Raja Mehdi Ali Khan: Lyricist Par Excellence

Guest article by D P Rangan as a tribute to Raja Mehdi Ali Khan on his 55th Remembrance Day (b. 1915/1928? – d. 29 July 1966)

(There are at least two dozen lyricists who wrote more songs than Raja Mehdi Ali Khan. Yet every lover of old film songs has the highest regard for him, especially for the exquisite songs he wrote for Madan Mohan. For many of us, it might come as a surprise that his songs for Madan Mohan are about one-sixth of his total output. That underscores the talent of Raja Mehdi Ali Khan.

To do full justice to such a highly respected lyricist, you would expect the writer to have very deep familiarity with Hindustani language. D P Rangan is not deterred by minor constraints, such as lack of adequate knowledge of the language. He comes up with another of his very sincere guest articles. He is conscious that lyricists have not been given due importance on SOY, therefore, his article fills up an important gap.

Mr Rangan is a retired government servant, now well into his 70s. We know him for his enthusiasm and zest for life. He has written over two dozen guest articles for SOY, the most by anyone. This article has been in my folder since the last year, but it turned out to be a very crowded year. Mr Rangan  appreciated my scheduling difficulties, and allowed me to post it on a later suitable date.

Let us pay our tribute to the great lyricist Raja Mehdi Ali Khan on Madan Mohan’s 97th birth anniversary, with whom he had the most memorable association. Thank you Mr Rangan for this nice guest article. – AK)

A rare combination of poet, writer and lyricist in erudite Urdu is how I think of this gifted individual who streaked across the cinematic field in blazing glory for a brief span of time and embraced eternity by his untimely demise at a very young age of just thirty eight years. His achievements in this brief sojourn in terra firma speak for themselves. Here is my humble effort to pen his biography for scrutiny by blog followers.

The Table below lists the films he was involved in as lyricist.

(www.cinestan.com)

I cannot vouchsafe for accuracy of the above data. There are films in which our lyricist was one of a brood. In 1948 he wrote one song for the film Ziddi – Zindagi ka aasra (singer Lata Mangeshkar, music Khemchand Prakash and two songs for Vidya – Pyar ban ke muhh pe – singer Lalita Deulkar, Mere muniya ke aankhiyan mein – singer Amirbhai Karnataki, both music by S D Burman). I have not done enough such deep research to unearth films where he was one of the lyricists not forming part of the above filmography. The site muvyz.com states he composed 470 songs for 126 films. I had accounted for 118 films and identified seven more to be added. They are as follows:

1949        Namoona, Kamal
1959        Jagir
1960        Hum Hain Raahi Pyaar Ke
1962        Raj Nandini
1964        Baghi Seshazada
1966        Mera Saya

His entry into song writing from 1947 augured well for him. In his very first film – Do Bhai – he wrote two memorable songs sung by Geeta Dutt and set to music by S D Burman. He was sought after by film producers. His association with music directors galore was quite impressive and I can compare it with the incredibly long chain of freight cars pulled by engines here in the USA (Mr Rangan was in the US when he wrote this article). The list included Khemchand Prakash, S D Burman, Ghulam Haider, Bulo C Rani, Madan Mohan, Shyam Sunder, S N Tripathi, C Ramchandra, Roshan, Iqbal Qureshi, N Datta, Dhaniram, Anil Biswas, Ravi, Chitragupta, Laxmikant Pyarelal and a few others. This trait of his in maintaining a good working relationship with several diverse music directors is a proof of his prodigious talents. He also did his assignments equally well with a string of lower rung order of music directors as Basant Prakash, Babul, Chic Chocolate, Jimmy, Nissar Bazmi, Dhomi Khan, Robin Banerjee etc. Now I will proceed with his biography.

