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

[swarapriya]

(Shakeel) Bees Saal Baad (1962) - Post 1 (Songs)

This movie was loosely based on Sir Arthur Conan Doyle’s (of Sherlock Holmes character fame) “The Hound of the Baskervilles”. Hemantda produced and composed superb music for the film. It introduced Biswajeet to the Hindi audience. Waheeda Rehman was enchanting as a simple innocent girl and easily stole the show.

The movie was a huge hit mainly because of the great music composed by Hemantda. The haunting melody “Kahin Deep Jale” won Lataji the Best Female Playback Singer Filmfare Award. Shakeel Saab picked the Best Lyricist Award for the same song. The film also won a couple of other technical Filmfare Awards. Hemantda did not win any awards. Shankar & Jaikishan won for the Best Music for “Professor”. Interestingly this very same year Hemantda had another great winner as a music director for “Sahib Bibi aur Ghulam”. That movie was not even nominated.

I am uploading songs from this film and several instrumentals in four back-to-back posts. The first two posts contain all songs and some specials. The third and fourth posts contain several instrumentals.

In the first post I have included three parts of “Kahin Deep Jale” as they appear in the movie. The second part actually contains words from the first and third parts. I am also including the CD version of the song. Here are these and other songs in the first post…

[swarapriya]

Bees Saal Baad (1962) - Post 2 (Songs)

Here are the rest of the songs and some specials related to this film...

[swarapriya]

Bees Saal Baad (1962) - Post 3 (Instrumentals)

Here are instrumentals of some of the songs from this film. All these came from various CDs...

[swarapriya]

Bees Saal Baad (1962) - Post 4 (Instrumentals)

Here are more instrumentals of some of the songs from this film. All these came from various videos...

[swarapriya]

(Anand Bakshi) Khakaan (1965)

I am uploading some of the songs from this film below. It appears like that I may be missing the two songs listed in red italics in the table below. If indeed this is the case and if there are additional songs you can share, I am requesting our members to please do so. Thanks.

Here are the songs I have...

[swarapriya]

(Hasrat) New Delhi (1956)

Songs from this fine album were recently uploaded in this very thread. They are available starting at the following location...

http://www.hamaraforums.com/index.php?show...4658&st=738

[swarapriya]

(Javed Akhtar) Papa Kahte Hain (1996)

This movie came from the producer and director Mahesh Bhatt who was riding high with several commercial hits to his credit preceding it. These included films like “Aashique (1990)”, “Dil Hai Ke Manta Nahin (1991)”, “Sadak (1991)”, and “Hum Hai Rahi Pyar Ke (1993)”. Not only all these films were resounding hits but also their songs were immensely popular as well.

There was much anticipation before this film “Papa Kahte Hain” was released. The music of the film was released months before the film and its songs proved to be sensational hits. Every song in the film was a chart buster. Eventually when the film was released it proved to be a flop.

I am uploading songs from this film in two back-to-back posts. Here is the first set…

[swarapriya]

Concluding Songs from "Papa Kahte Hain (1996)"...

Here are the rest of the songs from this beautiful album...

[swarapriya]

(Majrooh) Kala Pani (1958)

Even though Madhubala was the leading lady of the film, she had a limited role in the film. It was Nalini Jaywant & Dea Anand's movie all the way. Both of them delivered some of the best performances of their lives. Jaywant grabbed a Filmfare Award for her performance as the Best Supporting Actress and Dev won the Best Actor Filmfare Award. This was the year Dilip was also nominated for "Madhumati" and Raj Kapoor was nominated for "Phir Subah Aayegi", both very fine performances, especially the latter one was a deeply affecting portrayal of a tormented soul with a guilt to hide that was brilliantly executed by Raj.

The story of "Kala Pani" was credited to Anand Pal. However, it was based on A.J. Cronin's popular English novel, "Beyond This Place". A Bengali film, “Sabar Upaarey”, based on the same novel was made in 1955. Raj Khosla, a good friend of Dev, directed the Hindi Version. Incidentally Khoslaji’s first five films had Dev as hero. These were “Milap (1953)”, “C.I.D. (1955)”, “Kala Pani (1958)”, “Solva Saal (1958)”, and “Bombai ka Babu (1960)”.

This was yet another crowning achievement in Burmanda's illustrious career as a music director. Every song in this film was a huge hit. Even today they give so much joy when you listen to them. But the song of the album was Rafi Saab's poignant rendering of the solo "Hum Bekhudi Mein". Incidentally, Jaidev was Burmanda’s assistant.

I am uploading these beautiful songs and some specials in two back-to-back posts. The first post contains all the songs from the film. The second post contains some specials.

Here are the songs in the first post…

[swarapriya]

Some Specials of "Kala Pani (1958)"...

