The SoY Award for the Best Music Director goes to?
For the final wrap up, I can do no better than quote Mahesh: “The year 1949 itself was the biggest winner of all.” That refers to the historical place of the year in the evolution of Hindi film songs which we have discussed in the overview post, as well as in the various wrap ups: Wrap Up 1 (Best male solos), Wrap Up 2 (Best solos of ‘other’ female singers), Wrap Up 3 (Best solos of Lata Mangeshkar) and Wrap Up 4 (Best duets). In brief, there were two watershed events that changed the course of film songs. Lata Mangeshkar’s coming as a Tsunami shook the established order of the full-throated vintage era singers – her high-pitched thin voice becoming the industry standard for female playback singing for leading ladies. This started the era of Lata Mangeshkar versus ‘others’. Shankar-Jaikishan had a sensational debut with Barsaat in which they came with a unique orchestration, which was easy on the ears and extremely melodious. For the next twenty years they would be counted among the five most dominant music directors.
Another interesting fact, which I have not seen mentioned in any writing, has been brought to our notice by a new reader xFedal – that Rafi sang about 125 songs in 1949 which is more than all the other male singers combined. This, relative to total male solos in the year, is far more dominant than Lata Mangeshkar’s over the ‘other’ female singers. He says that this was perhaps the first time in the history that any male singer crossed 100 marks. That brings us to the question of other niche singers, such as Mukesh and, in later years, Talat Mahmood, creating a much bigger impact in the early 50s despite much less songs compared to Rafi. I don’t want to labour this point further. As far as 1949 is concerned, Rafi also had several songs which have become immortal. My conclusion was that Mukesh was the best singer of the year, with Tu kahe agar being the best male solo. Looking back at the readers’ comments about Rafi and his Suhani raat dhal chuki, I should say a fairer conclusion would be that Rafi and Mukesh are the joint winners and the SoY Award for the best male solo jointly goes to Tu kahe agar and Suhani raat dhal chuki. Wrap Up 1 may be deemed to be modified to that extent. This would also be a befitting tribute to the great singer on his 92nd birth anniversary which falls today (24 December 1924 – 31 July 1980).
Freewheeling discussions on SoY add a great deal of value to what I write. Hans’s dissenting voice on Lata Mangeshkar took the discussion to the issue of release of films versus release of songs, the relationship between record number and precedence, the origin of crediting playback singers in films and on records, ‘ban’ on film songs on the All India Radio etc. The discussion at some stage veered towards lyricists versus music directors, or in other words, ‘words’ versus music. These debates, by their very nature, do not have a definitive answer. But I should acknowledge Hans, Arunji, Mumbaikar 8, SSW and Shalan Lal for a very lively five-way discussion on the topic. In short, readers’ comments contain a great wealth of information and a very high level of intellectual discussion, not only in this series of posts but on the blog in general. I must profusely thank all the readers for that.
As I have mentioned in my earlier wrap ups, taking my overview article as the base, our Ashok M Vaishnav has expanded the analysis in great micro detail, taking various combinations of singers and music directors. Ashokji started this practice since last year, and in the end he prepares a meta write-up in pdf form, which contains links of many more songs than my overview posts.
Many readers have given their choice of the best music director. Arunji’s choice is Naushad for Andaaz. Ditto Gaddeswarupji. KS Bhatiaji’s best also is Naushad. Shalan Lal goes for Shankar-Jaikishan for Barsaat. KS Bhatiaji comes back with a more nuanced view – as a youth he would vote for SJ, as a middle-aged person, for Naushad, and as of now, for Khemchand Prakash. Venkataramanji came up with a detailed analysis. According to him, over 85 MDs composed for about 160 films in 1949, of which the top MDs in terms of number of films were Husnlal-Bhagatram (9), Hansraj Bahal (6), Bulo C Rani (6), Pt Govind Ram (5), AR Qureshi (5), Sudhir Phadke (5), Naushad (4), Chitragupta (4), Nrayan Rao (4), Ghulam Mohammad (3), Hanuman Prasad (3), Shyam Sunder (3), Vasant Desai (3) and Khemchand Prakash (3). Twenty-four MDs composed music for 90 films. After some more fine analysis, he ranked Naushad a clear no.1, followed by Khemchand Prakash, Shankar-Jaikishan, C Ramchandra and Husnlal-Bhagatram.