He spiralled into this world in 1928 (precise date and month of birth is mired in mystery and not available despite studious search) at Karmabad, district Jhelum in British India. He belonged to Janjua family of Darpur in Jhelum District of the former Punjab state of British India. His father Raja Mehdi Ghalib Khan was the Chief Minister of Bahawalpur State, now part of Pakistan. His mother Heba Saheba was a well-known Urdu poet. With such biological roots, it is no surprise he blossomed as a great writer of songs. His father passed away when he was just four years old. His mother and uncle Moulana Zafar Ali Khan, a well-known journalist, ensured that he had a good education. Due to adverse financial conditions he probably could not complete graduation. His proficiency and command over Urdu language earned him a membership on editorial boards of notable Urdu magazines “Phool” and “Tehzeeb-i-Niswaan”, published from Lahore. He came under the influence of the noted scholar Dr. Allama Muhammad Iqbal during his formative years, influencing his general and poetic writing. He joined the All India Radio, Delhi as a writer. There he struck up a friendship with another short story writer of note, Saadat Hasat Manto. Both of them shared many common interests, such as writing and love of literature. Manto shifted gears and went to Bombay to work in the film industry. He had company of actors Shyam, Pran and Ashok Kumar. But he missed his AIR colleague Raja very much and was looking for opportunities to lure him to Bombay. Raja arrived there in 1946 and started his career in film line as an actor and dialogue writer in the film – Aath Din – of Ashok Kumar, thanks to Manto. He realized he had no inclination for acting and his penchant was in song writing and articles for Urdu magazines. His Urdu poems and articles started appearing in Urdu magazines as – Khilona, Shama Bano, Beeswin Sadi. (Note: Many sources mention Raja Mehdi Ali Khan’s date of birth as 23 September 1915. That would make him 51 years at the time of his death. Difference of 13 years in different sites is very rare. But 1915 seems more likely. – AK)

Propitious time for his entry into the film world as song writer had arrived. Sashadhar Mukherjee, a partner of Bombay Studios was hunting for a lyricist. Manto recommended his bosom friend Raja to him and he was engaged for penning songs for the film ‘Do Bhai’ (1947). Our lyricist proved his mettle from this maiden venture itself. The film had 9 songs and all were written by Raja, which redounded to his credit as in those days most of the films had more than one lyricist to compose songs sometimes rising to as many as four. It was nothing short of ‘per saltum’.

1947 was a tempestuous year for the film industry in Bombay. Indian subcontinent was divided into two countries – India and Pakistan. Muslims claimed a separate lineage and got Pakistan as their reward. There was an exodus of several Muslim actors and other film personalities from Bombay to Pakistan. Raja’s friend Manto left for Pakistan. Raja and his wife Tahira decided to stay put in India. Raja demonstrated his skills in song composition by penning songs full of patriotic fervour in the next film ‘Shaheed’ (1948).

During the first decade from 1947 to 1956, he was associated with around 63 films for writing songs. His skill in meeting the demands of the situation in the film whether it be a love ballad, a song of satire or rollicking numbers to titillate the audience and songs of pathos/sorrow, ensured his success. During the next decade from 1957 to 1966 when he breathed his last he was involved with another 55 films.

1. Yaad karoge yaad karoge, ek din humko yaad karoge by Geeta Dutt from Do Bhai (1947), music S D Burman

The other song was the well-known ‘Mera sundar sapna beet gaya’. This song is a melancholic one with the lady making bald statements in the form of verse how her love would be constantly reminding of her.

2. Watan ki raah mein watan ke naujawan shaheed ho by Mohammad Rafi from Shaheed (1948), music Ghulam Haider

It seems destiny decided to test him in the wake of his decision to stay back in India after independence in 1947. He wrote 5 of the 9 songs for the film and this song is a moving one expressing solidarity with the nation. Dilip Kumar and Kamini Kaushal played lead roles. There is a regular version and a slow one in Rafi and Khan Mastana voice following the funeral procession of the slain hero. Lyrics expertly written by Raja in his second film is well knit with the spirit of the song and Ghulam Haider gave a pathos ridden tune. I preferred this audio only version from quality angle for the live video one much inferior in both aspects.

3. Ban than ke chali sajdhaj ke chali by Talat Mahmood from Bhai Behan (1950), music Shyam Sunder

Many might not have heard this song at all. The newly married girl is leaving for her sasural in a doli and the girl’s party is singing their send off. Well written by Raja and sung by Talat Mahmood, I am posting it for the sheer quality of lyrics and not the tune.

4. Din aaye pyare pyare barsaat ke by Lata Mangeshkar from Sangram (1950), music C Ramchandra

Nalini Jaywant is reminding Ashok Kumar in the back seat while driving the car about their love affair. Romanticism is flowing from the pen of Raja and C Ramchandra rarely disappoints.

5. Chakori ka chanda se pyaar by Lata Mangeshkar from Daman (1951), music K Datta

Raja’s mastery over words is borne out in this poem of love, sung by Nigar Sultana in the film. See arrangement of words – saman, jawan, choor choor, door door etc.

