interludes by RD, the last one with Santoor and Sarangi leaves the maximum impact. Kedar at its best.<br />
<br />
<b>Year: 1975</b><br />
<b>Song: Badi sooni sooni hai</b><br />
<b>Movie: Mili</b><br />
<b>Singer: Kishore Kumar</b><br />
<b>Music: S D Burman</b><br />
<b>Lyrics: Yogesh</b><br />
<b><br /></b>
Nurturing him since late 1940s, it took time for SD to get Kishore Kumar established as a singer. But it happened, and happened for good. So, with the 70s, his vehement shift to only and only Kishore as the male voice justified the fact that he finally got what he was expecting from him. So, here was a parting gift from the mentor to his protege. Badi sooni sooni hai was the last composition of S D Burman which he could not record in his lifetime. And zindagi of everyone around, along with Kishore himself, became very sooni sooni after his demise. Music never remained the same after SD.<br />
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Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com2tag:blogger.com,1999:blog-7556566360743437790.post-73612161295379547642013-11-11T21:43:00.000+05:302015-07-09T19:58:27.873+05:30Mohd Rafi- Association with Bengali Composers<div dir="ltr" style="text-align: left;" trbidi="on">
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Mohd Rafi had truly been the voice of common man in India. Even today, the suburbs and villages of India wake up with this voice of the soil. It is of no surprise that, in the 50s and 60s, Rafi was mostly used by almost all the music directors in Bombay- Naushad, Madan Mohan, O P Nayyar, Shankar Jaikishen, Ravi, Chitragupta and Roshan- all sworn by Rafi.<br />
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The gap perhaps existed with a lot of musicians hailing from the East. No regionalism intended, but it is a surprising fact that Rafi was not the most used male singer by any Bengali Director of that period. From Anil Biswas to Bappi Lahiri, Rafi was never the prime choice. S D Burman, R D Burman, Bappi Lahiri used Kishore more(although, Rafi enjoyed being the prime singer for the Burmans in the 60s), Salil chowdhury used Manna De the most, while Anil Biswas’ favourite remained Talat. Hemant Kumar recorded 30 odd songs with him, but again, his maximum memorable male songs were crooned by him only. And then, there were MDs like Shyamal Mitra, who in spite of composing in around half a dozen Hindi films, carefully overlooked Rafi. Was there a disconnect? Regionalism can be overlooked due to the fact that almost, or for that matter all the Bengali music directors, when it came to female singer selections, had no problem whatsoever with Lata and Asha. Salil and Hemant recorded umpteen Bengali songs with Lata whereas R D Burman and Sudhin Dasgupta did the same with Asha without any problem, when they had home grown talents like Geeta Dutt, Sandhya Mukherjee, Arati Mukherjee and Nirmala Mishra who were great on their own; Sandhya and Geeta especially were considered by many to be as good as Lata.<br />
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As a classically trained non-Bengali friend of mine residing in US, who took classical training under Pandit Jasraj and never wants to reveal his identity owing to personal reasons, once told me about the “exclusive” range which Rafi possessed which none before him or after him had. “Starts at the beginning of Mudara Saptak(medium octave) and goes to the extreme end of Tara Saptak(High Octave)- Rafi’s range was quite contrast to the Saigalian school(K L Saigal) of modern Indian singers who had coverage from mid of Udara saptak(Low octave) to the mid of Tara saptak.” Studying Rabindra Sangeet, the specific dose all those Bengali musicians have been brought up with, the example can be made clearer- almost all the Tagore songs are bound within the specified range of Saigalian schhol- of course, Tagore came much earlier than Saigal, but I refer this term for understanding sake.<br />
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Rafi had very few low octave exhibitions- of course in his youth, he could touch around 1-2 notes in the lowest octave in “Man tadpat hari darshan” and “Toote hue khwabon ne”. Salil Chowdhury, reportedly had repeated problems with Rafi’s hitting low notes and had a small skirmish during the recording of “Tasveer teri dil mein” when Rafi wanted the scale to be higher to his comfort. All these Bengali music directors were good singers as well, barring perhaps, Salil. The Burmans, especially, were classically trained and possessed supreme vocal skills and had a range more resembling towards the traditional Bengali school. S D Burman, between 1958- 1965, used Rafi the maximum. Looking at his usage of Rafi, vis-à-vis SJ or Naushad, it is not surprising to notice that he used Rafi at a different scale and with “controlled emotions”( barring a few situational requirements like “Yeh duniya agar mil bhi jaye” climax) as compared to Naushad or SJ who wanted him to be higher and higher. It is worth mentioning here that, the notes Rafi touched in tara saptak like in "Zindabad zindabad ae mohabbat zindabad" are unmatched in the industry. He was the King of High notes. <br />
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Salil never used Rafi in the 70s all throughout. R D used him, but always like a distant, light-years behind second. SD was worse than his son, in the 70s. Anil Biswas anyhow was out of the gambit long before, even when he was, he carefully opted out of Rafi. Hemanta had only one movie with Rafi in the 70s- Love In Canada- way later in 1979. Shyamal Mitra had none. Basu Manohari had no Hindi releases but a few Bengali modern songs for Puja in 1978. Ironically, Rafi, who seemd to have covered all ranges of music in his 36 years career, never had a Rabindra Sangeet album released. It seems, Shantidev Ghosh- the Tagore erudite- had some Rabindra Sangeet recorded with Rafi, but did not get clearance from stringent Vishwa Bharati those days. A gap in musical school, perhaps… </div>
Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com9tag:blogger.com,1999:blog-7556566360743437790.post-79076075937742548472013-09-27T22:16:00.000+05:302015-07-09T20:02:40.531+05:30United Colors of Separation<div dir="ltr" style="text-align: left;" trbidi="on">
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Today if you ask Salman Khan who was his initial voice, it might take him a while to recall the name of S P Balasubramanium. By the time, Salman came into acting, one hero one playback voice concept had long been over. Still, it seemed, SPB had finally got a superstar face on screen to boost his career with Salman. Together they gave hits like Maine Pyar Kiya, Sajan, Love, Dil Tera Aashiq and Hum Aapke hai kaun- but that was it. Salman took a break for couple of years and when he made a re-entry with Judwaa(1997), he was a different Salman altogether. SPB-Salman can safely be termed as the terminal combination of the concept of one hero-one voice.<br />
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But there was a time, when Shammi Kapoor wanted only Rafi, Rajesh Khanna vouched for only Kishore and Raj Kapoor would never sign without Mukesh(or, Manna De at best). There were also some type of heroes who never cared who the playback was- Dharmendra, Jeetendra, Shashi Kapoor, Sanjeev Kumar spent bulk of their career giving lips to right from Mahendra Kapoor to Bhupinder. And there was a third lot, who started with one particular voice and then with the change of times, immediately shifted to another.<br />
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Majority of Shammi Kapoor hits in the 50s were rendered by Talat Mehmood. Talat was for quite a long time Shammi’s voice till “Tumsa Nahi Dekha” happened. It is not that Rafi did not playback for Shammi before Tumsa Nahi Dekha, but the extent of Talat’s contribution was far higher. But, with a clean shaven cleared moustache and more youthful resurrected Shammi from Tumsa Nahi Dekha, only Rafi could do justice to the image. So, it was a Bye Bye for Talat henceforth from Shammi, and welcome Rafi for good.<br />
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Shailendra Singh created quite a sensation as the playback for young Rishi Kapoor with Bobby. He continued for some more years with movies like Rafoo Chakkar, Zehreela Insaan, Khel Khel Mein etc. But, then, with Laila Majnu and Hum Kisise Kum Nahi- Rishi Kapoor swiftly shifted to the more matured voices of Mohd Rafi and Kishore Kumar by the late 70s. While Rafi catered to the romantic Rishi in Amar Akbar Anthony, Karz and Sargam; exuberant Kishore gave chartbusters in Hum Kisise Kum Nahi, Karz, Jhutha Kahin Ka etc. Shailendra was there for Rishi, pitching in intermittently in Zamane ko Dikhana Hai and Sagar, but the good old days were all but over.<br />
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There was also Biswajeet, who started off his career by giving lips to the hit songs of Hemant Kumar. Bees Saal Baad, Kohra and Bin Badal Barsaat. But those were the stories of Black and White Biswajeet. With the colour era, Biswajeet turned swanky with rock and roll numbers of Rafi under the tunes of Shankar Jaikishen and O P Naiyyar. Between 1965-1970, Biswajeet carefully left his “Bhadralok” Bengali Babu image with Hemant Kumar songs behind and turned into a hip-hop hero with a good female following as well!!<br />
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The first 5 movies of Rajesh Khanna- Aakhri Khat, Raaz, Baharon Ke Sapne, Doli and Aurat- had all of them with Mohd Rafi as his voice, just like any other hero those days. His 6th and 7th movies- Aradhana and Do Raaste- also had Rafi singing for him. The problem was in the last mentioned movies, the Kishore songs made super heavy impact and within a couple of years, although Rafi kept on singing intermittently for him throughout, Kishore-Rajesh combo became a Nationwide phenomenon.<br />
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Regarding lapse in association, coming out of hero-singer discussion, there were some worth mentionable instances in other combos as well. <b>Director- Music Director</b>: Well, as a director-producer, Raj Khosla was never ditched by the melodies of Madan Mohan. In fact, Woh Kaun Thi and Mera saaya might just qualify to be the best musical soundtracks of Khosla’s career. Just when the things were looking bright, Khosla suddenly changed his preference and shifted to Laxmikant Pyarelal in Do Raaste, never to return to Madan again.<br />
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<b>Lyricist- Music Director: </b>We all know why S D Burman and Sahir never worked together post-Pyasa. But, who had the advantage at the end of the day? Don’t know about others, but Guru Dutt, definitely considered keeping SD in the camp to be more important.<br />
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<b>Music Director-Singer:</b> Chain se humko kabhi aapne jeene na diya, O P Nayyar’s last composition for Asha Bhosle ironically, told his own feeling towards the singer, perhaps. </div>
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Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com9tag:blogger.com,1999:blog-7556566360743437790.post-33480687829995017122013-07-24T23:41:00.001+05:302013-07-24T23:50:40.168+05:30Thandi Hawayein Legacy<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Calibri;">Anirudha Bhattacharya and Balaji Vitthal's book on R D Burman has a reference to the tune of Thandi Hawayein having its original roots to the theme song of Algiers(1938). </span></div>
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<span style="font-family: Calibri;">Charles Bayer crooned “C’est la vie” in Algiers(1938) without even realizing what a big chain of inspirations he had set for the next generation of Indian music makers. <span style="mso-spacerun: yes;"> </span>The tune was also used as an instrumental during the credit title at the start of the movie and then later, of course, Bayer sang it in his own baritone polishing his shoes and looking out of the window. </span></div>
