BOHAT SHUKRIYA BADI MEHERBANI

Song 36:


Talking of rural India, there are again so many hues and colours. There was a time when most movies had a strange, quintessential Indian village, which was a mishmash of the lowest common denominators of Indian culture, basically to appeal to a wide cross-section of people. The heroine mostly wore ghagra choli even if walking in snow or spouting Punjabi style songs, as in the previous one. There was always the cruel cruel money-lender, a famine, one mela or fair scene, a bullock cart race. But Kashmir was always pretty popular as a unique region of India with a distinct attire and culture.

This movie Ek Musafir Ek Hasina starred the fresh pairing of that ethereal Sindhi beauty Sadhna, easily one of the prettiest faces ever on Indian screen and Joy Mukherjee, who my Mom would educate me about over Chitrahaar dinners way back, whispering softly that he had the best physique in her time! At a time when heroes hardly frequented any gyms or flashed their biceps on screen, Joy Mukherjee was the first one to flaunt a naturally athletic build and sporty attire with his tall, broad shouldered strature.

The gist of the story goes: Ajay Mehra (Joy Mukherjee) is on a secret mission to Kashmir to counter Kashmir rebels right after Independence. While on mission he is injured due to a bomb blast. A young girl Asha (Sadhana) from a poor family is forced to flee for her own safety following an attack on her house by Kashmir rebels. She comes across Ajay who is injured. She nurses him back to health over a period of time and they start falling in love with each other. But after the bomb blast, Ajay has lost his memory. Hence they both decide to go to  Srinagar to get treatment for him at a hospital. But Ajay gets some clues as leads and decides to go to Bombay to find the truth about himself....

The movie also had some stunning Rafi and Asha duets. And as this song showcases, duets were not always about competition or witty retorts. Sometimes you met some people, with whom there was no conflict. No matter what the odds, you just understood each other completely and were thankful to God that this great person indeed touched your life, even if for a short while. There would be no permanence or eternity but the few moments spent together had given you the happiness of a lifetime. Be grateful for all you have.  Music was by O P Nayyar and lyrics of this song are by S H Bihari.

UDE JAB JAB ZULFEN TERI

Song 35:

Back from my after-dinner stroll and must say I am pepped up as ever. People in my house have actually started suspecting why I come back so happy from my walk? Haha! I am sure they think I am upto no good. Little do they know how energising it is to connect or simply observe people from different walks of life. There is even this subtle romancing going on at this time amongst the younger lot, age old hints and signals, fun messages sent through intermediaters and clandestine rendezvous. I am talking about the maid's carnival. People across all sections of society do fall in love after all and do whatever there is to win over love.

Now this is one of the best Rafi-Asha duets ever, from Naya Daur too. It has a typical foot tapping quality of most Punjabi songs. In Indian folk traditions, there are many formats where the male and female singer compete in a war of wits, as if it were. Each verse is meant to provoke the other and the retort is given by the other party, often in jest. Such Punjabi tappas or tappe were common during weddings and other festivities. There was also the tradition of reciting chhand (sort of Hindi limerick). I have faint memories of weddings where often the ladkiwalas (the bride's side) would urge the groom to recite some chhand as he waited anxiously at the girl's door to get a sight of his lady love. Only when he managed to exhibit some poetic prowess, was he allowed into the wedding reception and got to meet the bride. Then there was a very elaborate 'Sehra' poetry that was written on a board and also sung or recited by one of the bride's relatives in praise of the groom (of course once he was allowed in). This was a good pretext to hide the groom's shoes while he was engrossed in basking in the glory of praises showered at him. The shoes would then be returned by the bride's younger giggly sisters only when he gave them some hefty cash and little rings called kalichdis. How sweet were all these traditions. Many of them are getting drowned in loud DJ nites. And as you see poetry was pretty much a part of our lives.

If nothing else when there were power cuts earlier, people would gather under a tree outside in the courtyard and play Antakshari. Now we have 24 hour power back up or generators/invertors that have inverted these casual fun activities into nothingness. So this song as I said, has that community feel again, with some fun wit thrown in every verse. Sahir Ludhianvi betrays his Punjabi or Ludhianvi roots in this one, shifting from Urdu to a more Punjabi style Hindi, music also by that doyen of Punjabi peppy O P Nayyar. Then Rafi and Asha in perfect sync and two brilliant actors- Dilip Kumar aka Yusuf Khan, arguably one of the best actors ever of Indian screen and Vyjayanthimala Bali, one of the most graceful dancers ever. I certainly can't help dancing to this one everytime I hear it. Evergreen classics are made of these!

SAATHI HAATH BADHANA

Song 34:


Rafi and Asha too were exceptional together. Rafi's voice had that rustic, son of the soil, close to mother earth appeal. Asha, when need be, could also shed her dancing diva/siren shenanigans and sound just like a village belle. The magic was more than evident in all the songs of this iconic movie called Naya Daur.

