Shair Aur Sargam, Songs From Movies of 7 Great Lyricists Options

[swarapriya]

(Anand Bakshi) Haathi Mere Saathi (1971)

It is simply amazing to me that this movie was such a huge box-office hit. It was made by the South Indian producer Chinnappa Thevar from a Tamil film called “Deiva Cheiyal”. The Hindi film was directed by his brother Thirumugam. When all said and done, no other film made in South came close to the money this movie made until then.

With Rajesh Khanna riding an unprecedented popularity, Thevar decided to make a movie with him. He offered Rajesh an enormous amount of salary, hitherto unheard of such remunerations. Rajesh apparently was in the middle of buying a house and was cash strapped when this offer came. Only thing was Rajesh did not like its screenplay. He approached Salim and told him the predicament he was in. He wanted Salim to straighten the screenplay for some sum and promised them that they will be credited. Salim agreed to do it and decided to take Javed Akhtar as his partner to come up with the screenplay. That was how the Salim-Javed pair came about. They went onto create history by writing stories, screenplays, dialogues for many future box-office hits.

I am uploading all songs from this film, a few music clips, and a couple of version songs in two back-to-back posts. Here are the songs in the first post…

[swarapriya]

Concluding Songs from "Haathi Mere Saathi (1971)"...

Here are a few music clips from the film and a couple of version songs...

[swarapriya]

(Hasrat Jaipuri) Sangam (1964)

This movie is an example of the magic of Raj Kapoor. He takes an ordinary story and turns it into a blockbuster. In 60’s decade only one other film was able to top the money this film made. It was Asif’s magnificent romantic tale of Anarkali, “Mughal-E-Azam” that was released in 1960. “Sangam” was photographed in dazzling Technicolor with choice locations. It was the first movie to be shot abroad. Some of the locations include England, France, Germany, Italy, and Switzerland. Almost 45 minutes of the movie that was of nearly 4 hours in length was shot outside of India. Thus Raj started a trend that is in full vogue today. It had magnificent music by the incomparable duo Shankar & Jaikishan. It had a pretty lady in the lead role. Vyjayanti Mala never looked more gorgeous and camera was in love with her and captured her in her complete glory. You mix all this into a potion and that spells movie magic. Those are some of the reasons why Raj Saab was called a “Master Showman”.

Besides acting in the movie, Raj also produced it, edited it, and directed it. Apparently Raj waited to make this movie for a long time. When he decided to make it, he had Dilip Kumar in mind as part of the love triangle. Dilip didn't forget what happened with Mehboob Khan's "Andaz (1949)". Also, Vyjayanti Mala who was one of Dilip’s favorite heroines, was slowly drifting away from him. Raj recognizing this immediately had her sign to play his leading lady in the movie. The net result was that Dilip decided to not accept the offer. The role eventually went to Rajendra Kumar.

Raj earlier starred with Vyjayanti in “Nazrana (1961)” which enjoyed only a limited success. But opposite Vyjayanti’s youthful looking figure, Raj looked old (ironically the hit song from this movie itself “Main Kaa Karoon Ram Mujhe Buddha Mil Gaya” sounds so appropriate here), completely out of shape, and even appeared tired in some of the scenes.

Like any Raj’s movie, this movie also has melodious songs. Each of them became very popular. S&J had their usual assistants in Dattaram & Sebastian. My song of the album is Mukeshji’s “Dost Dost Naa Raha”. Most of the songs have music attached to them, either preceding them or following them, or sometimes both. I wanted to capture S&J’s music in its entirety wherever appropriate.

I am uploading all songs from the film (Posts 1 & 2), few music clips (Post 3), some specials and version songs (Post 4), and several instrumentals (Posts 5 & 6). Here is the first part of the songs starting in the next post…

[swarapriya]

Songs from "Sangam (1964)" - Post 1

Here is the first set of songs from this popular film...

[swarapriya]

Concluding Songs from "Sangam (1964)" - Post 2

Here are the rest of the songs from this record setting album...

[swarapriya]

A Few Music Clips from "Sangam (1964)" - Post 3

Here are a few music clips from the film...

[swarapriya]

Few Specials Related to Songs from "Sangam (1964)" - Post 4

Here are a few specials and version songs related to the popular songs from "Sangam"...

[swarapriya]

Few Instrumentals of the Songs from "Sangam (1964)" - Post 5

Here are a few instrumentals of the songs from the film...