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<span style="font-family: Calibri;">S D Burman indeed might have been hugely influenced by that tune. His first composed duet of Kishore Kumar and Geeta Dutt- Ek hum aur dusre tum- in Pyar(1950), starts with Kishore humming the C’est la vie tune. The song was tuned into an altogether different parameter though. But the foundation of a bigger and better manifestation of that tune was ready for S D.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">A year later came Najawan(1951)- where S D Burman simply bettered and over manoeuvred the Algiers tune to make the evergreen “Thandi hawayein”. The starting humming by Lata sticks to the basic tune crooned by Charles Bayer (same as what Kishore had done a year ago) and the mukhda is a simple manifestation of that tune with clever changes here and there and transforming it to a different feel of a composition altogether. This sets the pace- Thandi Hawayein tune, the root of which belonged to the Algiers song- has been the most inspiring Hindi tune ever for the composers. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">N Dutta was an assistant to S D Burman in the early 50s before he made mark of his own as an independent music director. He was very much there around S D Burman when the Naujawan song was done. No surprise, he chose to manoeuvre the tune for his own in Jaal Saaz(1959) with “Pyar ka jahan ho”. The song starts with an accordion piece simply playing the “Thandi Hawayein” tune only. The antaras of the song were again highly resembling to those of Thandi Hawayein.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Madan Mohan took a small leaf out of the Thandi Hawayein tune to make “Yehi hai tamanna” in Aapki Parchhaiyan(1964). <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Roshan simply reinvented the tune to make “Rahein na rahe hum” in Mamta(1966). Frankly speaking, the finest remake of “Thandi Hawayein” tune ever, Roshan Lal recreated the tune without even making anyone realizing the root of the same. And then, it was again Lata Mangeshkar who delivered the job.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Sonny Rahul Dev Burman used “Thandi Hawayein” connect more than occasionally. While “Naghma humara” from Bundalbaaz(1976) might carry a shade of influence, “Sun zara shokh haseena” from Harjaee(1981) is nothing but a recreation of “C’est la vie” in all aspects.<span style="mso-spacerun: yes;"> </span>It would take really an expert’s ear to find out the root of the tune again. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Very late in his career, RD made the second best adaption of Thandi Hawayein tune (first for me being Rahein na rahe hum of course)- Sagar kinare. A silght, delicate reconnect to his father’s tune, but then, a master work nonetheless. He had a couple of years ago made "Humein raaston ki zaroorat" in Naram Garam which followed the same tune again. <o:p></o:p></span></div>
Thandi Hawayein might not have been an altogether original a tune, but it had influenced a generation in a manner even its original source could not. </div>
Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com8tag:blogger.com,1999:blog-7556566360743437790.post-41584102539196910172013-06-26T13:18:00.002+05:302013-06-26T16:13:50.713+05:30A Mania Called Madan Mohan<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Calibri;">Yesterday, on 25th June, while driving to my office, I found that the FM radio stations out of their sheer over enthusiasm of planning to celebrate R D Burman’s birthday on 27<sup>th</sup>, had completely overlooked Madan Mohan's birthday! While there cannot be any question on Pancham’s Greatness and he deserves all the hype and following his legacy enjoys today; Madan Mohan remained an underachiever even during his lifetime and now, after 38 years of his untimely death as well. In fact, I seriously doubt, had there been no such vehement endorsements from Lata Mangeshkar of late, the legacy of Madan Mohan might have become obscure like many of his other colleagues today. </span><br />
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<span style="font-family: Calibri;">For me, Madan Mohan has always been “The Composer”, in fact much much higher a “composer” than a “music director”. His compositions pertain to a period when melody making was of the top most priority. His tunes, vintage and lush, might not rave up your night parties but enlighten your dark and gloomy evenings; might not delight you in gathering but mesmerize you in seclusion. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Although he composed a wide range of songs, it was the sober, shallow mood songs where I think, he could connect himself the best as a composer. Yes, he gave us something as brightening as “Tum jo mil gaye ho”- where he rose above the minimalist approach in arrangement and perhaps hired a whole lot of RD camp musicians to create a sound which is sensual and romantic. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">It was a sheer understatement when someone in a music forum wrote around 2-3 years back that “Leave out Lata, and what precipitate you have in Madan Mohan’s portfolio are some handful of Talat and Rafi songs”. You cannot be more wrong than this, but unfortunately, this remains the irony of Madan Mohan’s career. People seem to simply deny everything other than those mind-blowing Lata gems from Madan Mohan. Of course, he was the best composer for Lata Mangeshkar- who can easily boast of getting the best compositions from all the contemporary composers- but Madan Mohan was much more than that! <o:p></o:p></span></div>
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<span style="font-family: Calibri;">“Jhumka gira re” remained the most popular number of Asha Bhosle for a long time until “Dum maro dum” happened. You can always blame Madan for coming back to Asha only for peppy numbers, especially post-1960, but the productivity he gave with Asha Bhosle can never be overlooked. In fact, you will get swayed away once you listen to something like “Ja dekhi teri preet re”<span style="mso-spacerun: yes;"> </span>or “Saba se yeh keh do” – the earlier work of Madan-Asha in the 50s. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Or even for Talat Mehmood, in spite of having hardly 30 songs recorded together, Madan nitpicked his compositions for Talat. In fact in the 50s, Madan stuck to Talat even for the songs picturized on Shammi Kapoor. In Jahan Ara(1964), he fought with the producer for using Talat Mehmood, who by that time, had started going into hibernation following a drastic change in the style and trend of music from early 60s(read, Yahoo mania). <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Madan Mohan never had the privilege to get a superstar endorsement. I don’t recall any of his movies with Dilip Kumar, in fact I am not sure whether he at all worked with him ever. For Raj Kapoor also, Ashiyana is too obscure a thing to recall(again, a movie where Madan used Talat for Raj Kapoor!!). He worked with Dev Anand in three movies- Pocketmaar, Sharabi and Sahib Bahadur. None of the movies fared well. However, the music was uncompromised. Sharabi, particularly, needs a special mention here. Mohd Rafi was used in the most beautiful way, contrary to the high pitch shrieks he started delivering that time, Madan contained him along with S D Burman, in the controlled, soft and silky way. “Kabhi na kabhi, kahi na kahi” is supreme Rafi from Sharabi. And “Sawan ke mahine mein” is one of the best “Sharabi” songs I have ever heard. The antaras were exceptionally well composed with intermittent Sax pieces ornamented the whole thing. Sahib Bahadur, a movie released after Madanji’s demise, had perhaps the best Madan Mohan composition for Kishore Kumar- “Rahi tha main awara”. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Sanjeev Kumar was perhaps the only superstar who got ample movies with Madan Mohan music, right from Naunihal(remember “Tumhari zulfon ke saaye mein”?) to Dastak to Koshish to Mausam to Chowkidaar to the obscure Inspector Eagle. And then, there was Dharmendra in his younger and more romantic days crooning Madan Mohan compositions on screen like “Ek haseen sham ko” and “ Yehi hai tamanna”(a composition where Madan Mohan showed clear inspiration from S D Burman’s “Thandi Hawayein” in initial lines). <o:p></o:p></span></div>
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<span style="font-family: Calibri;">And then, there was Sadhna, the most coveted heroine in the 60s. Sadhna can clearly boast of having some of the finest Lata-Madan outputs in films like Manmauji, Woh Kaun Thi and Mera Saaya. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Veer Zara(2004) revived Madan Mohan’s music for all of us. It gave as a reminder call. Lata Mangeshkar crooning those vintage melodies and taking us back in time. Madan Mohan Mania amongst genuine music lovers still live on! We listen to him and ask- “Tum bin jeevan kaisa jeevan”!!<o:p></o:p></span></div>
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Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com5tag:blogger.com,1999:blog-7556566360743437790.post-23538384742572318262013-05-07T17:50:00.004+05:302013-05-08T07:51:23.235+05:30Five Movies That Changed My Life<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Calibri;">A simple story which would raise the inherent humanity inside you for sure. Made during the depression days in Europe post-war, this movie covers the socio-economic and human values of those days to the perfection. Also, the father-son bonding which develops throughout the movie is one of the finest depictions of relationship I have ever witnessed in cinema. Bicycle Thieves canvasses a strong cinematic theory which could narrate strong emotions without melodrama. Coming to De Sica, I think Umberto D was considered a better work of him than BT by critics, however, I personally found BT to be more subtle and to the point than UD which was a bit loud and stretchy in its presentation. The best part of BT is it never urges you to feel sorry for the state of the people but slowly twists your internal humanitarian values and by the time you see the climax, your values and emotions get a supreme empowerment. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">The climax is definitely one of the very best I have ever watched, more like those of Chaplin climaxes when the Tramp goes towards the horizon with future hopes amidst present abjections. It does not provide a solution, but gives positivity. De Sica did the same in Umberto D as well, this time around with the man and the dog. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">The scene when the father hears screams of a drowning child in the river and his anticipated fear of that being his son, Bruno is simply overwhelming. Bicycle Thieves indeed raised in me a lot of humanitarian values. It might appear a bit socialistic to many, but I think looking at Italy’s conditions that time, it was not impractical. Bicycle Thieves will remain, for me, The Movie- forever. </span><br>
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<li class="MsoNormal" style="margin: 0cm 0cm 10pt; mso-list: l0 level1 lfo1;"><span style="font-family: Calibri;"><strong>Casablanca(1942)- Michael Curtiz. Language: English. <o:p></o:p></strong></span></li>
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<span style="font-family: Calibri;">For three continuous nights after watching this, I could see the scenes of Casablanca only even in my sleep. Most cinematic, most intense and perhaps the most popular semi-tragic climax in Hollywood cinema was from Casablanca. Rick, Ilsa and Lazlo- the three corners constitute the triangle of Casablanca, and each of these relations depicted with so much of passion and intensity, you really start feeling for these characters. <span style="mso-spacerun: yes;"> </span>And Ingrid, ahh, did she ever look better than this? </span><br>