Yes, unlikely choice for this collection but today, when my maid goes for one month holiday to her gaon, I appreciate her more than anything. My world simply collapses without her support system. I have also been tweeting about how at night our locality is like a maid's carnival. After working hard all day, they step out of their little one room tenements (where often families of 5-6 live), to catch some fresh breeze. They are chirpy and chatty, talking away on their mobiles, laughing, bickering in corners, slapping their kids lovingly. It is such a sight. They still have community, bonding and communication.

All the residents of our society of course at that time are engrossed in their TVs and laptops and hardly step out, isolated in their little islands of power. I really enjoy this fun glimpse into the life of a multitude of people who make our life so much easier, but live in the shadows, the background. But these people, these teaming millions are the real strength of India, a resource, provided we empower them and give them opportunities. Now it is for wise statesmen to decide what these opportunities should be, food or livelihood to earn their own food. India debates the Food Security Bill and there are divergent views emerging. There is speculation that probably it will be yet another scheme meant to fill the coffers of corrupt politicians and middlemen and whether the food reaches the needy in totality is a question mark.

This movie Naya Daur is set in post-independence India where industrialization is slowly creeping in. The focus is on tongawallahs who earn their living transporting people on tongas (horse carts). Their livelihood is threatened when the son of a rich landlord (Jeevan) begins operating a bus service in the town, which he subsidizes heavily with the sole intention of first driving the tongawallahs out of the town and then making profits. 

Dilip Kumar plays one of the tongawallahs who petitions the landlord over this injustice. Jeevan's character proposes a competition to decide which service is the best: The bus or the Tonga? It is decided that there will be a race between the vehicles. If the bus wins, the tongawallahs will not complain further. If the Tonga wins, the bus service will stop. This competition was a farce from the start since nobody could dream that a horse cart could beat a machine. Kumar, however, accepts the challenge to everybody's surprise. His logic is that they would be driven to starvation if the bus service continues. This race at least gives them an opportunity to try to do something. 

The rest of the tongawallahs do not share his hope. They blame him for his foolishness. In the end, he is left alone with nobody's support except his sweetheart, played by Vyjayanthimala. As the movie unfolds, a hopeless situation begins to turn around because of the way the people come together. Mishap after mishap occurs, but nothing can deter the determined. The highlight of the film is definitely the heart-stopping final race where the underdog wins.

The movie probably inspired that other great Aamir Khan starrer Lagaan, from what I can see. Never underestimate the power of the common man.

SUN SUN ZALIMA

Song 33:


Sure we're becoming an individualistic society. We fend for ourselves, we are much more selfish than our parents' generation, we focus on what we want.  For many of us, we're happy being solo. But what's life when sung all solo! There is fun in duets. Duets reveal chemistry, biology, social sciences, harmony, coordination, adaptation and improvisation. When two brilliant singers sing together, they bring out the best in each other. They may complement each other or compete with each other. But they will surely co-opt and co-erce hitherto unchartered paths and territories from each other. If both the artists are confident of their own selves, they will never infringe upon each other's identity and turf.

Exploring some duets of Asha and Geeta and I have to, have to begin with Rafi. Both Asha and Geeta had brilliant duets with Rafi. Now here was a combo where the deep, masculine and very Indian voice of Rafi intermingled with the vivacious charm of Asha/Geeta. It always spelled magic. So while Lata Rafi duets are memorable and almost too perfect, the ones in this segment will give you something to ruminate, something to mull over. A thrill, a pep, like a gentle zephyr blowing on a balmy night. Sugar and spice, brawn and blush, swagger and swoon, Martini and moon. You conjure images of a confident, strong, solid man (Rafi) and a not-so- sure, not- so- perfect, not-so-prima-donna, girl next door (Geeta Dutt). She may huff and puff but she is not haughty for long, she can be won over with little humour, with some personalised attention. She may pretend to throw a tantrum but not for long. The guy was just too adept at handling her. And anyway time spent frowning is such a waste of time. (And it gives you facial lines in the wrong places). So the result of these Rafi-Geeta songs is simply magic.

And what lovely styling. Simply love Shyama's ensemble, casual messy plaits, peddlepushers, a deserted garage, some nimble piano notes, yeah, very old Hollywood musical. This is a mid-summer night's dream. Full marks to Guru Dutt for directing and acting so well at that young age. Of course the music by O P Nayyar and lyrics by Majrooh Sultanpuri add to the charm of this sweet 'getting mock angry and make up song'. Do make up before going to bed-that's a golden rule. Have a great night with your loved ones! 

KALI GHATA CHHAYE MORA JIA

Song 32:

Then again Nutan who mostly synced perfectly with Lata's vocals, had some songs by other singers that brought out a different element in her. This fresh and tentative Asha song is a case in point. Let's just say a more youthful and effervescent voice helped tone down the heaviness of the movie. This was one intense role of Nutan that won her the filmfare. Based on a Bengali short story by the same name by writer Subodh Ghosh, the film explored the situation of caste in India. The music is by S. D. Burman and the lyrics by Majrooh Sultanpuri. It was entered into the 1960 Cannes Film Festival.