Here are some specials related tot his film. I am also including here Burmanda's original rendition "Ghum Bhulechi" that inspired the chart buster "Hum Bekhudi Mein"...

[swarapriya]

(Rajinder Krishan) Insaniyat (1955)

It is difficult to watch these types of old movies now. They are valuable as a piece of history because they were part of the progress we made in films thus far. Gemini, who made elaborate movies on a grand scale, was behind this film. Producer and director S.S. Vasan, who was in-charge of Gemini Studios, was responsible for this hit film.

The film paired for the first time (and for the last time) Dilip and Dev in the same movie. It so happened that this pairing was not the real novelty of the film. Instead, there was a chimp named Zippo in the movie that had a significant role and it stole the show from both of the thespians. Gemini had its own circus, famously known as Gemini Circus that toured through the country giving performances. It was part of their thundering hit “Chandralekha (1948)”. I am not sure whether Zippo belonged to the circus or not.

Dilip had some type of make-up done to his face that had his eyebrows twitched and eyes squinted most of the time. Still he delivered a fine performance. But Dev was a complete miscast in the swashbuckling role. He clearly was out of his element and the funny costumes he wore and the awful looking mustache he sported didn't do any good for his looks or demeanor.

As usually is the case with most Gemini films, there are plenty of songs in this film. But there are none worth remembering or mentioning. C. Ramchandra was at the helm of music. Unfortunately, in my opinion, Ramchandraji who was flying high during this period gave a very disappointing and forgettable score.

This movie was based on the Telugu super hit, "Palletoori Pilla (1951)", even though in the film story was credited to the Gemini Story Department. Interestingly, the Telugu movie didn't have any ape as its star. It was purely created for the Hindi version. Many felt that people went over ape to see the film thanks to the scene stealer Zippo.

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

This post has been edited by swarapriya: Feb 25 2014, 05:28 PM

[swarapriya]

Concluding Songs from "Insaniyat (1955)"...

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

[swarapriya]

(Shailendra) Ab Dilli Dur Nahin (1957)

In between his very popular movies, Raj Kapoor also made other socially conscious movies in "Boot Polish" and "Ab Dilli Dur Nahin". He produced both of them but did not direct either. He made a brief appearance in "Boot Polish" but was completely off the screen in "Dilli". The movie was the plight for justice of a little boy who was convinced that his father was wrongfully imprisoned. It tells the story of that boy's journey to Delhi to see the prime minister, Pandit Jawaharlal Nehru, to seek out the rightful justice.

Dattaram, who was assistant to Shankar & Jaikishan, made his debut as a music director with this movie. Incidentally Dattaram along with Shankar and Jaikishan assisted the music director Ram Ganguly for Raj’s maiden venture as a producer and director, “Aag”. However fine his music compositions were, yet Dattaramji gave music to only a handful of films.

As noted earlier, the movie’s central character was a small boy played by Master Romi. When the boy ends up in Delhi he befriends a group of children who decide to help his cause. Among this group was Amjad Khan, a future stand out. The great Khan Saab had a big enough role as part of the boys’ group. He was even in a couple of songs. Apparently Khan Saab appeared in other films as a child artiste before as an adult his breakthrough movie “Sholay (1975)” came along.

The movie boasted several fine songs. Rafi Saab's "Chhun Chhun Karti" was one of the chart busters. The song "Yeh Chaman Hamaara" appeared twice in the film, in the beginning and briefly at the end. However, wordings are the same. I am uploading here a version song of this by Sabita Banerjee (later wife of the music director Salil Chowdhury). This was contributed by one of our Forum members, Pradeep Asrani. Thank you very much Pradeepji for sharing the song. Please note that the bit rate of this song is low. There is also another version of this song available that is attributed to Noor Jehan. I have this song. I am convinced that it is the same song from the movie because the voice is definitely not that of the great Noor Jehan. I have decided to not upload it.

I am uploading all songs from this film in two back-to-back posts. Here are the songs in the first post...

[swarapriya]

Concluding Songs from "Ab Dilli Dur Nahin (1957)"...

Here are the rest of the songs from this fine album...

[swarapriya]

(Shakeel) Sahib Bibi Aur Ghulam (1962)

Most of the following write up appeared in one of my earlier postings to this Forum...

This outstanding achievement in Hindi film history started when Guru Dutt bought the rights from Bimal Mitra whose novel was the basis of this movie. The movie was made in Bengali earlier in 1956 and was a success. It was directed by Kartik Chatopadhyay and starred Uttam Kumar as Bhootnath (Guru played it in Hindi) and Sumitra Devi as Chhoti Bahu (Meena Kumari in an unforgettable performance lived the role in Hindi).