<span style="font-family: Calibri;"><o:p></o:p></span></div></div><a href="http://arghyatext.blogspot.com/2013/05/five-movies-that-changed-my-life.html#more">Read more »</a>Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com7tag:blogger.com,1999:blog-7556566360743437790.post-16033297256761469792013-05-03T19:40:00.000+05:302013-10-27T10:50:54.680+05:30Remembering Manna De- His Memorable Associations.<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Calibri;">Manna De touched 94 on May 1<sup>st</sup>. However, considering the amount of his contribution and accomplishment, the response from the music lovers has been lukewarm to put it honestly. He was not a superstars’ voice, but even superstars had to turn to Manna De on special occasions when their “voices” could not deliver specialized services. And Manna De delivered happily- for Raj Kapoor a “Laga chunri mein daag”; for Shammi Kapoor a “Chham chham baaje re payaliya” or for Rajesh Khanna a “Gori tori paijaniya”. It is still a painful point to note that Manna De could never really make it very big in the Hindi cine industry. He had been there right from the mid 40s, assisted stalwart music directors and without doubt was more musically exponent than all his other popular colleagues. </span></div>
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<span style="font-family: Calibri;">Manna’s outing in the Bengali music had been quite late. He first sag for Uttam Kumar, the Bengali superstar, in Gali theke Rajpath(1958)- where he did a fine yodelling as well. Later in the 60s, he successfully established himself as the voice of the elderly Uttam, right till the end. Where Bengalis remember the romantic, chocolaty Uttam in the voice of Hemanta in the 50s, Manna provided the voice of a more matured and polished Uttam in the 60s and 70s. Uttam Kumar is perhaps the only superstar for which Manna could become a undisputed “voice”, thanks to music directors like Sudhin Dasgupta, Gopen Mullick, Anil Bagchi and Nachiketa Ghosh. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">In Hindi amongst superstars, perhaps it was only Raj Kapoor for whom we can safely give Manna the tag of being “The Voice”, although his contribution in volume in front of Mukesh would be miniscule. But , whenever Manna teamed up with RK, the results have been mesmerising to say the least. And even Raj Kapoor knew pretty well, for a “Laga chunri mein daag”, one needs only Manna De. It is to be noted that, for Raj Kapoor, Manna babu could really come out of those special assignment classical numbers and cover more variety of the spectrum with “Aaja sanam madhur chandni mein hum”, “Mood mood ke na dekh”, “Ae bhai zara dekh ke chalo” and the eternal classic “ Pyar hua ikrar hua”. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Balraj Sahani was another actor for whom Manna babu had significant contributions as a playback. It all started with Do Bigha Zameen(1953). Later, almost all the memorable Balraj Sahani songs on screen were rendered by Manna De- “ Tu pyar ka sagar hai”, “Ae mere pyare watan”, “ Ae meri zohrajabeen” and “Tujhe sooraj kahun ya chanda”. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Rajesh Khanna and Shammi Kapoor- two superstars generally identified by two voices,viz, Kishore Kumar and Mohd Rafi respectively, had some memorable Manna numbers for them also. Manna’s super execution of two differently mood songs for Shammi- “Mere bhains ko danda kyun mara” and “ Chham chham baaje re payaliya”- were both widely popular and he never sounded out of place for the yahoo star. Rajesh Khanna also got substantial contribution from this versatile singer in Anand, Bawarchi, Aavishkar and Mehbooba. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">As far as his playback for Mehmood and Pran is concerned, they were definitely his most fruitful associations of all. He clearly became the voice of comedian Mehmood in the 60s. Even in his autobiography, Manna De admitted that it was only Mehmood out of all the actors in Bombay industry, who always wanted Manna De to be his playback. An only advocacy which Manna De otherwise lacked throughout his career. Even for Ashok Kumar, Manna De left a chain of memorable melodies. But then, at the end of the day, none of them were superstars that time. No Dev Anand or Dilip Kumar or Shammi Kapoor or Rajesh Khanna endorsement was available for Manna babu. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">I think by the 70s, Manna De realized pretty clearly that things would remain more or less the same for him in Hindi film industry. That was the time he started concentrating more on his Bengali private albums. Aptly supported by Suparnakanti Ghosh, Manna De recorded some evergreen Bengali non film songs that time like “Coffee houser sei adda”( a song Bengalis universally adore) and “She amaar chhoto bon”. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">There has hardly been any music director for whom Manna De had not recorded a song and there is hardly any music director for whom he was the mostly used male singer as well. His association with the Burmans, Shankar Jaikishen and Salil Chowdhury (perhaps the only renowned music director for whom Manna was the most used male voice) had been astounding. But he missed from many others for whom he could have contributed much more- Roshan, Naushad and Madan Mohan, with whom even with limited associations, Manna De created historical music. From the unreleased Dil ki raahein(1973), Manna De had recorded Raagmala for Madan Mohan; in my honest opinion, one of Madan Mohan’s best achievements. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Patronage is a big thing in the industry. Either a big music director, or a particular superstar or a particular group with similar demography- should endorse you fully. Otherwise, no matter, how much pride we show on our Golden Era of music, all being legends notwithstanding, a sorry story of a Manna De or a Jaidev or a Yogesh always pop up; who was not given his dues. <o:p></o:p></span></div>
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Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com3tag:blogger.com,1999:blog-7556566360743437790.post-12832659196026978242013-04-08T20:16:00.003+05:302013-04-09T08:16:56.613+05:30One Movie, One Singer, Many Faces!!<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Calibri;">In a single movie, one singer sings for more than 2 characters! There have been many instances when a singer sings for 2 characters in a single movie. Rafi used to do it regularly in the 50s when he used to sing both for the hero as well as Johny Walker or some other comedian in the same movie like Pyasa, Jaali Note, Madhumati, CID and many more. Kishore in the 70s also did such stuff quite a lot like Namak Haram, Mere Apne, Naya Zamana etc . But, one singer singing for 3 or more characters in one single movie in different songs is not very common and is worth delving in. This is a very interesting scenario and we would try to find out some movies where a single singer has done playback service for 3 or more characters in 3 or more different songs. Our period of discussion would confine within 1950 to 1990. <b>Note: Examples like Lata Mangeshkar singing for 3 heroines in one single song- Humko tumse ho gaya hai pyar(Amar Akbar Anthony-1977) are not qualified, as the criteria is three different songs for three different people in one single movie</b>. </span></div>
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</div></div><a href="http://arghyatext.blogspot.com/2013/04/one-movie-one-singer-many-faces.html#more">Read more »</a>Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com11tag:blogger.com,1999:blog-7556566360743437790.post-86625306294604996852013-04-04T21:01:00.000+05:302013-04-04T21:02:38.151+05:30Neglected in History- Yogesh Gaud<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Calibri;">Yogesh Gaud has been neglected. Here was a poet, who could write simple yet meaningful and powerful poetry and convey the soul of the poem to the audience without any gimmicks. Still, his name has never been uttered in the same breath with the likes of Gulzar, Majrooh, Sahir or Anand Bakshi. Yogesh never worked too much under big banners and his work remained confined heavily within the small budget movies of Basu Chatterjee and Hrishikesh Mukherjee in the seventies. In fact, many people are ignorant about the lyricist of some classic melodies which were written by Yogesh. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM0nVnPCTqH6n57wr0ENlWjWXV4qkcJLxayLV8UDNIPUkiHLdXT8w9f7sOfnt5aJkwSNjC1PCS9KkY0MEAphs-Mq9O43XYfrT4HvMY4Wu_nPueTnDM1J2kpqRzFr1casSUs1UBhl-uZ4TV/s1600/yg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" mta="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM0nVnPCTqH6n57wr0ENlWjWXV4qkcJLxayLV8UDNIPUkiHLdXT8w9f7sOfnt5aJkwSNjC1PCS9KkY0MEAphs-Mq9O43XYfrT4HvMY4Wu_nPueTnDM1J2kpqRzFr1casSUs1UBhl-uZ4TV/s1600/yg.jpg"></a></div>
</div><a href="http://arghyatext.blogspot.com/2013/04/neglected-in-history-yogesh-gaud.html#more">Read more »</a>Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com6tag:blogger.com,1999:blog-7556566360743437790.post-31713708747963520402013-03-13T22:31:00.003+05:302013-03-29T10:08:03.863+05:30Age was just a number- S D Burman's marathon success<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Calibri;">Retirement age of a Government officer is 60. The same for corporate personnel is sometimes even a couple of years less. There is no retirement age for a creative person though, but his creativity again gets restrained by the growing age and grey hairs. Gulzar sahib, Lata Mangeshkar, Asha Bhosle, M F Hussain, Satyajit Ray had constantly challenged this fact, but perhaps, they themselves would have agreed to the fact that the creative work of their later years were not upto the supreme standards they had themselves set up in their younger to middle age. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Sachin Dev Burman would have vehemently disagreed to this theory though. What else, he might have taken this as a personal insult as well! Not only this musical wizard kept competing with peers half his age, he outlived all of them in terms of longevity in career as well! Had death not taken him away at the age of 69, this maestro surely would have continued to outperform contemporaries and set new standards in creative world. </span><br>
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<span style="font-family: Calibri;"><img height="314" id="il_fi" src="http://www.indiatarget.com/stills/slide_show/sd1.jpg" style="padding-bottom: 8px; padding-right: 8px; padding-top: 8px;" width="400"></span><br>
<span style="font-family: Calibri;"><o:p></o:p></span></div></div><a href="http://arghyatext.blogspot.com/2013/03/age-was-just-number-s-d-burmans.html#more">Read more »</a>Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com5tag:blogger.com,1999:blog-7556566360743437790.post-40507864030689168212013-02-18T17:13:00.000+05:302013-11-11T18:14:40.533+05:30Akele hai Chale Aao- Recalling an association Rajesh Khanna and Mohd Rafi<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Calibri;">There have been quite a few feedbacks received by me regarding my blog and the ways to improve it and make it more interesting. Let me thank all my friends who have been constant source of inspiration for my writing. It seems my effort to highlight many special “combos” in the film music has been received with good appreciation (Kishore-Shankar Jaikishen, Rafi-R D Burman, Kishore-Gulzar are just to name a few) and there have been suggestions to highlight such great but less discussed combos more through my blog. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpasx9liihKEpdyMEK_5rbFWi0D1kUQAOflILtsYsTM8NfD-ApRBXg3MXT3GfASpJMus9sTFYIdYwBGe46-nDanK2OC4sU9kBhvOih_yfzczo8APOVmfyjMToOanVZRjVqJcbV_dcY98vc/s1600/MR+RK.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpasx9liihKEpdyMEK_5rbFWi0D1kUQAOflILtsYsTM8NfD-ApRBXg3MXT3GfASpJMus9sTFYIdYwBGe46-nDanK2OC4sU9kBhvOih_yfzczo8APOVmfyjMToOanVZRjVqJcbV_dcY98vc/s1600/MR+RK.jpg" uea="true"></a></div>
