And the Award for the Best Music Director goes to?
The year 1943 was like 1944 in many respects. Kismet became a cult hit for its novel theme; it also happened to have outstanding music by Anil Biswas. Anil Biswas also gave some excellent music in Hamari Baat. Naushad didn’t have a Rattan (1944) exactly, but he gave music to three films – Namaste, Kanoon and Sanjog – and all the three celebrated silver jubilees. Towering above all these, KL Saigal, Khursheed-starrer Tansen became a musical masterpiece, composed by Khemchand Prakash. Ram Rajya, composed by Shankar Rao Vyas had some songs which have acquired iconic status. New Theatres maintained their quality with Kashinath (Pankaj Mullick) and Wapas (RC Boral). There were several others making a mark, such as Kamal Dasgupta, Shyam Sundar, Pt. Govind Ram, Vasant Desai and Rafiq Ghaznavi. For lovers of music of the vintage era, these are familiar names and they have acquired a place in the Roll of Honour.
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Rohit Shetty proudly says, “For watching my movies you have to leave your brains behind at home”. Farah Khan says something similar when she talks about making “my kind of movies.” But are these movies really brainless? They require a very high degree of intelligence to make and for the audience to appreciate. In Om Shanti Om, the superstar Om (Shahrukh Khan) remembers from his past life the secret of Arjun Rampal, and wants to avenge the killing of Shantipriya (Depika Padukone), his love-interest in his previous life. Since there is no proof, he wants Arjun Rampal, a big producer in Hollywood now, to resume the shooting of OSO, so that he could be made to confess by recreating the crime with the help of Shantipriya lookalike (Deepika Padukone again). He is extremely reluctant and offers a Hollywood project to the superstar. In this game of chicken, Shahrukh Khan casually drops in, Frankly my dear, I don’t give a damn! Other references in the film are over the top and unmissable, but this one from Gone With The Wind is very intelligently inserted.
(Note: I understand some SOY regulars are not getting email notification of new posts. You are all requested to register your email in the box at the bottom of the post. You would get a mail for confirmation from “follow.it“. This is not a spam. You would have to simply confirm, and you would start getting the notifications of new posts. However, there are technical difficulties in fixing the feature of getting notifications of new comments. – AK)
After I had written on romancing the major types of balmas, such as anadi balma, pardesi balma, ajnabi balma, bedardi balma and jaadugar balma, I was left with a lurking feeling that there were still many types of balmas which did not fall in any of the above major categories. I had posed a question: In which category would you put the Shakti Kapoor-balma in the film Chaalbaaz (1989)? I don’t have a satisfactory answer. But it suggests we need to have a post on assorted types of balmas who cannot fit in the five major categories.
Guest article by DP Rangan as a tribute to Ghulam Haider on his 69th Remembrance Day (1908 – 9 November 1953)
(DP Rangan has been the most prolific guest writer for SOY, but it is more than a year since he last wrote. Some health issues which required hospitalisation, and his computer suddenly conking off has kept him down. But he has been restless all this while to come back to SOY. After getting over his niggling problems he is back with an exhaustive article on Ghulam Haider. There has been no exclusive article on him on this blog so far; he only makes one-third appearance in my post titled Shamshad Begum with 3G (one of the 3G, albeit the most important for Shamshad Begum’s career being Ghulam Haider).
Mr Rangan has long retired from government service and he is well into his seventies. Because of his frail health and his handicap of language I have been advising him to take it easy. But he has boundless energy. This exhaustive article is a proof. Thank you Mr Rangan for filling an important gap on the SOY. – AK)
Human beings are highly individualistic in nature and each has his own unique personality and attributes. What sets apart some from the multitude is their innate good nature, getting along with fellow human beings, caring for the sensibilities of others, readiness to nurture and encourage talents of those they are frequently interacting with, besides being highly proficient in their chosen field of activity. This is a sine qua non in film industry to avert ego clashes. Ghulam Haider (hereinafter referred to as GH in the post) is unique in this regard as he had all these qualities fused in him. He cared for his fellow workers and had an uncanny ability to spot talents among budding singers and nurture them in right ways. He was a pioneer in revolutionising the way music was set for films and was a pathbreaker. In his career of 18 years in film music composition from 1935 to 1953, he gave music for just about 32 films of which roughly one fourth were Punjabi films. Quality always takes precedence over quantity while judging a music director’s calibre and he came out with flying colours when viewed in this light.