Numbers do not necessarily denote quality. The readers gave their views much before the category-wise wrap ups appeared. When we are doing the final wrap up, it would be useful to have all the best songs in different categories in one table. Here is the compilation of the 40 best songs (10 in each category) for easy reference.
| Rank | Male solos |
‘Other’ female solos |
Lata Mangeshkar solos |
Duets |
| 1 |
Tu kahe agar |
Ghabra ke jo hum sar ko tkrayein to achha ho |
Saajan ki galiyan chhod chale |
Chup chup khade ho zaroor koi baat hai |
| 2 |
Suhani raat dhal chuki |
Pahne pili rang sari..Main to gawan chali hun kaahe bole papiha |
Meri aankhon mein bas gaya koi re |
Ye duniya hai yahan dil ka lagana kiko aata hai |
| 3 |
Jhom jhoom ke nacho aaj |
Chandni ayi ban ke pyar |
Baharein phir bhi ayengi |
Ae mohabbat unse milne ka bahana ban gaya |
| 4 |
Jin raaton ki neend ud jati hai |
Wo paas rahein ya door rahein |
Ayega anewala |
Chhod gaye baalam |
| 5 |
Hum aaj kahin dil kho baithe |
Bigadi bananewale bigadi bana de |
Uthaye ja unke sitam |
Tu mera chaand main teri chandni |
| 6 |
Toote na dil toote na |
Ho likhnewale ne likh di meri taqdeer mein barbaadi |
Chaele jana nahi |
Chheen ke dil kyun pher li ankhen |
| 7 |
Jagmag jagmag karta nikala |
Na bol more angana pi pi |
Tumhare bulane ko ji chahata hai |
Sainya se bichhad gayi |
| 8 |
Khushi ki aas rahi dil ko aur khushi na mili |
Na tum aye na neend ayi |
Dil se bhula do tum humein |
Lara lapa lara lappa |
| 9 |
Is duniya mein ae dilwalo |
Ghat kari matwari |
Haye chanda gaye pardes |
Duniya hamare pyar ki yun hi jawan rahe |
| 10 |
Is waade ka matlab kya samjhun |
Thandi thandi hawa jo aye |
Ae dil tujhe qasam hai |
Mere piya gaye Rangoon |
If we break this music-directorwise, this is how the distribution looks:
| Music Director | Male solos | ‘Other’ female solos | Lata Mangeshkar | Duets | Total |
| 1. Naushad | 6 | 2 | 2 | 3 | 13 |
| 2. Khemchand Prakash | 2 | 3 | 1 | – | 6 |
| 3. C Ramchandra | 1 | – | 2 | 1 | 4 |
| 4. Husnlal-Bhagatram | – | 3 | – | 1 | 4 |
| 5. Shyam Sundar | – | – | 2 | 2 | 4 |
| 6. Shankar-Jaikishan | – | – | 1 | 1 | 2 |
| 7. Hansraj Bahal | 1 | – | 1 | – | 2 |
| 8. Vinod | – | 1 | – | 1 | 2 |
| 9. Anil Biswas | – | – | 1 | – | 1 |
| 10. Ghulam Mohammad | – | – | – | 1 | 1 |
| 11. Gyan Dutt | – | 1 | – | – | 1 |
| Total | 10 | 10 | 10 | 10 | 40 |
The above table is a direct evidence of what Venkataramanji said: “Naushad was way ahead of all other MDs in every category.” In later years, Naushad would become very Rafi and Lata Mangeshkar-centric. But 1949 being the transition between the Vintage and Gold Era, we see a good deal of Shamshad Begum, besides Suraiya, Uma Devi, Amirbai Karnatakai etc. That was also the year when he composed some of Mukesh’s all-time best songs. We also find songs of Shyamkumar, and a very nice duet of Saadat Khan with Amirbai Karnataki. Thus, Naushad uses a great variety of singers as contrst to later years when he would be predominantly centred on Rafi and Lata Mangeshkar.
When we talk of the best music director of a year, we have in our sub-conscious mind his entire songs for all films in the year. Thus, can we say without specifying a particular film that:
The SoY Award for the Best Music director of 1949 goes to Naushad.
With this post we come to the end of the year, wishing Merry Christmas to all until we meet in 2017.
{ 48 comments… read them below or add one }
Well done AK. I don’t count myself as a great Naushad fan, but for this year at least he stands tall, way above the others. Moreover, how can one argue against a mathematical proof! QED.
Subodh,
Thanks a lot for your appreciation. I am sure even non-matheticians would appreciate the ‘proof’.