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</div><a href="http://arghyatext.blogspot.com/2013/02/akele-hai-chale-aao-recalling.html#more">Read more »</a>Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com6tag:blogger.com,1999:blog-7556566360743437790.post-24731809922099458652013-01-17T17:36:00.003+05:302013-01-18T10:01:03.839+05:30Why not more...???<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Calibri;">Oil and water don’t mix together- but that does not lessen the quality of either of them. It is just the simple density chemistry which bars these two elements getting mixed up with one another. There have been quite a few music directors in Hindi film music, who preferred to stay away from certain singers due to various reasons. When it comes to artistic difference, it makes sense as to why Naushad avoided Kishore Kumar and Geeta Dutt; Shankar Jaikishen avoided Hemant Kumar and Talat Mehmood; S D Burman avoided Mahendra Kapoor or for that matter Salil Chwodhury avoided Shamshad Begum. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">However, sometimes it becomes difficult to understand as to why some combos, <strong>in spite of creating some supreme music together whenever they combined and sharing musical similarity</strong>, did not come together too often. Reasons can be musical or non musical, let us take a look into some highly “productive” but “infrequent” combos.</span><br>
<span style="font-family: Calibri;"><o:p></o:p></span></div></div><a href="http://arghyatext.blogspot.com/2013/01/why-not-more.html#more">Read more »</a>Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com10tag:blogger.com,1999:blog-7556566360743437790.post-49997739418660910112012-12-28T00:09:00.000+05:302012-12-28T00:09:20.922+05:30Dance with Dad, Sing with Son<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: 14pt; line-height: 115%;"><span style="font-family: Calibri;">Hema Malini had a great achievement of working as a heroine opposite to Raj Kapoor, his two younger brothers and his two sons! Now, that was indeed covering three generations of heroes on the silver screen. Right from Sapno ka Saudagar(1968) opposite Raj Kapoor, she featured against the youngest brother Shashi in Abhinetri(1970), middle brother Shammi in Andaaz(1971) to Raj’s eldest son Randhir in Haath ki safai(1974) and then much later in the 80s against Raj’s second son Rishi in Ek chadar maili si. </span></span></div>
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<span style="font-size: 14pt; line-height: 115%;"><span style="font-family: Calibri;"></span></span></div><a href="http://arghyatext.blogspot.com/2012/12/dance-with-dad-sing-with-son.html#more">Read more »</a>Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com2tag:blogger.com,1999:blog-7556566360743437790.post-9136852325037959652012-12-15T23:20:00.001+05:302012-12-16T08:56:37.563+05:30Alarming Decline in Periodical Patriotic Movies<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Calibri;">In 2001, Gadar and Lagan were released on the same day, with the similar patriotic doses and still became super duper hits without eating each other’s pie out. Kargil war was just over and the patriotic sensation in the country was very high. The spirit continued for a couple of years more with a string of Bhagat Singh movies released and some more genuine patriotic doses like LOC Kargil(2004), Swadesh(2004) and Mangal Pandey(2005). <o:p></o:p></span></div>
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<span style="font-family: Calibri;">It is very obvious now that periodical patriotic movies are at the ebb currently. Even though there had been some major attacks in India post-2005, like the Pune blast, The Mumbai attacks etc, the number of patriotic movies made were very thin and number of them running successfully, even thinner. Rather, NRI lifestyle, post-marital love stories or even sometimes justifying terrorism (New York) or befriending enemies (Main Hoon Na, Ek Tha Tiger) have become the order of the day. Genuine attempts of depicting sacrifices during the freedom struggle stumbled at the box office- Khele Hum Jee Jaan Se(2010) and Chittagong(2012)- both based upon the Great Chittagong Uprising of the 1930s against the British- failed to create any movement at the box office whatsoever. One may argue about the quality of them as movies, but, then, I fail to see anything more special in the older lot of J P Dutta and Anil Sharma movies which made bucks at the B.O on patriotism. </span></div>
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</div><a href="http://arghyatext.blogspot.com/2012/12/alarming-decline-in-periodical.html#more">Read more »</a>Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com4tag:blogger.com,1999:blog-7556566360743437790.post-74141606432605765282012-12-07T23:49:00.001+05:302012-12-13T16:13:39.977+05:30Ek hi mara par solid mara...<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Calibri;">There have been many albums which were dominated by a single artist. Talk of Ijazat where none but Asha Bhosle was the only singer with a string of solos to her credit. You will also find albums like Teesri Manzil where you will find Mohd Rafi in each and every song, some solos and some duets with Asha Bhosle. There are some albums, where in spite of being various artists, one artist emerged out as the dominant voice- Lata Mangeshkar in Madhumati, Manna De in Basant Bahar, Mukesh in Anand or Kishore Kumar in Safar are just some of the examples. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">However, there have been certain instances where a singer had only one song in a whole album but that song emerged out to be the winner out of all the other songs in that album. In Hindi, we term this as “Ek maara par solid maara”. Can you think of such instances in Hindi film music? Let me help you a bit in your thinking process:</span></div>
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</div><a href="http://arghyatext.blogspot.com/2012/12/ek-hi-mara-par-solid-mara.html#more">Read more »</a>Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com10tag:blogger.com,1999:blog-7556566360743437790.post-22800846587041133752012-11-29T19:33:00.001+05:302012-12-11T21:42:43.245+05:30Emperors of Playback- Kishore and Rafi Duets<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Calibri;">The first time Mohammed Rafi and Kishore Kumar shared the microphone together was in 1949, both in their twenties and yet to achieve superstardom. The song was by and large a duet of Rafi and S D Batish-“Duniya mein ameeron ko aaraam nahi milta”, where Kishore gave some fillers with yodelling and gabbles. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">The first proper duet these two legends sang together was in 1953- two duets in the movie Mallkin, music directed by Roshan Lal Nagrath or Roshan. Both fun filled duets- “Kahin se oonchi kahin se neechi” and “ Dhoti aur patloon mein” are not remembered much these days. Composition wise, there is nothing great in them, just occasional peppy numbers. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Throughout the fifties, Kishore and Rafi came together for male duets in quite a few movies like Mastana(1954, Madan Mohan), Paisa Hi Paisa(1956, Anil Biswas), Fifty Fifty(1956, Madan Mohan), Bhagam Bhag(1956, O P Nayyar), Naya Andaz(1956, O P Nayyar), however barring those of Naya Andaz, the rest all can safely be forgotten. It is important to note that, post-Baiju Bawara(1952), as Rafi grew stronger and stronger as a playback singer throughout the fifties, Kishore gained ground more in acting with his singing taking a clear backseat. So, in most of the cases, the duets were either picturized on Kishore for funny songs (obviously) or on some other comic actors to whom Kishore gave playback. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Sixties belonged to Rafi. Mere figures cannot explain the mammoth like impact he had on the industry. In the sixties, in Hindi playback singing, 1 to 10 were Mohammed Rafi and it remains an achievement of its own! Even if some competitions were there for the top spot in the fifties with Talat and Mukesh, Rafi ensured there was none in the sixties. With rock and roll and rhythm getting more importance, Rafi proved to be the only true blue versatile singer out of the lot, and the rest remained in their niche as specialists. Hemant Kumar slowly moved out of Hindi music fraternity, Talat was into hibernation by mid-60s and Mukesh was called for special sad numbers only. Mahendra Kapoor, even though his lifetime collection would consist of mainly 60s songs, in terms of impact, he was nowhere close. And Kishore Kumar was virtually jobless by mid-60s. His movies were not doing well, his problem with income tax and Madhubala shattered him further and he had far too distanced himself from playback singing by then. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Sixties had hardly any significant Rafi-Kishore duet to talk of. They came together in some sporadic instances like Krorepati (Shankar Jaikishen, 1961) and Akalmand(1966, O P Nayyar)- both Kishore Kumar starrers.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">With the advent of seventies, Kishore Kumar as a playback singer grew large, very large. <span style="mso-spacerun: yes;"> </span>And this marked the decade where Kishore and Rafi sang significantly remarkable male duets. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">My all time favourite remains “Yaadon ki baarat” title song-1973. While Kishore sang in his inimitable full open throated singing style, Rafi gave his signature soft touch and made this duet very memorable indeed. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Both Kishore and Rafi had been the mainstay of the compositions of legendary Sachin Dev Burman. But, somehow, SD could never make a Kishore-Rafi duet before, until in 1975- in one of his last released movies, Chupke Chupke. Kishore was all over the duet and Rafi aptly supported him for the sweet “Saregama masarega” duet.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Composer duo Laxmikant Pyarelal needs a special mention here. Here was a duo who had no clear cut preference of one over the other, unlike many other MDs in the 70s, and equally distributed their creations to both of them throughout. They kept on bringing these two stalwarts together throughout the 70s, with memorable duets in Humjoli(1970), Parvarish(1977), Ram Balram(1980) and Deedar-e-yaar(1982). My personal favourite remains “Mere dildaar ka baankpan” from Deedar E Yaar, penned by the great Sahir Ludhianvi.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Shankar Jaikishen also recorded some popular Kishore-Rafi duets in Ek Naari Ek Brahmachari(1971), Jungle mein mangal(1972) and Love in Bombay(1975). <o:p></o:p></span></div>
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<span style="font-family: Calibri;">During the late 70s, double hero concept became very popular, and two different but prominent voices were required for two heroes, ahem, angry young men! Kishore Kumar and Mohammed Rafi recorded maximum duets in that period of 1977-1980. Rajesh Roshan recorded as many as 4 K-R duets in a single movie called “Aap ke Deewane”(1980). One of my favourites “Tum ko khush dekhkar” belongs to that movie. </span></div>
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<span style="font-family: Calibri;"><o:p></o:p></span></div><a href="http://arghyatext.blogspot.com/2012/11/empires-of-playback-kishore-and-rafi.html#more">Read more »</a>Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com5tag:blogger.com,1999:blog-7556566360743437790.post-91287250053970883652012-11-18T07:39:00.000+05:302012-11-19T17:30:54.478+05:30Silence Mightier Than Words- Chaplin in Talkies<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Calibri;">Charlie Chaplin stuck to his theories for a long time. In the talkies era, he made two silent movies- City Lights (1931) and Modern Times (1936); although the latter had some talkies part, including a song and dance scene by the genius himself, it can safely be clubbed under the silent movies. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Chaplin made 5 talkie movies in his lifetime, out of which in 4 of them- The Great Dictator(1940), Monsieur Verdoux(1947), Limelight(1952) and A King In New York(1957)- he was the protagonist and one- his last movie and the only colour movie of his lifetime-A Countess from Hong Kong(1967), he directed and played a small cameo. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicH3XE_qE3grecVT8MAax6fY-qx4GzXaxIF5KpqNBGQbdkKjLpw7NbQVy7Cd_eDrreKW1ho4t-M0skdfhLJgbm_5WpmxN1VkVpVewH-xYk4Nd_n1FIHkdV5wa7JZzd0z5Smm2P-6s-KKSq/s1600/Chaplin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" rea="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicH3XE_qE3grecVT8MAax6fY-qx4GzXaxIF5KpqNBGQbdkKjLpw7NbQVy7Cd_eDrreKW1ho4t-M0skdfhLJgbm_5WpmxN1VkVpVewH-xYk4Nd_n1FIHkdV5wa7JZzd0z5Smm2P-6s-KKSq/s320/Chaplin.jpg" width="226"></a></div>