[swarapriya]

Few More Instrumentals of the Songs from "Sangam (1964)" - Post 6

In this last post, I am including few more instrumentals of the songs from this film...

[swarapriya]

(Majrooh) Shagird (1967)

This film was produced by Subodh Mukherjee. This was his third successful film with Saira Banu in the lead. It started with the 1961 super hit “Junglee” in which Miss Banu was introduced. It was followed by another hit, the 1964 “April Fool”. Then came this 1974 film that was also a hit. This comedy for which Subodhji wrote the story and screenplay was great until last 30 minutes of the film. The fun was spoiled by unnecessary crime and unwanted action in the end.

Apart from its tame ending, for me another major disappointment was Saira Banu’s performance. All she does is shriek and giggle. But when this is done over and over again it became boring. For this performance she earned a nomination for Filmfare Best Actress Award. Imagine recognizing something like this type of acting.

Gulzarji shared dialogue writing with Vishwamitra Adil.

All songs from this film became very popular. Songs sung by Lataji are excellent. “Dil-Vil Pyaar-Vyaar” was a chartbuster but the other solos by Lataji “Kaanha” and “Ruk Jaa” are actually more melodious. I am uploading these and other songs from the film plus a few instrumentals in three back-to-back posts. Here are the songs in the first post…

[swarapriya]

Concluding Songs from "Shagird (1967)"...

Here are the rest of the songs from this popular film...

[swarapriya]

Few Instrumentals of the Songs from "Shagird (1967)"...

Here are a few instrumentals of the songs from the film...

[swarapriya]

(Rajinder Krishan) Yeh Rastey Hain Pyar Ke (1963)

This movie was loosely based on the much publicized case of Nanavati, a Sindhi naval officer, and Ahuja, a Parsi businessman. Nanavati was accused of murdering Ahuja because of the affair he was having with his Anglo-Indian wife. The case became much sensationalized as the editor of the weekly magazine "Blitz", R.K. Karanjia took it personally supporting Nanavati's release. Nanavati was found guilty of the murder as charged and was eventually sentenced to jail. This was the last jury trial in India. Soon after this the President of India pardoned Nanavati thus pleasing both Parsi and Sindhi communities. Because of the inconsistencies of a jury trial, the Indian Government decided to abandon its practice altogether. Nanavatis decided to leave India.

In this movie Sunil played the role of Nanavati. Beautiful Leela Naidu played his wife. Rehman gave an admirable performance as Ahuja. Half way through making this movie producer ran out of money and decided to abandon the project. But Sunil came to the rescue. He bought the movie rights and went on to finish and release it under his own banner of Ajanta Arts. This would be his maiden production.

In spite of all the publicity the real incident generated, it was expected that movie will do well. But it only enjoyed limited success. Even the beautiful music composed by Ravi didn’t help the cause. One of the major problems was that the chemistry between Naidu and Dutt was never established. Also, most of their scenes together were shot in dark. The director R.K. Nayyar told the story in a series of flashbacks with more than half of the movie time spent in the court room. One of the highlights of the film was that two great veteran actors Motilal (as the Public Prosecutor) and Ashok Kumar (as the Defense Attorney) had an opportunity to show why they were able to reach the status they enjoyed from the fans.

Incidentally, Gulzarji remade this story in 1973 as “Achanak”. Most recently, the film “Rustom” released in 2016, also was based on the same story. “Rustom” was the only film that was a success.

All songs from “Yeh Rastey” became huge hits. All solos by Asha and Rafi Saab and that beautiful duet by Asha and Rafi, "Yeh Khaamoshiyaan", are standouts of this album.

I am uploading below all songs in two back-to-back posts. Here is a description of the songs in the first post and the songs themselves...

[swarapriya]

Concluding Songs from "Yeh Rastey Hain Pyar Ke (1963)"...

Here are the rest of the songs and a couple of music clips from the music director Ravi Saab's crowning achievement...

[swarapriya]

(Shailendra) Bandini (1963)

As one critic put it, “Bandini” is “…the collective radiance of Bimal Roy’s striking imagery, S.D. Burman’s expressive score, and Nutan’s potent realism …”. The movie was at once symbolic and layered. It revealed the facets of human nature and its unpredictable side. It displayed how blacks and whites make gray. It showed the momentary rage of insanity. It demonstrated the resolve for life renewal with full of promise and hope.