AK ji
A superlative post. Overall, 2016 has been a very enjoyable year on SoY.
a) You took up category-wise analysis of 1949 songs uplinking lovely songs with balanced and very well worded comments on each. Fellow readers helped by adding more songs and sharing interesting info about the songs, singers, lyricists and MDs.
b) A large number of guest articles further enriched the blog.
c) You selected Shankar Jaikishan as the MD for discussion during the calendar year and presented their creations in an innovative manner. Starting the series with their Lata dance songs proved to be an inspirational choice as the readers responded with gusto.
Right through the year, the readers participated very actively – the comments crossed the 100 mark quite often.
Carry on as enthusiastically as ever.
God bless.
Tyagiji,
Thanks a lot for your kind words. It is the participation of readers which makes SoY. Guest articles enhance the blog. I am fortunate to have so many enthusiastic and knowledgeable members.
‘My Top Music Director(s)’ essentially takes a Macro View of the Best Songs of 1949, from my limited perspective of the music directors who created songs that had a major share of critical and popular acclaim.
The theme poster of ‘Best songs of 1949: And the winners are?’ has six films, but five music directors. Naushad has two films there (Andaz and Dillagi), whereas four others Shanker Jaikishan, C Ramchandra, Khemchand Prakash and Husnlal Bhagatram have one each (Barsat, Patanga, Mahal and Bari Bahen respectively).
Naushad had huge contribution in the success of Andaz at the box office, mainly through the solos of Mukesh, with Lata Mangeshakar solos playing a fair measure of the support. This was the last monumental work that Naushad had had with Mukesh, till they worked again in Saathi, a good 19 years later. Hum Aaj Kahi Dil Kho Baithe Yun Samajo Kisi Ke Ho Baithe epitomizes the great chemistry for the year 1949.
Shanker Jaikishan also had a lion’s share in box office success of Barsat, that went on to create a great Lata Mangeshkar wave. They also created the RK-SJ signature style of ending the films with a very unique style of the theme song of the film – Barsat Mein, Ham Se Mile Tum Sajan Tumse Mile Ham. Here is the first maiden final scene.
Khemchand Praksh needed to have created only Ayega Aanewala, to find a very honorable emeritus mention in the annals of Hindi Film Music history. But he has several other memorable scores in the year, like Ek Teer Chala Dil Pe Laga
Husnlal Bhagatram, who too appear quite prominently in Male Solos, Female Solos or even Duets lists for 1949, certainly have to their credit some all-time outstanding solos of Suraiya (in Bari Bahen) this year. Here is one such example – Tum Mujhko Bhul Jao
Mere Piya Gaye Hai Rangoon is one of those non-traditional song among such other all-time chartbusters from the stable of C Ramchandra that one would hardly ever imagine that it is same CR would later on go on to give some of Lata’s or Talat’s all time greats : Balam Tujhe Mera Salam
However if we go a step beyond the measure of box office success of both the film and the songs, we have at least a couple of more music directors who had excellent scores for 1949.
Gyan Dutt has Javani Ke Din Hai Yeh Maine Dekhi Jag Ki Reet, Meet Sab Jhuthe Pad Gaye or Baharon Ne Jise Chheda Woh Saaz-e-Jawani Hai like evergreens for Sunhare Din.
S D Burman too had Quismat Mein Bichhadan Tha or Tu Mahalon Mein Rahanewali or Tumhare Liye Hue Badnam for Shabnam over and above Hum Kisko Sunaye Haal Ke Duniya Paise Ki
Shyam Sundar had had his own share in Lahore (Nazar Se Dur Jaanewale, Baharen Phir Bhi Aayegi Magar Hum Tum Juda Honge) and Bazaar (Apni Nazar Se Dur Woh Unki Nazar Se Dur Hum) or Char Din (Anjaam-e-Mohabbat Kuchh Bhi Nahin).
In fact the towering commercial success of Andaz had paled some other very good scores of Naushad. Dillagi songs like Leke Dil Chupke Se or Duniya Kya Jaane Mera Afsana or Char Din Ki Chandani Phir Se Andheri Raat Hai had quite an undeniable charm. So were Do Din Ke Bahar Pyare or Na Bol Pee Pee More Anagana Panchhi Ja Re Ja or Muhabbat Hamaree Jamana Hamara Tu Gaaye Aye Dil Tarana Hamara form the album of Dulari. Even relatively little less known Chandani Raat had gems like Chhaya Meri Ummeed Ki Duniya Mein Andhera or Aankh MilI Dil Chala Gaya or Do Din Ki Khushi Haye Do Din Ki Kushi Raaaz Na Aayi Kisiko.