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<span style="font-family: Calibri;"><o:p></o:p></span></div><a href="http://arghyatext.blogspot.com/2012/11/silence-mightier-than-words-chaplin-in.html#more">Read more »</a>Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com4tag:blogger.com,1999:blog-7556566360743437790.post-4181621662246524722012-11-03T19:28:00.000+05:302012-11-07T20:47:18.083+05:30Following the path of a Genius- Exploring Kishore Kumar's Unfading Popularity<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Calibri;">In the highly competitive arena of Hindi film music, to leave a mark of your own itself is such a huge task, leave apart becoming the Numero Uno. And to maintain the top position for years together is even tougher. With the industry studded with innumerable musical talents in the Golden Era of Film Music- from 50s to 70s- there had been a privileged few who, with the Good God’s Grace, were distinctly genius. <span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Calibri;">Who can be called a Genius? Can we safely define him as a person who can perform a task to the perfection without ever learning the general and widely acknowledged process of performance and developing a new process of his own! So, if sending a cricket ball outside the boundary with a Willow Bat is a task, Sunil Gavaskar learnt the process of accomplishing that task traditionally by studying and practising, while Viv Richards developed a process of his own! And the path followed by the Genius is also very difficult to follow by others- resulting in limited number of genius and more number of traditional students, as a law of nature. Not that Sunny is lesser than Viv by any circumstances; we can still safely give the crown of a “Master” to the former and the crown of a “Genius” to the latter. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Never follow the path of a non-conformist- warn the traditionalists! You might mess it all up and end up at nowhere. And people to be on the safer side, follow that instruction also. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">So, when Pandit Ajay Chakraborty of the Patiala gharana mentions in an interview that he was highly influenced by the singing style of Kishore Kumar and Manna De, you can't help getting stunned! As the latter can be safely called the Sunil Gavaskar or Rahul Dravid of Hindi playback singing, the former has always been a Viv Richards or Virendra Sehwag- people awed at him in appreciation sometimes and criticizing him outright some other times. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">But the fact is what Ajay Chakraborty depicts indirectly- Kishore Kumar and his style of singing is present generation’s obsession. What do they follow about Kishore- a man who sang more than 3000 songs in a career of 40 years without having any formal musical training? What aspect of this amateur singer’s singing could have attracted people like Pandit Bhimsen Joshi, Pandit Ajay Chakraborty, Prince Rama Verma to Satyajit Ray, Lata Mangeshkar to an entire generation of young and aspiring singers? Even a trained Rabindrasangeet singer Suchitra Mitra, who had taken training under the Great Poet himself, sent a letter full of praises to this maverick singer after listening to his album of Rabindrasangeets? </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4n5gWvo_GpJNhMRScExzZiHcm3jA2IbKm-GVoHhYiv0OeKuRJ3l-7pjRxTX1sWBdztmHCn2PoVhStq9o1S0iNkwUl4AQqdVCyotm8PWCxQULe42GgttLZ5ekKd2tS_zDfO-xi6ImE42CY/s1600/ZES.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" qea="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4n5gWvo_GpJNhMRScExzZiHcm3jA2IbKm-GVoHhYiv0OeKuRJ3l-7pjRxTX1sWBdztmHCn2PoVhStq9o1S0iNkwUl4AQqdVCyotm8PWCxQULe42GgttLZ5ekKd2tS_zDfO-xi6ImE42CY/s400/ZES.jpg" width="281"></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">National Award winning director Sandip Ray made a comprehensive documentory on Kishore Kumar</td></tr>
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</div></div><a href="http://arghyatext.blogspot.com/2012/11/following-path-of-genius-legacy-called.html#more">Read more »</a>Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com11tag:blogger.com,1999:blog-7556566360743437790.post-50120298077820532822012-10-23T11:49:00.002+05:302012-11-06T20:39:14.156+05:30Ek raasta hai zindagi... Tribute to Yash Chopra-Sahir Ludhianvi<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Calibri;">I should start writing this obituary very honestly here- I have never been a great fan of Yash Chopra school of movie making. Not that I am against it or I do not watch them, in fact I have watched all his films except Faasle and Nakhuda, but my take home has been minimal. However, some of his works have spellbound me alright; Deewar, Doosra Aadmi and Silsila were all top class works and enlightened me. </span></div>
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<span style="font-family: Calibri;"><img height="200" id="il_fi" src="http://www.ndtv.com/news/images/story_page/Yash_Chopra_dies_295.jpg" style="padding-bottom: 8px; padding-right: 8px; padding-top: 8px;" width="295"><o:p></o:p></span></div>
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<span style="font-family: Calibri;"></span></div></div><a href="http://arghyatext.blogspot.com/2012/10/ek-raasta-hai-zindagi-tribute-to-yash.html#more">Read more »</a>Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com5tag:blogger.com,1999:blog-7556566360743437790.post-2126344517445531022012-10-14T10:58:00.000+05:302013-04-08T22:27:08.370+05:3025 Hidden Gems with 25 Hidden Composers- With youtube links<div dir="ltr" style="text-align: left;" trbidi="on">
25 years have gone by since Kishore Kumar has left us. I dedicate this article to all his fans worldwide and explore 25 Hidden gems from his illustrious career which he sang under 25 not so popular MDs of his time, but they are all worth listening if you want to delve into Kishore's singing prowess. Thankfully, I have checked up and found that the youtube links of all these songs are very much available. So, I will post the links for your reference here as well. Music director's name is mentioned alongwith the song. I must say, each and every song is a gem!<br>
</div><a href="http://arghyatext.blogspot.com/2012/10/25-hidden-gems-with-25-hidden-composers.html#more">Read more »</a>Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com8tag:blogger.com,1999:blog-7556566360743437790.post-20646915908236277702012-10-09T18:32:00.001+05:302012-10-10T17:50:59.541+05:30Gulzar and Kishore Kumar- Deep Poetry and Deep Voice<div dir="ltr" style="text-align: left;" trbidi="on">
* The article was already published on <a href="http://www.yoodleeyoo.com/">www.yoodleeyoo.com</a> on 04.08.2010. I am reproducing it here with some modifications*<br />
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Jhuki huyi nigaah mein kahi mera khayal tha….”<o:p></o:p><br />
Those <em>“Khayals” </em>or “thoughts” of Gulzar sahab had always been depicted with a serene voice on screen by a person called Kishore Kumar. The impact of Kishore Kumar and Gulzar on the movies are everlasting and unforgettable. The deep voice of Kishore Kumar coupled with the words of Gulzar has always been special. Be it the music of Rahul Dev Burman, Salil Chowdhury, Hemant Kumar, Khayyam or Rajesh Roshan- the resultant output has been mesmerizing.<span id="more-219"></span><o:p></o:p><br />
Their association can be traced back to 1968, with Bimal Roy’s “Do Dooni Char”. Gulzar sahab’s thoughtful lyrics of “<em>Hawaon pe likh do hawaon ke naam, hum anjaane pardesiyon ka salaam” </em>coupled with Hemant Kumar’s melodious tune and an open throated soulful Kishore Kumar’s voice leaves a memorable song dedicated to the nature. The breezy, wild lap of Mother Nature was never been depicted in such a detailed way- <em>“Yahan subah se khela karti hai shaam…”</em>- how true! Makes you travel through a village road, twisted and turned, to take you to the bank of a river with green grass and huge shadows of trees.<o:p></o:p><br />
Sit alone on a boat at the dusk, and the first song which you would love to grasp on is <em>“Woh shaam kuchh ajeeb thi, yeh shaam bhi ajeeb hai, who kal bhi paas paas thi who aaj bhi kareeb hai”…</em> Feels like taking an aloof ride on a boat on a flowing river and thinking and getting immersed in the beauty of the twilight with bygone thoughts enveloping your mind. Who did a better job?,Gulzar with his pen, Hemant Kumar with his tune or Kishore with his vocal?? I would say, all of them. A symmetry amongst those three makes this song from “Khamoshi”(1969) one of the most beautiful soulful songs in Hindi films.<br />
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Gulzar’s expression on life has mostly been indirect.. Be it grief, be it happiness, be it loneliness or be it appreciation to beauty, he has often been indirect in expression. But a direct expression by Gulzar could create history with <em>“Koi hota jisko apna hum apna keh lete yaaron, paas nahi to door hi hota lekin koi mera apna”..</em> Compare this with other poetries on loneliness by this poet, you can feel there is that direct expression which makes this song plain and simple and everlasting. Gulzar had earlier worked with Salil Chowdhury for quite a few films, but this song of “Mere Apne” was special.. Special to many.. For Kishore, it was a ladder to prove his mastery of singing a 12 matra composition from the rhythmic master Salil Chowdhury… How wrong was Salil 17 years back on Kishore! Spellbound by the rendition and capability of Kishore, Salil lost no time to admit “he had underrated Kishore earlier”.. Gulzar’s direct lamentation on loneliness with words “<em>Koi to gham apna tha, koi to saathi hota</em>”, coupled with deep and heavy voice and sensational tune, this song is a landmark..<o:p></o:p><br />
Rahul Dev Burman’s association with Kishore and Gulzar has always been special.. Take the tune of a vagabond -“<em>Musafir hoon yaaron na ghar hai na theekana, mujhe chalta jaana hai, bas chalte jaana”</em>.. Gulzar is never systematic.. His beauty lies in his thoughts breaking shackles of constraint.. His views had that “<em>dhundlapan</em>” or fogginess which no other poet could express with such confidence. Coupled with rhythmic tune of Rahul Dev Burman and the vocal of Kishore, this number of “Parichay”(1972) stands out in uniqueness.<o:p></o:p><br />
And what about the directionless beauty in <em>“O Majhi re apna kinara”?</em> A boatman has his understanding of the river, where to anchor and where to sail.. The person does not. A contradiction in approach if the river is the life and the person is the boatman.. He expresses it openly “<em>Koi Kinara jo kinare se mile woh apna kinara hai”</em>… This indirect approach of Gulzar on direction or the lack of it, is what he is known for and what was expressed earlier. This song of “Khushboo”(1974) is again a gem. Amit Kumar once said that RD Burman had broken down into tears after listening the final output on Kishore’s voice in the recording room.. Was it only for Kishore’s voice? Or was it because it was coupled with a poetry which could make people think that in all our lives , however systematic we may be, there comes a junction , where we feel “apna kinara nadiya ki dhara hai”..<o:p></o:p><br />