6. Le le gori pehen le choori by Mohammad Rafi from Paapi (1953), music S. Mohinder

Raj Kapoor and Nargis are the lead pair. Raj Kapoor is singing this song merrily as a bangle seller and entices girls and women to wear them. Written by Raja in a light vein and the music is in tandem.

7. Ai saba unse kah zara by Mohammad Rafi & Asha Bhonsle from Ali Babha Aur 40 chor (1954), music S N Tripathi

All the 8 songs were written by Raja. This is a popular love duet from the film.

https://www.youtube.com/watch?v=e4NztuhGLJQ

8. Le lo ji hamare gubbare by Mohammad Rafi from Dastan (1955), music Hemant Kumar

A light-hearted song, which must be picturised on a street hawker selling balloons.

9. Zulfon ki ghata lekar by Manna Dey and Asha Bhonsle from Reshmi Roomal (1961), music Babul

Manoj Kumar and Shakila are indulging in this love song. Raja has written another gem and Babul’s tuning is quite good.

10. Aap yoon hi agar humse milte rahe by Mohammad Rafi and Asha Bhonsle from Ek Musafir Ek Haseena (1962), music O P Nayyar

Raja is using his trademark word ‘Aap’ in this love duet set in sedate style by O P Nayyar.

Raja Mehdi Ali Khan and Madan Mohan

Raja’s bonding with Madan Mohan belongs to the stuff from which legends are born. It could be called a symbiotic union. Raja was not the main lyricist for Madan Mohan. He used others like Rajendra Krishna and Majrooh Sultanpuri, to name a few. The music that Madan Mohan churned out when entwined with Raja was something near divine, not to be compared with his other output and stood at a lofty pedestal of its own. All these songs speak volumes about the métier of Raja in portraying the scenes deftly with his interplay of lyrics. The following are the films they worked together in close unison.

11. Preet laga ke maine ye phal paya by Mukesh, film Aankhen (1950)

Madan Mohan inaugurated his entry into filmdom as an independent music director in this Devendra Goel production. He was in wilderness for a few years after his father turned him out for disobedience to his dictates. Madan Mohan invited him for the premiere. After the show was over rapprochement took place between them with the father in tears acknowledging his son’s genius. Within a month his father passed away. Out of 8 songs, Raja wrote lyrics for two, the other being a duet by Shamshad Begum and Mukesh – Humse nain milana B A pass karke. Raja revealed his versatility, a song full of pathos (Mukesh solo) and another, a duet in lighter vein. This Mukesh solo is supposed to be the first song recorded by Madan Mohan. What an apt choice by Madan Mohan of Mukesh to render this sad piece. After search, spotted this you tube video, poor in viewing but reasonably good as an audio.

12. Preetam meri duniya mein by Lata Mangeshkar from Ada (1951)

A Devendra Goel production, 8 songs were written by five lyricists. Raja accounted for only one. Rehana is wishing for a short love life with Shekar and Raja has described in such subtle manner with his penmanship and Lata’s outpouring is superb. In his second film Madan Mohan is starting to unveil his genius.

13. Mere dil ki nagariya mein ana by Lata Mangeshkar from Madhosh (1951)

A J B H Wadia film with Meena Kumari, Manohar Desai and Usha Kiran in leading roles. Raja wrote 9 songs. They embodied all the senses one can feel – pathos, happiness and ribbing song (Pagadi pahen ke). The one by Talat Mahmood – Meri yaad mein tum na aansoo bahana is an evergreen one although conveying grief by the hero at losing his love to another. I chose this song where Meena Kumari is appeasing Manohar Desai. To me the instrumental interlude in the song appears to be similar to that of C Ramchandra.

14. Maane na hay balam paradesiya by Lata Mangeshkar from Jagir (1959)

A reunion after a hiatus of eight years and continuous thereafter, this film had 6 songs by Raja. Again his skill surfaced giving songs of different genre – classical, light song by Geeta Dutt and a highly philosophical one (Oonche oonche mahalonwale) by Mohammad Rafi. This song depicting Meena Kumari is typical of Madan Mohan based on Raag Ragesrhree.