Bimal Mitra was hired to work with Abrar Alvi, a lifelong friend and associate of Guru, who eventually also directed the movie. Mitra translated with the help of Alvi the Bengali novel into Hindi and Urdu. At Guru’s advice, Alvi taped the entire Urdu script in his own voice to get a sense of dramatic appeal the story offers.

Raj Khosla, who worked as an assistant to Guru and got his first break as a director with Guru’s “C.I.D. (1956)”, said that if “Pyaasa” was based on thoughts and deep rooted feelings of Guru’s youth, “Ghulam” showed the maturity of an artist that resulted in an immaculate film.

Guru Dutt originally considered Shashi Kapoor to play the role of Bhootnath. Then he changed his mind and considered Biswajeet for the role. As often is the case with Guru, he changed his mind again and settled himself to play the role. Guru gave a dignified performance by bringing a great deal of pathos and sincere sensitivity to the character. Rehman, his longtime friend from Prabhat Studios days and who has worked with him earlier in two of his very successful movies (“Pyaasa” in 1957 and “Chaudhvin ka Chand” in 1960), was brought in to play the role of Chhote Babu. Rehman was just marvelously natural and was very unforgettable in the character he played. For Manjhle Babu, Guru cast Sapru, again an old friend from Prabhat days. Interestingly, Sapru’s character spoke only once in the entire movie. This was done deliberately. It was felt that his silence should create a menacing and sinister presence the role called for. Indeed it was.

Guru originally wanted Nargis to play the role of Chhoti Bahu. Nargis excused herself saying that she was retired from acting. But most film people are of the opinion that Nargis rejected Guru’s offer because Guru dropped the movie “Raaz” he was making with Sunil Dutt, and didn’t even inform him. He also considered a London-based lady named Chhaya, who was a friend’s wife. Because she had no prior acting experience, he dropped that idea. Finally he turned to Meena Kumari. This was almost like a stroke of genius. Meenaji brought a unique perspective, silent dignity, solemn suffering, sincere subtlety, and unique depth to the character. Her stunning portrayal of the rebellious spirit of Chhote Bahu she forcibly put forth will be remembered for ages to come. Meenaji was only 32 at the time, and was going through some rough period in her life herself. In Vinod Mehta’s biography, “Meena Kumari”, the author quotes a paragraph from her diary that illustrates how she was obsessed with the character she was portraying. She wrote, “This woman is troubling me a great deal. All day long – and a good part of the night – it is nothing else but Chhoti Bahu’s helplessness, Chhoti Bahu’s sorrows, Chhoti Bahu’s smiles, Chhoti Bahu’s hopes, Chhoti Bahu’s tribulations, Chhoti Bahu’s endurance, Chhoti Bahu’s, Chhoti Bahu’s, Chhoti Bahu’s … Oh! I am sick of it.” For her performance of a lifetime, Meenaji won the Best Actress Filmfare ward. She was also nominated the very same year in the same category for her portrayals in “Aarti” and “Main Chhup Rahoongi”.

Guru initially wanted S.D. Burman to score the music for the film. But Burmanda was indisposed and wasn’t available. Guru also offered Sahir Ludhianvi to write the lyrics. But Sahir declined the offer. Then he turned to Hemant Kumar to compose the music and Shakeel, who worked with him in “Chaudhvin Ka Chand”, to write the lyrics. The score probably was one of the best score ever provided by Hemantda. The delicate, fine, and the haunting quality of the songs all have that Hemantda’s imprint on them. (The song “Na Jaao Saiyyaan” was itself based on Hemantda’s original Bengali song, “Oliro Katha Sune”.) One of the highlights of the score was that not just the songs were simply superb, but also the highly atmospheric background music. The aura of tragedy, the scars of loneliness, the frustrations raised out of neglect and rejection, these moods are all given expression in the background score with that deeply affecting melancholic touch. An eerie feeling, just like the one Hemantda gave music to one of his own films that very same year, “Bees Saal Baad”. For all his magnificent efforts Hemantda was not even nominated for any awards!