<em>“Jaane kya sochkar nahi guzra, ek pal raat bhar nahi guzra…</em>” renders that isolation of Gulzar poetry, which he used to come back from time to time… The pain of the hours of aloofness again sewn in melodious notes by Rahul Dev Burman and vocal by Kishore, makes us feel, has there ever been a better narrator of aloofness than Gulzar?? A gentleman said once “Gulzar can never be imagined in a group photograph, Gulzar cladded in white, bespectacled, sporting a pair of brown chappals, standing and smiling alone”.. Perhaps, he is right. Kinara(1976) had other gems of Gulzar and Pancham and along with others, this special gift from Kishore’s voice is the most memorable.<o:p></o:p><br />
How can you express the aspirations and requirements of people belonging to the middle-class better than <em>“Thoda hai thode ki zaroorat hai, zindagi fir bhi yahan khubsoorat hai”… ?</em> Gulzar in simple words has just explained what the simplicity of middle-class is and what aspirations they have.. They dream but with constraint, they aspire but not detached from the ground… So when someone says <em>“Main chhune zara aasmaan chali” , the other warns “Badal pe udna hoga…”.</em> Khatta Meetha(1977). Composer:Rajesh Roshan.<o:p></o:p><br />
Ghar (1978) is very speacial. I can’t pick any, between the nostalgic “<em>Phir wohi raat hai</em>” or romantic<em> “Aap ki aankhon mein kuchh”..</em> Rahul Dev Burman again creates two masterpieces where Gulzar describes the beauty of a lady with <em>“Aap se bhi khubsoorat aap ki andaaz hai”</em> and then makes the man nostalgic with <em>“Raat bhar khwab mein dekha karenge tumhe</em>”…<o:p></o:p><br />
The isolation depiction takes a new turn with <em>“Hazaar rahein mud ke dekhi kahi se koi sada na aayi….” </em>This time Kishore and Gulzar teams up with Khayyam- the ghazal master. Both isolated beings want to reunion again, but something, some ego or some hindrance is again creeping in their minds and they are unsure who should approach whom and finally says “<em>Tumhe yeh zid thi ke hum bulaate, humein yeh umeed who pukaare../ Hai naam hothon pe ab bhi lekin, awaaz mein pad gayi dararein..</em>” This indirect expression is a signature of Gulzar always.<o:p></o:p><br />
The two songs with which one can further explore this wonderful journey of these two talented artists are:<o:p></o:p><br />
1. <em>Aanewala pal jaanewala hai..</em><o:p></o:p><br />
2. <em>Raahon pe rehte hai yaadon pe basar karte hai..</em><o:p></o:p><br />
Both coming again from the tunes of Rahul Dev Burman, the first one makes you feel the importance of every passing moments in life and the other takes you to a ride of time where the person does not bother where the time is going, but only to bother how much road is traversed. Contradiction? But then, Gulzar is all about poetry which defies all norms and all shackles of tradition..<br />
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These are only a handful of songs which I have discussed.. I have left out many also, so a special mention to some gems:<br />
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1. <em>Gulmohar gar tumhara naam hota</em>(a verse on beauty)<o:p></o:p><br />
2. <em>Chand churaake laya hoon</em>( a peppy track with touch of fun)<o:p></o:p><br />
3. <em>Kabhi kabhi sapna lagta hai</em>( a melancholic depiction of a strange relationship)<o:p></o:p><br />
4. <em>Sa re ke saare ga ma ko lekar</em>( a breezy children song)<o:p></o:p><br />
5. <em>Aankhon mein humne aap ke sapne sajaye hai</em>( a lovely interpretation of love and lust)<br />
<em>6. Ladkhadane do mujhe</em>( A rare drunken solo of this combo)<br />
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Three unreleased gems, all composed by R D:<br />
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1.<em> Main thak gaya hoon </em>( A masterpiece solo on a tired, lonely person)<br />
<em>2. Kaise dekhoon meri aankhon ke </em>( A romantic duet with Lata with tender poetry)<br />
<em>3. Phoolon ki zubaan khubsoorat ho gayi </em>(A rhythmic duet with Asha)<br />
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And then, those three eternal duets of Aandhi to conclude with:<o:p></o:p><br />
1. <em>Tum aa gaye ho.</em><o:p></o:p><br />
2. <em>Is mod se jaate hai</em><o:p></o:p><br />
3. <em>Tere Bina zindagi se koi shikwa nahi</em><br />
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The last three songs of “Aandhi” need a special mention here, as it is not only Gulzar-Kishore, but Lata Mangeshkar beautifully teaming up, and Pancham indeed! While “<em>Tum aa gaye ho..”</em> is a simple rendition of love, “<em>Tere bina zindagi se shikwa..”</em> is perhaps the most sensitive duet from the golden age of music. Lata carries off the first two stanza with soft and soothing touch and Kishore enters late with the heavy impact rendering “<em>Tum jo keh do to aaj ki raat chand doobega nahi</em>”- making one of the most memorable late entries in the duets ever!!. A complex relation, broken long back but united temporarily knowing very well it <span style="mso-spacerun: yes;"> </span>would break again, how desirous the man sounds in that line where he wants to stop the time so that the momentary accompanying does not get lost.<o:p></o:p><br />
Just as I had started with the thoughts of Gulzar, I end with a nostalgic feeling and that tenderness in poetry and rendition, which makes Gulzar and Kishore so special..<br />
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<em>Ek door se aati hai, paas aake palat ti hai..</em><br />
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<em>Ek raah akeli si, rukti hai na chalti hai…</em><br />
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They move on but always it seems in their movements, the time has come to a standstill.<o:p></o:p><br />
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Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com4tag:blogger.com,1999:blog-7556566360743437790.post-63324269746128639672012-10-06T07:18:00.001+05:302012-10-08T19:58:25.400+05:30Dont Worry, Barfi!<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Calibri; font-size: large;">So, the bubble has burst! After all, Barfi is not an entirely genuine movie. Now, that is a true disappointment to many after all the hype built around it on release. By the way, on a brighter note, it should not take away any credit from this well made movie at all, since, many of the blockbusters/classics of the past, which now enjoy cult status, were, ahem, either inspirations or remakes or copies.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmKN07Erq-WS3EyFgPZ33_ckMs8lpE3P_rh-mNJX3TcoGnYW3q7YULFPVwfaIdAjF1zJ4rp1QkoOmWwZjQAQR0Ct5f4sVpPZb733Lmrq6M14S4uePyqjocDjHQ15dUEK34Cw8dHRcvWG3r/s1600/05Barfi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" height="189" mea="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmKN07Erq-WS3EyFgPZ33_ckMs8lpE3P_rh-mNJX3TcoGnYW3q7YULFPVwfaIdAjF1zJ4rp1QkoOmWwZjQAQR0Ct5f4sVpPZb733Lmrq6M14S4uePyqjocDjHQ15dUEK34Cw8dHRcvWG3r/s320/05Barfi.jpg" width="320" /></span></a></div>
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<span style="font-family: Calibri;"><span style="font-size: large;">“<b style="mso-bidi-font-weight: normal;"><u>Original in Oblivion, Remake a Rage</u></b>”<o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><span style="font-size: large;">The movie which made Humphrey Bogart, “The Maltese Falcon”(1941) – considered a classic now, by Warner Brothers, was in fact the third attempt on the same story, with the same title. The earlier two versions went into oblivion, with one of them even featuring Bette Davis as the leading lady notwithstanding! <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><span style="font-size: large;">When Hitchcock was going great guns in the Hollywood in the fifties, with consecutive hits like “Strangers on a train”(1951), “Dial M for Murder”(1953) and “ Rear Window”(1954), he decided to remake one of his earlier movies, “ The man who knew too much”(1932)- which he made in England- in Hollywood. While the British version was not very successful, the Hollywood version made after 25 years, was a runaway hit. <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><span style="font-size: large;">There have been some other Hollywood remake ventures like this, significant mentions include Dr. Jeckyll and Mr. Hyde(1941) and Gaslight(1944)- two critically acclaimed movies, both featuring Ingrid Bergman, already having an earlier forgettable counterparts. There was a Titanic made in 1955 also, however with entirely different story than that of the iconic Titanic of 1998. <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><span style="font-size: large;">In our desi Bollywood, the movie which defined Indian woman to the world, Mehboob Khan’s “Mother India” was basically the remake of the director’s own earlier venture- “Aurat”, with some script changes here and there. However, Aurat was also a successful movie in its time, but Mother India attained a classic fame. <o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: Calibri;"><span style="font-size: large;">“ A Classic Copy”?<o:p></o:p></span></span></u></b></div>
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<span style="font-family: Calibri;"><span style="font-size: large;">Movie of the Millennium “Sholay”, can be called an improvisation and sophisticated version of an earlier Hindi movie “Mera Gaon Mera Desh”(1971) by Raj Khosla. The concept, an old man hiring a criminal to tame a dacoit who creates nuisance in his village, was further modified in Sholay, with two criminals, the old man being handicapped and the Dacoit more ferocious! And of course, the names of the Dacoits also sound strikingly similar- Jabbar Singh and Gabbar Singh! <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><span style="font-size: large;">Gumnaam was a superhit Hindi movie of 1965, taken straight out of Agatha Christie’s play version of her classic “ And then there were none”(There was a movie made also with that script with the same name in 1944), with prem kahani of Nanda-Manoj Kumar and song and dance added as Indian ornamentation.<span style="mso-spacerun: yes;"> </span>Christie was later again copied in Hindi cinema unaccredited (as usual) in B R Chopra’s “Dhund”(1974), a poor adaptation of “An unexpected Guest”, which we have duly forgotten. In Bengali, Premendra Mitra had once made a movie “Chupi chupi aashe” taken from the plot of Christie’s “Mousetrap”. <o:p></o:p></span></span></div>
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<span style="font-family: Calibri; font-size: large;">While there have been quite a few unsuccessful Hindi movies copied from English ones- Benaam from The man who knew too much, Chakravyuha from The Thirty Nine Steps, Ek ruka hua faisla from Twelve Angry Men, Armaan from Casablanca, Kohra from Rebecca and so on and on; two popular, successful and good copies I remember right now are Satte pe Satta from Seven Brides for Seven Brothers and Parichay from The Sound of Music. Of late, Raaz(2002) seemed to be highly inspired of What lies beneath and Koi Mil Gaya of E.T. </span><br />
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<span style="font-family: Calibri; font-size: large;">And once you watch Raj Kapoor-Nargis starrer "Chori Chori"(1956), or much later "Dil hai ke maanta nahi"(1991) of the Bhatts, you know where the inspiration came from! Roman Holiday(1953) is still un matched. Chori Chori and DHKMN were successful, but some other copies like Manpasand(1981) from My Fair Lady(1962), Mann(1999) from An Afair to Remember or Yeh Dillagi(1994) from Sabrina(1954) were not fortunate enough! However, the Bengali copy of My Fair Lady, Ogo Badhu Sundari, released in 1981 was a commercial success and the Bengali superstar Uttam Kumar's final venture as an actor and released after his death. </span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: Calibri;"><span style="font-size: large;">Inspirations? You must be kidding!<o:p></o:p></span></span></u></b></div>