1949 had so many other than Lata Mnageshkar – Mohamamad Rafi great songs from such a wide cross section of Music Directors that no one may have ever imagined then that just by the turn of the decade this duo will overwhelmingly rule the Hindi Film Song world.
In the ultimate analysis, the sole importance of the year 1949 in the history of Hind Film Music may go down as a threshold that provided the escape velocity to Lata Mangeshkar, in particular, and Mohammad Rafi to a large extent, even when many other singers were so strong on their spheres.
P.S.
AKji has so kindly mentioned about a meta write-up of my micro-view of the songs of 1949, in pdf form. Here is the link:
https://drive.google.com/open?id=0B_GJ0xhT0LUuamJWTlRoQUJiVUE
Ashokji,
You have added a befitting analysis of the year. I am sure everyone would enjoy reading your comprehensive article. Thanks a lot for the same.
Ashokji 25
Opened the link. Out of 29 pages mentioned only first 17 are available. Thereafter it is totally blank.
D P Rangan# 7
I clicked the link form here and could open all the pages.
I am not sure what would have gone wrong at your end.
You may send your e-mail ID (if required thru’ Shri AKJi) and I will provide the direct access to the file.
AKji, in fact, I would be willing to do this for any of the interested friend @ SoY.
Ashokji,
Just like we did it earlier, if you mail me the pdf, I would send it to everyone who participates on this post.
AKji# 9
This part of the loop is completed off-line through our e-mails.
Thanks.
AK ji;
One thing emerged after scanning a number of songs of the Year 1949 and beyond …and that is professional bonding between the lyricist and MDs . Professional relationship truly matter most to bring out the best ; and that was very much there for two top MDs …Naushad and SJ . Shakeel to Naushad was as good as Shailendra, Hasrat to Shanker Jaikishan . Such combos have never been in the past . Their hold were so strong that both of them carried this team work till their fading time.
Well AK’s analysis tells all ; thanks to Ashok M Vaishnav #5 for his perfect drive thru analysis as well . A great journey to know more about the golden era hidden gems .
KS Bhatiaji,
Thanks a lot for your appreciation. Among professional combos we may also include CR-Rajendra Krishna/PL Santoshi
AK,
Naushad should be unanimous choice this year there can be no dispute on that.
As usual you have put in a lot of effort to prove it.
Your mathematical proof reminded me of Ramanujan.
I am glad that xFedal came up with the stats.
As I have said earlier I had noticed that Rafi’s graph was rising until 1949 but then dipped in early 50’s to bounce back in mid 50’s.
Ashokji’s analysis is also very impressive.
Ranjanji all the pages of the document are fine, possibly you had loading problem; you can try to open it after downloading.
Mumbaikar8,
For once Naushad is a runaway winner. Thanks for your observations.
AK ji
Yourself and Bhatia ji mentioned the following bondings :-
SJ + Shailendra/HJ
Naushad + Shakeel
CR + Rajendra K/Santoshi
We may add
SDB + Sahir (1950 to 1957 only)
MM + Rajendra K/Raja M.Ali Khan
Roshan + Sahir/Majrooh (1958 to 1968)
Chitragupta + Rajendra K/Majrooh
Film song creation is a team event. Therefore, close understanding between the team members is crucial. Over a period of time, lyricists intuitively know what type of poetry format is going to be demanded by the MD. Another important aspect is that sometimes the MD have a ready tune/bandish on which the lyricist is asked to form the poem. This was very often the case when Salil Choudhari-Shailendra combination was at work. This combination created very high quality songs.
Thanks
Dearest Akji
Although all were great albums, yet, except Lata Mangeshkar’s entry, there was no flavour difference in Naushad’s 1949 music then his previous works like Anokhi Ada or Mela or so..unlike Barsaat which was too fresh with a pleasant orchestration…unlike Mahal which was a fresh mystery music.
I can give you some examples of my time. I had heard some “never heard music” time to time in 80’s and 90’s which was quite different from their routine contemporaries having fresh rhythms, instruments and melodies, never-heard-befores..e.g. QseQtak in 1988, Tridev in 1989, Roza in 1993…these musics were not only routine hits but sensations of their time conveying fresh rhythms and melodies. Such music should be appreciated on time without being a mathematician or a softcornered man for certain MD.
It doesnt make sense that you pick RDB or LP or BLahiri on the count that they served in 20 films in a year and deny Ravindra Jain for he worked only in 1 movie (RTGMaili) which has ultimate and too fresh music of that year.
I will prefer the fresh Surs of Mujhe kisise pyar ho gaya Or Aayega aanewala as this year’s winners.
Marry Christmas.