Bimal Roy who had Nutan in his previous classic “Sujata (1959)” waited for her to come back from her “retirement” to act in “Bandini”. Nutan took a leave from acting to have a baby and was in no mood to come back to resume her acting career in the movies. But Bimalda’s persuasion paid off. And what a glorious come back it was. Nutan gave one of the greatest performances of her life in breathing life into the title role of a woman that had many vibrant shades. She brought a kind of moving restraint and a delicate dignity with such powerful and compelling touch to the role that was neither theatrical nor overdramatic. It was at once subtle and gracefully poetic. Nutan demonstrated why she was one of the great consummate actresses who knew how to be a master of the power of histrionics and how she had complete control over it. This was one of the most understated and silently strong performances of any actresses of our time.

The movie was based on a book by Jarasandha. He was a former jail superintendent and published several stories based on his prison experience.

Bimalda who was famous for making films based less on melodrama and more on situations does this masterfully. Yes, a master raconteur. Bimalda was never overpowering with his narrative and moved through the entire movie in an easy engrossing way. He presented the entire movie from the woman’s point of view. Thus we see Nutan in most of the scenes in the movie. Incidentally, even though more movies were produced under Bimalda’s home banner, this was the last movie he directed.

The mood of the stark nature of the prison life is brilliantly captured in glorious black and white photography by the cameraman Kamal Bose. Bimalda, who himself started as a photographer, knew how to get the best from this cameramen. Here Bose responded brilliantly. His camera captured the vacuous stillness of prison life with its rich tonal quality in an unforgettable way.

Gulzar made debut as a lyricist with the song “Mere Gora Rang Lei Le” in this movie. It is a beautiful romantic song brilliantly sung by Lataji and melodiously composed by Burmanda. (See the special version of the song I am attaching where Gulzar speaks about his debut as a lyricist.) Interestingly, Gulzar, who also was an assistant director to the movie, initially tuned down the offer from Bimalda to write the song because he wanted to be a director. It was Burmanda’s persuasion that made Gulzar to change his mind and write the song. Rest of the songs were all written by the great Shailendra. The quality of all the songs is embellished with the richness of the poetry.

The music of this movie was another masterful achievement from Burmanda. His last association with Bimalda in “Sujata” produced some of the most melodious songs he ever composed. This time Burmanda was up to the task again. The songs from this movie are rated as some of his best work ever. That itself says a lot because most of Burmanda’s work had this his trademark of melody exuding sweetness. The songs of this film remain as sweet and melodious as they were when they became originally available. Every song, especially songs by Lata, Asha, Mukesh, and Burmanda himself speak volumes. Apart from the Lata’s song mentioned earlier there are several that are worth mentioning. There is a haunting song by Mukesh “O Jaane Waale”. Mukesh sang for Burmanda after a long time. He used this opportunity to deliver a great song. There is a song sung touchingly by Asha, “Ab Ke Baras”, which achingly expresses a longing to go to her parents’ place. Asha also has another beautiful song in “O Panchhi Pyaare” reflecting the solemn solitude of the prison life. The other song by Lata “Jogi Jab Se” is another beautifully sung romantic piece. Then there is that great song by Burmanda himself “O Re Maajhi”. It was picturized using the vastness of water that is dark, deep, still, chilly, and lonely. This song brings the movie to a closure in Burmanda’s rich and distinctive voice. R.D. Burman was the assistant music director.

Apart from Nutan, the movie also starred Ashok Kumar and Dharmendra. Both male roles were comparatively minor. Dadamoni walked through his role with professional aplomb. But this is the movie in which the up and coming Dharmendra got noticed. Under Bimalda’s great direction, Dharmendra gave a restrained and dignified performance. Not until Hrishikesh Mukherjee’s “Anupama (1966)”, Dharmendra’s this talent was ever ably exploited on the screen. Unfortunately, these type of movies in which Dharmendra acted one can only count them on fingers, that too probably on one hand.

The movie won several major awards and rightfully so. It won the National Award for Best Feature Film. It walked away with all major Filmfare awards. These include Best Picture, Best Director for Bimal Roy, Best Actress for Nutan, Best Cinematographer for Kamal Bose, Best Sound for Billimoria, and Best Story for Jarasandha.

I am uploading all songs from the film, a couple of specials, and a few instrumentals in two back-to-back posts.

Here are the songs from the film starting in the next post…