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<span style="font-family: Calibri;"><span style="font-size: large;">While there can be no doubt about the greatness of Pyasa, its poetry, its music, it directional excellence, the obvious inspiration cannot be overlooked from Charles Chaplin’s “Limelight”. However, Guru Dutt had taken Pyasa to a different spectra altogether after a shade of resemblance of his character with Calvero in Limelight. Years later, Mahesh Bhatt’s “Daddy”, also seemed have taken a good leaf out of Chaplin’s masterpiece, but the movie could not level up to the classic mark.<o:p></o:p></span></span></div>
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<span style="font-size: large;"><span style="font-family: Calibri;">I wont go into the inspirations of Chopras and Johars here, as they only know what hotchpotch they create by taking each other’s ideas..! </span><span style="font-family: Wingdings; mso-ascii-font-family: Calibri; mso-char-type: symbol; mso-hansi-font-family: Calibri; mso-symbol-font-family: Wingdings;"><span style="mso-char-type: symbol; mso-symbol-font-family: Wingdings;">J</span></span><span style="font-family: Calibri;"> <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><span style="font-size: large;">Some good inspirations, which could qualify to be classics on their right, coming out of the “copy” shadow were “Bees Saal Baad”(1962) with the story taking faint inspiration from Arthur Conan Doyle’s book “The Hound of the Baskervilles” featuring Sherlock Homes. <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><span style="font-size: large;">And finally, Mani Ratnam’s Guru(2006), can there be a better execution of the Citizen Kane as an inspiration, than this? <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><span style="font-size: large;">So, Barfi, don’t worry, you can still be a classic!!<o:p></o:p></span></span></div>
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Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com0tag:blogger.com,1999:blog-7556566360743437790.post-39338739528249020582012-10-01T23:15:00.001+05:302012-11-19T21:56:55.953+05:30Give it up, Shahrukh!!!!- 4FTTFJF67TVG <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Calibri;">As the whole media is trying its level best to create the best possible hype for King Khan’s “ Jab tak hai jaan”, I wholeheartedly feel that Shahrukh Khan should now retire from these romantic hero roles. I had been a SRK fan, and my college days were filled with this dreamy eyed man’s love stories. I was quite surprised to watch his “Swadesh” in which he truly proved himself to be a versatile actor. But then, things started deteriorating. His productions, business acumen, IPL all seemed to have taken over the actor Shahrukh and presently I feel by doing or rather trying to do the same old typecast lover boy roles, he is spoiling his legacy and spoiling my sweet nostalgia of him as well!</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnWH0QNai5q5hPWSM8ZqOwGKE4YdUCbwvHngJ8W5ToAgZGPRC5sM-ChduBdQuOfxh0Km5I6EFs7bG0T2jFnuR7d0DhwUAPactl5Q6fEofzhSjeRH8RQX8x-14uJ-pyLdQCXr6SKcRr0lxm/s1600/kkhh.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" kea="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnWH0QNai5q5hPWSM8ZqOwGKE4YdUCbwvHngJ8W5ToAgZGPRC5sM-ChduBdQuOfxh0Km5I6EFs7bG0T2jFnuR7d0DhwUAPactl5Q6fEofzhSjeRH8RQX8x-14uJ-pyLdQCXr6SKcRr0lxm/s320/kkhh.jpg" width="223" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">What you were</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">What you are</td></tr>
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<span style="font-family: Calibri;">Shahrukh, here are the five reasons why you should quit movies:<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri;">Reason 1: You are a superstar first, actor second now. <o:p></o:p></span></b></div>
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<span style="font-family: Calibri;">Try to understand those poor directors- they cant even ask a retake from SRK now!! Lest you get hurt!! You are a superstar but acting like an amateur! Have you seen your own expressions in that Ra-One song “Dildara”?Man, you are not “involved” in acting now also! You are perhaps totally occupied in the back of your mind with the anticipated opening day collection of your movie or the endorsements of your IPL team when giving a romantic shot. <span style="mso-spacerun: yes;"> </span>Come on, Shah rukh, your eyes were so expressive and innocent and now, they have lost that raw innocence altogether. That is because, you are a superstar now and more concerned to maintain your superstar image than to doing justice to the characters which you are playing as an actor. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri;">Reason2: You Cant Handle too many things at a time.<o:p></o:p></span></b></div>
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<span style="font-family: Calibri;">This is not your problem, this is a human problem. We cant handle too many things at one time. Either you concentrate on IPL or your business or your acting!! You are ambitious everywhere and expert nowhere. You have lost your acting shine like a blunt axe which has not been sharpened since ages. You know your business well, but you are impatient!! You cant tolerate failure or cant compromise profits. So, even more than making a good movie, you are more interested in marketing the merchandizes of that movie and only achieving an opening day collection figure of Rs 100 Crore. How would future remember you SRK? As a great actor turned reckless businessman?<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri;">Reason 3: Your heroines are all gone!! <o:p></o:p></span></b></div>
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<span style="font-family: Calibri;">Your successful movies were not your own credit definitely! There were significant contributions from your heroines- mainly, Kajol, Juhi, Madhuri and Aishwarya. All of them are happily married and hardly doing any mainstream cinema now. Only Rani Mukherjee is remaining from your era and she is also seldom seen on the screen nowadays. You have to be paired with girls who were diaper-worn toddlers when your first TV serial “Fauji” was aired on Doordarshan. I think, enough is enough!<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri;">Reason 4: You have become too competitive with others<o:p></o:p></span></b></div>
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<span style="font-family: Calibri;">Definitely you are neither the first one nor the only one to start groupism in film industry. But you have definitely given it a new dimension. See your limitations- out of Johar and Chopra camp, you are very alone! You are less concentrating on your own work and more interested in Salman Khan’s new releases. Grow up, dude! Do something substantial like Swadesh and make us- your old fans, proud.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: Calibri;">Reason 5: You have lost your look<o:p></o:p></span></u></b></div>
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<span style="font-family: Calibri;">You used to stammer, excessively overact in your nineties movies, but you had a charm. You were young, so all your nonsense could still be received with wide applause from the youth. You have grown old, but you could not find a different segment of audience for you. You still have to rely on the youth, and they have already found Hrithik or even younger, Ranbir- who is clearly a megastar in the making! You are trying to keep media in your hold, but isn’t this stunt exposing your insecurities more? When you made six pack abs, you looked like a roadside daily wage earner more, than a hunk which you wanted to look like. You did a stupid double role in that Chopra banner; still the specs and moustache avatar was better, but that spike haired, goggled look? Yaak…!<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Give it up, Shah rukh! Concentrate on your business. You have that business acumen, only add some</span><br />
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patience and you can leave a great business empire for your children. <o:p></o:p></div>
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<br /><strong>4FTTFJF67TVG</strong></div>
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Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com3tag:blogger.com,1999:blog-7556566360743437790.post-1581342726309388482012-09-27T22:19:00.002+05:302012-10-02T19:51:50.975+05:30Musically Yours- R D Burman and Mohd Rafi<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Calibri;">A combination producing around 110 songs would have been otherwise highly discussed; alas, with Mohd Rafi and R D Burman it was not to be. Again, a classic case of the fan groups of the singer and the MD constituting two entirely separate sets.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Even before Chhote Nawab happened in 1961, RD had already chosen Rafi for his first independent assignment under Guru Dutt Productions’ Raaz in around 1957. A 18 year old Pancham had selected Hemant Kumar, Geeta Dutt and Rafi as his first set of singers for his first film. Unfortunately, the movie was not released. Chhote Nawab was an album all full of Lata Mangeshkar and Mohd Rafi. Three beautiful duets and an overtly emotional song was what RD had to offer for Rafi. “Ilaahi tu sunle” was the solo but my personal favourite is “Matwali aankhonwale”- the amazing Lata-Rafi duet in that movie.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">It wont be an understatement to say that Rafi was RD’s main voice in the sixties. Rafi, in the helm of his career and ruling the industry like a colossus , featured in almost all the movies of RD in the sixties, except - Bhoot Bangla(1965), Pati Patni(1965) and Padosan(1968).<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Teesri Manzil(1966) was the movie which happened to be the career changer for Pancham.<span style="mso-spacerun: yes;"> </span>Shammi Kapoor, an otherwise SJ loyalist, worked for the first and as an hero last time, with R D Burman. A musical extravaganza, Teesri Manzil revolutionized Indian cine music with ultra modern sound and arrangement. Electric Guitar, sax, trumpet soared the sky and made the entire youth of India dance to its tunes. And all the songs went to Rafi- Shammi’s official voice. It is of no use to discuss the songs of TM, as they have been discussed umpteen number of times. My only observation is I have hardly seen Rafi going so unconventional as he did in “Aaja aaja main hoon pyar tera”- I so wish he had done some more of such stuff! Amazing shivering of voice, absolute perfection by the great singer. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">My personal favourite Rafi solo under RD came next year- “Tumhe dekha hai” from Chandan Ka Palna(1967). Dharmendra had still not started drinking the blood of the Dogs that time, and an absolute soft, tender composition from Pancham to suit the then image of Chocolaty Dharmendra rendered superbly by Rafi in his more comfortable domain- the Nazms. The composition has shades of Madan Mohan influence in the early Pancham, and again it was observed in the Lata solo of “Sharm aati hai magar” in the following year. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">1967 also saw “Zamane ne maare jawan kaise kaise”, yet another beautiful solo composed by Pancham for Rafi in Baharon ke sapne(1967). Following just after Teesri Manzil the previous year, this was an entirely contrast to the jazzy theme of TM with the same producer- Nasir Hussain. A true blue versatile composer after Shankar Jaikishen, had arrived in Indian cinema. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Abhilasha(1968) saw RD using Rafi and Manna together in a duet under him- Ek janeeb sham-e-mehfil. The same year, RD had created the immortal and the first Kishore-Manna duet under him in the other movie- Padosan. Abhilasha also saw arguably the best RD-Rafi solo “Wadiyan mera daman”- a song which had a Lata solo version also, but clearly the Rafi version landing up as the winner by a substantial margin. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Pyar ka mausam(1969)- yet another Nasir Hussain musical saw RD-Rafi in a high again. Rafi was all over the album with three versions of the evergreen “Tum bin jaaoon kaha” on the lip of the hero- Shashi Kapoor. Also a beautiful duet with Lata “Ni sultana re” and the solo “Che khush nazare”- rafi rocked the album! In the same year, Waaris(1969) was released and Rafi again was there in three songs- one solo and two duets. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">1970 saw RD first time switching from Rafi’s prime voice with Kati Patang. However, in the same year, he had already recorded for the same hero, Rajesh Khanna, another album with Rafi as the voice- The Train. “Gulaabi aankhein”- a breezy and typical Pancham rhythmic track- was a runaway hit. In Ehsaan(1970), Pancham used Rafi for Joy Mukherjee in a beautiful Asha-Rafi duet “Aaj tere naina”. A forgettable “Raaton Ka Raja” was also released that year, which had Rafi as the prime male voice again with three songs. The title track “Mere liye aati hai sham” was a treat.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Nasir Hussain made Caravan in 1971. An album mainly an extravaganza with Mangeshkar sisters with the elder sister having one solo and two duets and the younger three solos and one duet; what Rafi had to do was accompany the sisters in their duets. All the Rafi duets in that movie with varied moods and rhythms were chartbusters. Apart from Caravan, Mela was another movie released in the same year where Rafi was the main voice for a RD movie. “Rut hai Milan ki” is a highly melodious and memorable Lata-Rafi duet from the movie. Amitabh Bachchan’s early days as hero in “Pyar Ki Kahani” released that year, saw RD using Rafi as his voice and Kishore as the supporting hero Anil Dhawan’s voice in that movie. “Koi aur duniya mein tumsa haseen” is yet another lovely solo from RD-Rafi combo. In 1971, RD-Rafi combo produced some other popular numbers in Laakhon mein ek and Adhikar . <o:p></o:p></span></div>
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<span style="font-family: Calibri;">By 1971, RD had created Paraya Dhan, Amar Prem and Hare Rama Hare Krishna with Kishore as the prime voice, and was divided in his choice. With the big success of each of those soundtracks,by 1972, his preference started getting a lot more prominent. However , he did give a beautiful duet to Rafi with Asha in Parchhaiyan(1972)- Saason mein kabhi.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Nasir Hussain never lost his loyality- neither to RD nor to Rafi. Yaadon Ki Baraat(1973)’s two most popular songs went to Rafi- the evergreen Chura liya hai and the title song. Also, in Chhalia in the same year, we could hear Rafi croon to RD’s beautiful tune “Ae jaan e wafa”.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">But Rafi was evidently missing in the more touted works of RD in that period with Shakti Samanta, Gulzar, Hrishikesh Mukherjee and Dev Anand. Between 1974-1976, RD recorded a beautiful duet of Rafi with Lata in Bundalbaaz- Naghma humara gayega yeh zamana, a philosophical gem in Mukti- Pyar hai ik nishaan qadmon ka and the famous Qawalli of Aandhi with Bhupinder Singh and Amit Kumar- Salaam kijiye ali janab aaye hai.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Speaking of Qawallis, RD did utilize this shade of Rafi beautifully with some filmy qawallis- “Hai agar dushman zamana”( Hum kisise kum nahi) and “Pal do pal ka saath”( The Burning Train) .</span><br />
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<span style="font-family: Calibri;">Hum kisise kum nahi was definitely the turning point of Rafi’s career in the 70s and made him start his second innings afresh. An album with youthful music and peppy tracks, Rafi brought the serious depth with “Kya hua tera wada” and romanticism unlimited with “Chand mera dil”. Rafi’s voice texture, which had taken a slightly husky touch by then, brought the exact emotions out of “Kya hua tera wada”. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Between 1978-1980, Pancham continued to use Kishore as his main voice with making good space for Rafi in every film and making him use more after the lapse in association between 1972-1976. Most memorable RD-Rafi songs that period were “ Jab kisi kaza se guzro”(Devta-1978), “Pyar mein aji kya”(Fandebaaz, 1978), “Maine poochha chand se”(Abdullah, 1980), “Poochho na yaar kya hua”(Zamane ko dikhana hai, 1981) and “Dukh such ki har ek mala”(Kudrat, 1981). <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Rafi passed away in 1980, creating a vacuum in the film music industry. A great singer who had a marathon career of 36 years in the industry and gave us some of the evergreen melodies ever, left a legacy we cherish even today. R D Burman, also has left us a treasure of melodies to spend our lifetime with, and a good chunk of that treasure was contributed by Mohd Rafi’s voice as well!<o:p></o:p></span></div>
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Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com26tag:blogger.com,1999:blog-7556566360743437790.post-55675227399018229612012-09-22T23:47:00.001+05:302012-11-23T20:12:21.698+05:30Songs with "Hatke" Formats<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Calibri;">If I ask you what is the similarity amongst these three beautiful songs, viz, “Phoolon ke rang se dil ki kalam se”, “Dil aaj shayar hai gham aaj naghma hai” and “Ek ladki ko dekha to” apart from being Dev Burman Family Productions, what would be your answer? I know, many of you know- in each of these three songs , mukhda lines are never repeated throughout the song, or, rather there is no bifurcation between mukhda and antara. All the verses are independent . While “Phoolon ke rang se “ does reciprocate around the lines “badal bijli chandan pani…”, so does “Ek ladki ko dekha to”, reciprocating around these initial few words only(although none of them ever repeating the complete mukhda anywhere in the songs), “Dil aaj shayar hai” is absolutely unique and consists of verses absolutely independent of one another. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">There have been quite such interesting songs in the old Hindi Film Music with quite unique formats- <strong>especially with the traditional mukhda-antara format</strong>- which we can discuss here. <span style="mso-spacerun: yes;"> </span>The above example discussed here is one such instance of “<b style="mso-bidi-font-weight: normal;"><u>No repetition of Mukhda”. <o:p></o:p></u></b></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><u>Antara Tune to start with and then Mukhda</u></b>:<o:p></o:p></span></div>
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<span style="font-family: Calibri;">One such example is “Khwab ho tum ya koi haqeeqat”, where the song starts with bare vocal Kishore Kumar rendering the antara tune first- “subah pe jis tarah sham ka..” and then picking up the mukhda tune “Khwab ho tum ya koi haqeeqat”. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Another such example is “Dekho yeh mere bandhe haath” from the movie “Bandhe Haath”, where the song starts with “Kya janoo main hoon kaun…” which is again the antara tune and then comes the mukhda tune which is “Kaise miloon tumse chahonn to mil na sakoo main” . <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: Calibri;">Sanchari Format in Hindi Songs:<o:p></o:p></span></u></b></div>
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<span style="font-family: Calibri;">Sanchari format is quite common in Bengali traditional songs, in fact in many Tagore songs. Sanchari is mainly used in the second antara, where before repeating the tune of first antara, a separate tune is created for an extra couplet before. Very few music directors tried to replicate this in Hindi songs, with the exception of Salil Chowdhury, who composed some very beautiful “Sancharis” (her daughters were also named Antara and Sanchari by the way). One example is “O sajna barkha bahar aayi” from Parakh(1960), where the Sanchari part is “Aese rimjhim mein O sajan, pyase pyase mere nayan tere hi khwab mein kho gaye”, which is used before the common antara tune of the song is used in the second stanza. Also, there was “Na jiya lage na” from Anand(1970), where sanchari part comes again before the start of second stanza as “ Na jiya lage na, piya teri bawri se raha jaye na”. So strong was Salil’s hold on Sanchari making that very few other Bengali MDs dared to implement this format lest they got compared with him. Bhanu Gupta- a long time associate with R D Burman, once told me that he had asked RD as to why the latter did not compose Sancharis in his songs(he did once though, in a Bengali song “Jete daao amaye deko na”), to which RD replied that the day he would feel confident that he could make a Sanchari as good as that of “O sajna”, he definitely would. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: Calibri;">Varied Paces of Mukhda Antara with Varied Moods:<o:p></o:p></span></u></b></div>
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<span style="font-family: Calibri;">Burmans again! </span><span style="font-family: Wingdings; mso-ascii-font-family: Calibri; mso-char-type: symbol; mso-hansi-font-family: Calibri; mso-symbol-font-family: Wingdings;"><span style="mso-char-type: symbol; mso-symbol-font-family: Wingdings;">J</span></span><span style="font-family: Calibri;"> One of the classic examples is S D Burman’s “Kaisa hai mera dil tu khiladi” from Gambler, where Papa Burman makes the mukhda tune sad and slow and then suddenly picks up the tempo and the mood in the antaras , only to come down again while repeating the mukhda tune. Amazingly done by Kishore Kumar in terms of switching frequent moods. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Not so much from the elite groups, Bappi Lahiri did try out this format a decade later with Kishore and Asha in “Imtihan ho gayi intezaar ki”, which starts with slow and sad pace, continues one full antara in the same mood, after which the heroine appears and the whole mood and pace of the song go jazzy! Not a bad job from the Disco Deewana by the way. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">R D did this trick in “Sapna mera toot gaya”, where the overall mood of the song being sad is reflected in the mukhda, and in the antaras, when the girl starts recollecting her romantic past, the antara tunes and moods take a romantic twist, only to bring her back to the sad present while converging again into mukhda. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: Calibri;">Three antaras with Individually different tunes<o:p></o:p></span></u></b></div>
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<span style="font-family: Calibri;">“Jab dard nahi tha seene mein” from Anurodh(1977) composed by Laxmikant Pyarelal had an innovative concept where there were three antaras in the song, each being distinctly differently composed in tune. The first “ Yaaron ka gham”, the second “Aese to thes na lagti thi” and the third “ Is qadar pyar to”- all are entirely differently composed and written in structure with no similarities. While I recall many instances where in a three antara song, there have been two antaras with one tune and third one with a different tune, all three antaras being distinctly composed is quite unique. Full marks to Laxmikant Pyarelal for pulling this off brilliantly. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: Calibri;">Songs with no antara<o:p></o:p></span></u></b></div>
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<span style="font-family: Calibri;">No couplets to start with, no verses in the middle to be independent or converging whatever, there<span style="mso-spacerun: yes;"> </span>is only one verse with multiple lines- <b style="mso-bidi-font-weight: normal;">more like a descriptive poetry, a long continual verse</b>- very challenging to give tunes to them. Kishore Kumar composed and sang “ Mujhe kho jaane do” from Door Ka Rahi(1971); those who have not heard this, please listen. It would give you goosebumps for sure, a great creation from a true genius. <o:p></o:p></span></div>
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Arghyahttp://www.blogger.com/profile/17657825789357099081noreply@blogger.com14