Tyagiji,
I was thinking in the context of the period. If we take later years, OPN+SH Bihari was also a strong combination.
Jignesh,
I see your point that one superlative film should outweigh a number of just very good films. The moot question is whether Naushad in 1949 was only about numbers or also about superlative quality.
Merry Christmas.
AK ji
Hope Jignesh Bhai will not mind my intrusion. He has suggested SJ as his choice for 1949. He put forth the point that the songs of ‘barsaat’ had a ‘fresh flavour’.
You have stated that MDs overall performance in 1949 has been taken into account. I agree with your choice, ie, Naushad. As regards bringing in a ‘fresh flavour’, Naushad did precisely that in the two highly acclaimed male solos by Mukesh and Rafi. I beg to say this:-
‘tu kahe agar’ was a trend setter in the sense that faster tempo songs became a common entity after big success of this song. In the same film ‘jhoom ‘jhoom ke’ was also set to a rather faster flow. Furthermore, these songs gave a new image to Mukesh, who was previously imitating Saigal’s style.
The composition of ‘suhani raat dhal chuki’ was very innovative as well as totally unconventional. As so well brought out by SSW (kindly read his comment dated 4.5.2016
on Wrap up 1) the song has judicious use of the muted trumpet, guitar,oboe/cor anglais and piano. The most interesting thing is the Sitar following Rafi’s voice through the antaras just like a voice violin. The singing starts beautifully with the notes ‘sa re sa sa re’ but slides on to ‘ma’ though conventionally a rag Pahari based song touches ‘ga’. In the first antara – nazaare apni mastiyan- Naushad suddenly takes us to the ‘taar saptak’ touching as high as ‘dha’ there. All very unorthodox yet very sweet. Thus it would be wrong to say that Naushad’s music in 1949 was same as was before that year.
Thanks
AKji,
Thank you for the nice final wrap-up, thus bringing down the curtains on the year and the 5th edition of this series.
I thought the decision on the best music director for the year 1949 would be unanimous. But I find Jignesh has a different view and he explains that too. I appreciate his point of view.
After your summing-up and Ashok Vaishnav’s and Ashok Tyagi’s comments I do not have anything more to add. I have put down my views on this in the opening post of this series.
Wishing you and all the member of SoY a Merry Christmas.
Looking forward to another great year ahead.
Tyagiji,
‘Proof’ belongs to mathematics, and not music. One can see where Jignesh is coming from. SJ did have a grand debut, which became significant because they continued their excellence, and gradually top billing for many years. Whether they can be said to have outclassed Naushad in 1949 is debatable.
About Naushad’s innovation in Suhani raat dhal chuki, one can contrast this with their earlier Pahari, Awaaz de kahan hai, where the antara, especially Surendra’s part, does not strike high notes.
Venkataramanji,
Thanks a lot for your appreciation. I heartily reciprocate your greetings.
Jignesh ji , Tyagi ji ;
I don’t think there was any intentions of music directors of those times to topple the one holding the reign . Every one gave their very best and the songs were really listeners delight . Shankar jaikishan were the only one who were knocking the wood and opening the doors for the fresh feel of modern trend of music in store . They gained quick recognition for that , but they too had no intentions to compete with the giant .While Naushad sticked to his classical based songs and music , SJ continued with modern and semi classic songs . Yes both of them used brilliant musical pieces for their songs ; as such their songs could easily got recognised at one go . They were in fact holding on to their respective field using high end superlative signature orchestra of their own .
The following two songs from the movies of 1963/64 are good examples in support of above point .
Mere mehboob mein kya nahi……Asha , Lata….Mere Mehboob…..
Naushad
https://www.youtube.com/watch?v=52jcsA2cDjQ
Naach re man bakdamma….Asha, Lata….Raaj Kumar…..SJ
https://www.youtube.com/watch?v=CgZZUptMu_Q
Tyagiji
the base thing is we have too many high quality albums available in that great era that one can pick anyone to create an endless debate with others. 🙂
Bhatiaji
i can understand and appreciate your comment..plz call me only Jignesh.
AKji,
This is a grand finish for the grand year (1949).
Naushad deserves the award for 1949.
SJ had a spectacular debut and should be given the Best Debut for MD (ever) award.
Thanks to Ashok ji for his wonderful and detailed analysis.
Thanks once again for the remarkable year at SoY.
Siddharth,
Thanks a lot for your generous words and greetings.
AK ji,
I am coming late and also participated very poorly in this 1949 series.