Originally it was Geetaji who was supposed to sing all the songs in the movie. But she and Guru were having serious marital problems during the shooting of this film. Guru tried to commit suicide during the filming of the movie. In a desperate situation, he decided not to have Geetaji sing any songs for the film. This was eventually resolved with Geetaji singing three songs, all for Meenaji. Interestingly these three are some of the magnificent songs ever sung by Geetaji. Her personal life at this stage was not much different from the songs for which she was singing for, that of the character of Chhoti Bahu. Sometime ago, our fellow member Aditya Pant wrote a nice article about how the lives of Meenaji and Geetaji mirrored each other. This can be seen at the following link:

http://www.geetadutt.com/blog/?p=559

Guru Dutt had the habit of sending his associates to theaters to observe audience reactions when his movies were released. When his associates informed him about the public uproar about two scenes in the movie, he decided to replace them. One of the scenes is where Chhoti Bahu rests her head in Bhootnath’s lap out of an affectionate affinity. The other scene was in which Chhoti Bahu tells her husband to allow her to take the last sip of liquor for the last time because she has decided to give it up completely. Based on audiences’ reaction, Guru decided to reshoot those scenes immediately. He asked Meenaji to be back for a reshoot from Lonavla where she was shooting for another movie. Rehman was also called back. Guru had all the film reels in Bombay replaced with the new prints. The last scene was replaced with a paralyzed Chhote Babu repenting his decadent ways. In the original release, the movie ends with a song by Hemantda himself, “Saahil Ki Taraf”, while Chhote Bahu was riding the carriage. The song was completely deleted from the movie. However, Hemantda reused the same tune for Hrishida’s classic “Anupama (1966)” for the song “Yaa Dil Ki Suno Duniyaawaalo”.

Guru originally considered both Nitin Bose and Satyen Bose to direct the film. He changed his mind and decided to give his friend Alvi a break as a director. It was Abrar Alvi’s first and only film as a director. Even though many people think it was Guru who ghost directed the movie, Alvi Saab in his own book “Ten Years with Guru Dutt – Abrar Alvi’s Journey”, written by Sathya Saran, says that it was his effort all the way. In an interview, Waheeda Rehman, who had a principal role in the film, claimed that “It was not really directed by Guru Dutt. Of course, he did help Mr. Alvi throughout but this was because the two were close friends, and he wanted to give Mr. Alvi a chance to direct the film.” She continued that “I’m sure he helped quite a bit, but then any director, when giving a film to a colleague, does take interest and lend a hand of support.” Finally she concluded that “Guru Dutt did not direct the film”.

Abrar Alvi, who passed away two years ago in November 2009, did admit of help from Guru in the picturization of the songs. For those who are familiar with Guru’s work, can easily see his stamp all over the movie including picturization of the songs. But let us not take any credit away from Alvi Saab. He made a magnificent movie that generations will remember. Guru never got any award as a film director, but Alvi was recognized with the Best Film Director award for that year by the Filmfare magazine.

The movie was shot partly in a haveli forty miles from Kolkata in a place called Dhankuria. It was an old haveli with approximately 50 rooms in it. The mansion with huge pillars and a huge garden was a perfect setting for the movie. At Guru’s request, Alvi spent several months studying habits of zamindars by staying with some of them in and near Kolkata. Bhanumati, who was an illustrator and designer for the “Eve’s Weekly” magazine, was hired to design costumes.

The movie also won a Filmfare Award as the Best Picture of the year. V.K. Murty’s brilliant photography won him the Best Photography Filmfare Award. The movie also won the President’s Silver Award. It entered the Berlin Film Festival in 1963. India had another entry for that festival, the same year, Satyajit Ray’s “Jalsaghar”. Guru, Abrar, and Waheeda attended the festival. Meena Kumari was invited but could not attend because her husband, Kamal Amrohi, declined to go. Guru had much admiration for Ray that he expressed time and again. Interestingly both movies, his and Ray’s, showed the zamindari life in a specific period of time in Bengal. Ray’s film reflected dignified and cultured zamindari life whereas Guru’s film showed sinful and decadent way of the same set of people. Guru’s movie did o’t make any waves at Berlin. Later it was also entered Oscars in the Best Foreign Film category. But Oscar Awards Committee members also did not think much of the movie. It really does not matter. It still is one of the best movies made in this country. India Times magazine rates it as the best top 25.

Here are the last few words about Meenaji’s unforgettable performance. A critic in Upperstall.com wrote this about Meenaji’s memorable performance. “ … Her portrayal of Chhoti Bahu is perhaps the greatest performance ever seen on the Indian Screen. The sequence where Chhoti Bahu dresses for her husband singing ‘Piya Aiso Jiya Mein’ is a poignant exploration of a woman's expectations and sexual desire. And later on when she has become a desperate alcoholic, you cannot help but cry with her in the sequence where she pleads with her husband to stay with her and then angrily turns on him to tell him how she has prostituted her basic values and morals to please him. However the common factors between the actress's life and Chhoti Bahu are too dramatic to be merely coincidental - The estranged marital relationship, the taking of alcohol, turning towards younger male company, the craving to be understood and loved - all elements evident in Meena Kumari's own life …”

I am uploading all the songs, some specials and instrumentals in two back-to-back posts. The first post contains all the songs from the film. The second post contains specials and instrumentals.

Here are the songs starting in the next post…