1962 to 1966

Raja – Madan Mohan combination was at its zenith churning out picture after picture with stunning music – Anpadh (1962), Woh Kaun Thi (1964), Aap Ki Parchaaiyan (1964) and Mera Saya (1966). Here are some of the forever enduring songs from these films. Lyrics were great and soul-stirring and music by Madan Mohan was something to rave about. In fact Raja was the first lyricist to introduce the epithet ‘Aap’ in his song compositions commencing with Aap ki nazaron ne samjha (I have often said that in Hindi film songs one has to be guarded in making statements like the first use of ‘Aap’. Before our readers rebut it, let me say there are several songs with ‘Aap’ earlier. To cite a very famous one, ‘Aapne chheen liya dil, ise kya kahte hain’, a Rafi-Meena Mangeshkar duet from the film ‘Farmaish’ (1953), composed by Husnlal-Bhagatram. – AK)

Anpadh (1962)
Aap ki nazaro ne samjha
Jiya legayo ji mora saanwariya
Hai isi mein pyar kee
Woh Kaun Thi (1964)
Lag ja gale
Jo humne daastan apni sunaayi
Naina barse rim jhim jhim
Aap Ki Parchaaiyan (1964)
Agar mujhse mohabbat hai
Main nigahein tere chehre se hataaun kaise
Mera Saya (1966)
Nainon mein badra chhaye
Tu jahan jahan chalega mera saya
Jhumka gira re
Aapke pahaloo mein aakar ro diye

It would be a futile exercise on my part to describe anyone of the above. They are and will be on the lips of film music lovers. I can only state ‘ab uno disce omnes’.

15. Sikander ne Porus se ki thi ladaai by Mahendra Kapur from Anpadh (1962)

Raja is exhibiting his prowess in writing such songs of parody and matched by singing of Mahendra Kapur who is not such a favourite of Madan Mohan.

16. Ek haseen sham ko dil mera kho gaya by Mohammad Rafi from Dulhan Ek Raat Ki (1967)

A Nutan-Dharmendra starrer, it had other memorable songs by Lata Mangeshkar like – Maine rang li aaj chunariya sajna tore rang mein, Sapno mein agar tum aa jaao. Mohammad Rafi in his delectable tone had rendered this song and the very manner of singing and music suggest an outdoor environment of greenery and the video bears it out. Raja wrote a great song of love.

I am not posting any more songs of this duo as it will not add anything further to justify opinion about the skills exhibited already.

In addition to the above, some 16 songs of Madan Mohan composed by him but not used for any films was released as an album with the title ‘Tere Bagair’ on 25th June 2009 (85th birth anniversary of the composer) and one of the songs – Kaise kategi zindagi tere bagair – was written by Raja Mehdi Ali Khan. It was sung by Mohammad Rafi). (hindilyrics.net)

A natural humourist, he wrote plenty of witty poems, particularly in Urdu besides short stories which were published in magazines like ‘Beeswin Sadi’, ‘Shama Bano’ and ‘Khilona’. He had written poems highlighting the difference between expectations and realities of our existence, e.g., romance between a couple in love and post-marriage relations leading to frequent bickering between the husband and wife. His poems do not reflect any bitterness at life but show his sense of enjoyment at the human weaknesses, the gulf between expectations and the realities in life. He was a master of parody and was known for his parodies of Ghalib’s ghazals and well known Urdu masnavis. (Source: https://www.dawn.com/news/1423744) He had a great longing for children but remained childless. He treated his neighbourhood children as if they were his own.

He was truly a Raja in the way he led his life and his literary pursuits, including film song writing. There was nothing small about him including his constitution. Gregarious by nature he enjoyed his food very much. Towards the close of his life, he was subject to many kind of ills and pains. It simply brushed off him and he was still his joyous self. Ultimately his body gave way and he ascended to whatever place was reserved for him on 29 July 1966 at an young age of thirty eight years (or 51? – AK) at Mumbai leaving his near and dear ones disconsolate. He left a legacy of his songs and Urdu ‘Diwans’ like ‘Andaaz-e-Bayaan Aur’ and ‘Mizraab’.

His achievements during his brief sojourn on Earth are truly laudable and his rich variety of film songs set to great tunes by an array of very many music directors will outlast time. In short he could be called a ‘protean’ lyricist. All his works could be classified as ‘numero uno’.

Acknowledgement and Disclaimer:
The song videos have been embedded from the YouTube only for the listening pleasure of the music lovers. This blog does not claim any copyright over these songs which vests in the respective owners, such as Saregama India Limited and others.