It will be interesting to know the approximate songs discussed in the whole series and the total songs released in 1949. My gut feeling is that we have discussed just about 50%. And in this too maybe more than 80% were known ones.
I do understand it is not possible to represent all the songs. My point is that 1949 is a treasure house and there are still many good songs out there.
SJ’s Barsaat will always be at the back of the mind when 1949 is discussed. So was its impact. I couldn’t agree more with Siddharth ji @26
I think Chandni Raat is amongst the most under-rated gems of Naushad saab.
This year has been very entertaining as well as educating on the blog. Many Thanks for the same. Waiting for your new year surprise.
Wishing one and all a great year ahead.
Mahesh,
Thanks a lot for your appreciation and greetings which I heartily reciprocate. I have earlier remarked that in the best of the Golden Era, not more than 20% of the songs were listening twice. In my overview series I have been including about 15% of the total songs as Memorable Songs, which is after casting the net quite wide. The readers have been adding 10% of the songs. Thereafter, if some gems are left out because they are not in public knowledge, we can be sure these are not too many.
AK
Shalan Lal
This is a final seal on the year 1949 a golden landmark and also breaking point as well. This “year by year” analysis adds up knowledge and also revives our understanding of the Mega Ocean of the Hindi film songs and not just a passing phase in the history but forever a treasure one can access any time and enjoy the art of song and music making.
So far it is very good, stimulating and I wonder when AK will come to the year of 1957 he may have a real challenge as by then the SoY readers will have their pens razor sharp at the points than what they have now.
The year 1957 in the history of the Indian film is a diamond studded crown of the film music and also another watershed. In the history of India it is a bi-centinal year of the Battle of Plessey, a centenary year of the battle of Indian Independence or Mutiny of 1857 and the tenth year from the Indian Independence year. So lots of socio-political concerns will be needed to take into consideration to show the listeners that they are not just robotically musically addictive but matured and responsible persons!
I enjoyed the repartee at the beginning of the readers’ reactions/comments between Subodh and AK. They both have skills how to use the English language!
For me the year 1949 thrilled by the innovations of the music and songs of the film Barsaat and the way it was made on a small budget but a jam packed of the goodies of the pleasures. But the film “Andaz” posed a forever deeper question that “can a woman really and healthily enjoy a company of a man other than her husband whom she loved with all its shades?” Even today after so many years women still are thought as the property of man. Hence “Andaz” was and is a forever thrilling film with perfect songs and well played by all the actors, and even by H.V.Desai too. Great script, story and subtle direction of Mehboob! A forever great film made by Mehboob Khan who just returned from his exploratory trip to Hollywood. The unique and complimentary music composed by Naushad never matched again. Mehboob too never made a greater film than “Andaz” again. It was said Mehboob Khan was an illiterate person. If so then “Andaz” is the eighth wonder.
Shalan La
Shalan,
Thanks a lot for your appreciation. You might have noticed, this series started on a reader’s suggestion to do yearwise analysis of pre-Filmfare years, i.e. 1951 going back to 1945. During Filmfare years, 1953 and 1955 happened to be blank years. Thus, I have done 1955, 1953, and 1951 onwards consecutively in reverse. I had no plans of doing post-1955 years. It so happens that 1945 series will come in the 10th year of SoY, which is a very nice round number to take a pause and think about the future plan of the blog.
You have mentioned the film Andaaz in very flattering terms. With all the hype around the film, I have some very scathing views about Mehboob Khan’s regressive depiction of a woman-man friendship. I squirm when Nargis has to grovel before Raj Kappor at the end for his forgiveness for her conduct.
In my strong view, at a broader analytical level, Lata and Rafi firmly set the base and platform in 1949 to become the empress and emperor fo playback and which remained eternally val;id for decades to come and remains so even today !!! Well, this also is a fact almost unanimously accepted by the HFM fraternity . Thanks
Also, I feel that at least one of the other two duets of Chandini Raat (Khabar kya thi) and (kaise bhaje dil ka sitar) should figure.
In fact, the 3 Rafi Shamshad duets of Chandini Raat may have been swept away by the Lata wave and if we set that aside, all these 3 duets should rank as among the greatest duets, IMHO.
Thanks .
AK @31
Thanks for your information about the evaluation of the songs and its origin.
I shall be sad to see it disappeared in the tenth year of the Blog. I think it has served a very good view about the bygone musical wealth and it will do further good to the readers. But I can understand the fatigue phenomenon when you have to labour very hard to produce it and had to deal with the reactions of the readers of the blog.
About “Andaz” Mehboob belonged to that group of artsits which wanted to see some changes in the attitudes of the people. Making films was his medium.