Sujata is a romance between a Brahmin young man, Adheer (Sunil Dutt) and an untouchable woman, Sujata (Nutan). The movie has Dr. B. R. Ambedkar's fight against untouchability and the myth of 'Chandalika' in Hinduism as its subtexts on the basis of which it tries to criticize the practice of untouchability in India.

Brahmin couple Upen and Charu bring up the orphaned Sujata. Although Upen is fond of the adoptive child, his wife Charu and mother can never fully embrace Sujata because she is an untouchable. They never fail to remind Sujata that she doesn't belong amongst Brahmins. One day, Upen's wife falls down the stairs and is rushed to the hospital. The doctors tell the family that in order to save Charu, they need blood of a rare group. Only Sujata's blood matches, and she willingly donates blood. When Upen's wife knows that her life was saved by Sujata, she realizes her mistakes and accepts her as her daughter. Sujata and Adheer are finally married.

Himachal Govt has taken a lead in encouraging inter-caste marriages by promising Rs 75,000/- to every couple that marries out of caste. Great move to break the age-old barriers of caste from our prejudiced society. Well this song simply sums up the suppressed exuberance every heart feels to connect with another irrespective of colour, caste, creed and language. And trust Nutan to do full justice to a nuanced song.

RAAT MOHE MITHA MITHA

Song 31:

So as I said Asha Geeta were usually the non-conformists (which is why I like them in the first place!) But that was an era when the A-line heroines always got Lata as playback right from Nargis to Meena Kumari and Nutan. These were after all three of the most powerful performers of that era, essaying roles of the strong, self contained, resolute and virtuous Indian woman. Bharatiya Nari. Always in the mould of Sita. Sacrificing, devoted, non-complaining and Lata fitted the bill, with her steady and strong vocals. But it is always interesting to hear different face and voice combinations. Madhubala for instance always got Asha as she was the naughty, bubbly sorts, yet two of her Lata songs that I put up yesterday from Mughal-e-Azam  take her to another level of 'depth of performance'. Dunno what exactly makes a voice suit a face? For instance Mumtaz who was another live-wire and sorta bubbly, surprisingly always had Lata as playback! Does the spoken voice of the artist have to match the playback singer? Or is it the way of speaking, the accent? Similarly if you see Rajesh Khanna, who somehow looked as if he was born to sing Kishore songs on screen, has some stunning ones sung by Mukesh, Manna Dey and Mohd Rafi.

So I love discovering some unusual combos. Think of Meena Kumari and you always think of this simpering, suffering woman, living a life of quiet dejection in a kotha aka Pakeezah or something equally hopeless (not to undermine her performances but yes, her films were kinda sad). So it's a delight to watch this Geeta Dutt playback on Meena in her early days. She is so young and dewy fresh. So stunningly beautiful like one of those Indian dolls women used to make at home as a hobby once from a kit that had a pretty doll-face and body that you could assemble and clothe her in a traditional costume of your choice-Hindu bride or salwaar kameez or lehnga etc.

Geeta's voice adds the further texture of newness, of anticipation, of hope and of the wonder of the first phase of love. Innocent lyrics by Bharat Vyas and simple music by Manna Dey which is minimalistic to say the least. Therefore this song perks up my Sunday morning, for it is not one of those pessimistic and achingly beautiful but sad songs of Meena Kumari's later years, but one that instills happiness and hope in the days ahead! :-)

BHANWRA BADHA NADAAN

Song 30:


It was the singing dancing diva's fate to always bump into the strangest of characters. Not for her the conformity and convention of propah guys. She would always get attracted to the lone ranger, the odd one out, the one with the vagabond in his heart and a propensity to disappear unannounced from time to time. Sure she could have found many a sweet and predictable sort, the dependable ones, the ones that ran their life like immaculate diaries and Grandpa's almanacs with colour coded entries.

But she had to end up with the bhanwra, the bumble bee, buzzing around from flower to flower. She could pull his leg a bit for his 'here today gone tomorrow' habits, his quirks and his idiosyncrasies but she certainly couldn't tame him. Yet whenever they met, they could start from where they had left. There were no hassles with these characters. They were meant to be God's answer to boring routines and smothering schedules. So the diva knew never to aspire to own these characters. It was best to sing with the breeze every time the bhanwra happened to pass by her little garden. That day the flowers would appear brighter, the birds would chirp more merrily. Her wanton black hair would bounce like wild serpents, her eyes would have that special kohl of anticipation and wonder and mischief. The day would pass by like a dream and that night it would be difficult to sleep for she knew when she woke up the next day, if at all she did sleep, there was no guarantee he would be still around. But she'd wait.....she'd wait for him to come by again some day and release the fragrances of her secret garden again ....


Enjoy this superlative number-Asha, Waheeda, Guru Dutt, Shakeel Badayuni, Hemant Kumar-Collective genius!