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I believe some registered readers have not been getting email notifications about new posts on SOY. I request all the readers to register themselves again by entering their email in the bottom box captioned “Get mail updates”. You will get a notification from ‘Follow.it’ for confirmation. Please confirm the link, and you will start getting email notifications from future posts.
AK)
I understand most people on SOY know that Saraswati Devi was technically not the first female music director of Hindi film music. As per the current knowledge, two women preceded her – Ishrat Sultana (the singer Bibbo) was the first who composed music for the film Adal-e-Jahangir (1934) and the second was Jaddanbai who gave music for Talaash-e-Haque (1935) in which she also introduced her daughter, the famous Nargis, as a child artiste under the name Baby Rani. Saraswati Devi was really the third with her debut film Jawani Ki Hawa (1935) under the banner of the famed studio, the Bombay Talkies.
And the award for the best duet goes to?
There is something about duets which make them exceptional. If you take a re-look at my Overview Post, six out of the eight ‘Special Songs’ are duets. There are just so many varieties in them. For example, the titles of Bhojan ke nazaarein hain and Main to Agre se joota laya re are parodies of well-known songs of just a year or two earlier. Both the songs are medley parody songs which tests your knowledge or recall of vintage songs which became roaringly popular. There are some sung by music directors who were not quite known as singers. There were some others which were funky for different reasons: serious singers singing absurdly funny songs and so on.
Gods have been an important part of our lives and, therefore, our films. We do not set off on a journey without checking whether it was an auspicious moment or not. There is a Rahukaalam when everything comes to a standstill: No weddings, no new investment or purchase of car or home appliances, no taking of oath by the new CM, no moving to his earmarked bungalow. The inauspicious moments come for some short periods in a year. But in everyday life too there are obstacles, such as a cat crossing your car on the road; and the remedy for this bad omen is simple – stop for a moment, reverse the car and move on again. No meat on Tuesdays, no mangoes ever, not because of some allergy, but I had to sacrifice one favourite food item at the altar of some god.
Continuing the series on Vasant Desai, his best songs for Lata Mangeshkar as a tribute to her on her 93rd birthday (28 September 1929 – 6 February 2022)
Lata Mangeshkar would have been 93 today. This is her first birthday after she left this mortal world and this calls for a tribute to her. Coincidentally SOY is paying a series of tributes to Vasant Desai who was a class composer but was not counted among the top by the conventional pecking order. His songs for Lata Mangeshkar were exceptionally melodious. Vasant Desai Part 1 was devoted to his multifaceted talent in the vintage era (pre-50s) as an actor, singer and music director. The part 2 onwards are devoted to the post-50s era with which we are all more familiar. Vasant Desai Part 2 was devoted to his male singers in which I also included MF duets. Lata Mangeshkar is by far his most preferred female singer (no surprise there), and quite a good number are unforgettable. It became appropriate to post a tribute to her on her 93rd birthday with her best songs by the maestro in Vasant Desai Part 3. This would also include her duets with a female singer.
And the Award for the Best Female Solo singer goes to ?
If you browse through the Wrap Up 1 regarding the best solos of 1943, it was clearly a one-horse race with KL Saigal being the Pole Star. During Saigal-Noorjehan-era there was no female Saigal, or as I have said earlier a number of times, there was no Lata Mangeshkar before Lata Mangeshkar. But we should not draw an erroneous conclusion that female singing was devoid of talent. There were several exceptionally talented singers, and the total female solos outnumbered the male solos by a big margin. In fact my fascination for vintage singing is due to so many varieties of female voice.
Second part of my two-part tribute to Khayyam (18.2.1927–19.8.2019) on his third Remembrance Day
Once the omission of Khayyam was brought to my notice by a reader, I realised any tribute to him could not be limited to one part. One can divide his work by the period, or by the singers, both are sensible approaches. He created great music from 1950 to 1982. This is a long span, not many of his stalwart peers had such a long productive life. He was not among the top music directors by the conventional pecking order. But he remained at the top without compromising quality, without joining the rat-race, without caring for the current trend. He created his own trend, which was classical, elegant, soulful and deeply moving.