In his film “Anmol Ghadi” he presented the agony of the regimentation of the class system. In his film “Meri Bahan” he preented the issue of the domination of a brother typicall in Muslim family.
So we have to look at the films as a medium for a change. V Shataram and many New Theatres films as well threw lights on the problems. Satyajit Ray did in his own way. Bimal Roy also did the same thing in his own style and RK also did in his own way.
The scene which you hated in the Andaz hightened the problem of a woman being a woman in the Man’s world and not getting justice for living the style she wanted to live.
Shalan La
Shalan,
The major problem I have is that Mehboob Khan in Andaaz seems to endorse the prevalent regressive views. Shantaram, on the other hand, was far ahead of his time in Aadmi and Duniya Na Mane at least ten years earlier.
Shalan Lal @34
Mehboob Khan is not heightening women’s problem, he is justifying the problems created by Nargis’s untraditional behavior. That’s what I felt.
AK ji , Ms. Mumbaikar , Ms. Shalan Lal ;
Andaz was a sensitive subject for the audience and the film maker . The society at that moment of time was undergoing a radical change from the life and style lived thru British Raj period and suddenly shifting to value based living . The central theme and treatment of the story was beautifully captured in conversation between Nargis and her father , Murad in a scene from 19.00 to 21.25 of the following link of the movie..
https://www.youtube.com/watch?v=D85V4UU_jmo
The extract of the scene goes like this…..
Not finding Dilip’s name in the list of invities Nargis fuorisely asked her father why he is not invited . Murad simply replied…..maine munasib nahin samjha……..Nargis : , …lekin daddy usne meri jaan bachaiye hai…..Murad :..Kuchh baatein aaisee hotee hai jo kitabon mein ya college ki padaai mein nahin hotin…Nargis :…Daddy aap to 150 saal purani baatein kar rahein haain ..Murad : ….Agar har roz koi tumahri jaan bachhayega to yeh achha khaasa ghar chhidiyaa ghar ban ke rehjaayega….Jab hum nahin honge to tumhen hamari baatein yaad ayengi , us waqt….
At this moment there is a beautiful shot of a sparrow cage hanging over the Nargis head and she just opened the cage’s door for sparrow to escape .
Many scene later Nargis is shown as repenting with the mess that her life is going its way . ……..Kaash meine daddy ki baat maan le hoti….
Andaz , in its totality , highlighted both , problem of man and woman in each other lives ; crossing the bounds set by the traditional society of that time .
Bhatiaji,
I agree with you that Andaz begins on a very refreshing and progressive note but the last scene says it all, she tells her unreasonable husband that he is not to be blamed, and asks him not to give their daughter the upbringing she herself had, she touches his feet and says tumhi mere bhagwan ho to prove her pativrata and pavitrata. Isn’t that regressive?
I agree even sixty eight years later some women still do that but that is due to compulsion and not option.
AK @ 35, Mumbaikar* @ 36 & 38 KSB @ 37
With regards and wish yu veryHappy New Year to yu and to all the readers and contributors to SoY.
I can borrow the dialogue between Nargis and Murad from the very good extract provided by wise Mr KSBhatia as following
“….Jab hum nahin honge to tumhen hamari baatein yaad ayengi , us waqt….”
And say you may remember what I said about the scene of Nargis’s total reversed position when you see the big picture of Woman in the Man’s world and putting a scene in negative way is the same as showing she being sent to the gallows for murdering Dalipsaab. This is a dramtic device used by many dramtists and filmmakers. All the men characters helped the situation Nargis reached at the end. This is a high staged drama used in the filmy art. This does not make Mehboob regressive. Mehboob belonged to the progressive Muslim’s group to which K.A,Abbas, Sahir Ludhyanvi, and many other were members and they all belonged to the Indian People’s Theatre that was supported by the Soviet Russia.
I have said all I wanted to say and saying the same again and again will be silly and argumentative point.
Shalan La
Nice post ….
thanx for sharing
Ms. Shalan Lal @39 ;
Not only Director or Film maker , the ”Dramatic device ” was also used by Lyricist / Music directors . In the case of Andaz , the helpless situation of woman in Man’s world was symbolically brought out in the song ……Tod diya dil mera …..
Maango khushi gam mile
kahte hain duniya isye
haiy mein jayoon kahan
ab mein oukarun kise
..yeh to bataade jaraa
maine tera kya kiya…2…tod diya dil mera
There are three stanzas in this song . Both Majrhooh Sultanpuri and Naushad gave excellent lyrics , pathos and heart touching low beats rhythm song that symbolises the entire story of the film .
https://www.youtube.com/watch?v=gHFqdl2fCyY
KSB @ 41
Yes and well said as well. And very apt example of the song. All witers and artists used various devices todrive in their point of view. Both Ramayan and Mahabharat use so many divices. Also many poets in the holy book Granthasaheb also have many divices.
I am fond of Grantha Saheb.
Shalan Lal
Ashok Kumar Tyagi @19
I like the logic in your argument that Naushad introduced fresh melodies than his historical tunes in his “Rattan and AnmolGhadi”. Naushad also was responsible for introducing Piano both as the instrument and as a must for the heroes in later films. Some of the songs supposed to have Piano Tunes often were abosent and hereos just finged the keys of the Piano. AK has written a good post on the Piano as a character in the films.
But most of the Indian music composers composed their melodies on the Indian harmoniam.
While in the West in the old time the melodies were composed on the piano and later in the time of pop they composed on the Guitar with chords as helping them to sing.
This is due to the different styles of musical development in India and in the West.
Naushad had to be number one in 1949. But for freshness and all year around and more Barasaat songs were very famous. And personally would have liked SJ to be number one for being popular all through the 1849 and 1850.
But AK’s work was very good and he must be praised for the sheer amout fo labour and the difficult choice of presenting the chart.
Shalan Lal
Thanks to Shalan Lal.
She has made lively comments as usual. The Hindi film heroes never cared whether they were playing the instrument properly during a song sequence. Dilip Kumar was one actor who often had sitting with the MD to get hands on practice for depicting the scene properly on the screen. I want to admit that when a song came on the screen where the hero is playing on a piano, my focus remained on the female actor. She was either dancing with pretty moves or leaning on the piano with a coy smile.
A more happy situation was when Sadhna or Simi themselves played on the piano while lip syncing a lovely song of Lata Mangeshkar or Asha.
Thanks.
I was playing the SOY 1949 songs for my father, born in 1936, and on listening to “Tu Kahe Agar” he remembered the scene in their home in Jabalpur.
Theirs was one of the few houses in Jabalpur with a radio. In fact, when Gandhiji was shot, people poured into our house from the neighborhood to listen to the news on radio.
Listening to the radio was a solemn occasion. Every Sunday my grandfather would take out the radio in the morning to hear “Geeton Bhari Kahani”. The whole family would sit around him – they were 11 siblings – and enjoy the narration. The radio was only taken out for a few programs under the watchful eye of my grandfather.
I think people must have savored every nuance of each tune as a rare treat. Perhaps the instant recall of the internet is as much a curse as a blessing.
AK ji
Sameer in his comment above has brought out an obvious minus point of Internet. In my case, whenever I bought a cassette brought out by HMV/saregama, I listened to the songs on it a few times, then lost interest, but the interest returned later on. But one could only collect a limited number of songs. Internet gives us infinite options. Moreover, it has allowed us to hear hidden gems. Watching the videos is additional bonus.
Thanks.
Ashok Kumar Tyagi ji ;
Techno advancement surely have helped us enjoy the songs and music available on various formats from time to time . The 78 rpm records gave way to cassettes , cd’s , mp3., usb and what not . However , It’s a great feeling for those who are in possession of all these formats as they give a sort of a feeling that you belong to that era when melodies were in the making . I have in my possession about more than 150 cassettes [ jackets intact as new ] , about 80 cd’s , 40 mp3’s besides many dvd’s of the classic movies ….which are difficult to part with . Of course internet is a great library in itself where passionate listeners dig upon the various sites to locate the treasure lost .
Tyagi ji , I think some time listening to songs without visuals give intense pleasure. Many Directors have erred badly in picturising a very good song . This point was discussed by all of us in the SoY ‘s ….Open House….where in the song…Kabhi dil dil se takaraya to hota …..was mentioned by one of the member as a total loss of the impact due to its wooden / stone expressions of the hero singing the song . As said in that post a clever editing , nice camera work , beautiful expressions conveying the content of the song and mood….all makes up of a great song . Needless to mention the song which scores highest on account of its various technical inputs is…..Tere sadqe balam…..by Lata ji ….film Amar , picturised on Madhubala and Dilip Sahib.
Bhatia ji
Fully agree with your viewpoint as also the view expressed by Sameer.
I collected lot of songs on records/cassettes but your collection is most impressive. Also, you have full knowledge of vintage plus golden era songs, as also Western music.
Listening to songs on radio brings in an element of suspense – we don’t know what are the next songs.
Thanks