Posts Tagged ‘Geeta Roy’

Chalk and Cheese? (Part-1)

Sunday, February 7th, 2010

Geeta Dutt with Raj Kapoor and others

Hundreds of articles, several books, probably thousands of webpages must have been written about Raj Kapoor, the first (and truly the last ?) “Showman” of Hindi films. The media has given so much exposure to his popular films that it seems like there existed nothing beyond Raj Kapoor, his hit films and of course “Superhit” music provided by his favorite composer duo Shanker and Jaikishen. The songs aired on Vividh Bharati for last few generations, the songs shown on Doordarshan and other private TV channels and the documentaries made on the legendary actor cum film-maker has proved it over and over again. We are forced to believe that nothing existed before or beyond this as far as Raj Kapoor is considered.

When one confines the so-called popular films of Raj Kapoor till the year 1970, we get a count of 10 films:
01) Aag (1948)
02) Barsaat (1949)
03) Aawara (1951)
04) Aah (1953)
05) Boot Polish (1954)
06) Shri 420 (1955)
07) Jaagte Raho (1956)
08) Jis Desh Mein Ganga Behti Hain (1960)
09) Sangam (1964)
10) Mera Naam Joker (1970)

Except for the first (Ram Ganguly) and the seventh film (Salil Chaudhury), all the films have music by Shanker and Jaikishen. One can take an approximate number of 100 songs being composed for these 10 films. How many songs sung by my beloved singer Geeta Dutt I can count here for the above ten films? Just one song, in which she gets to sing precisely two lines lasting about 10 seconds in a 9:15 minute long song. That too her lines are filmed on the side actress Chanchal (sister of Madhubala) who is literally making faces on the screen.

Hum Bhi Hain Tum Bhi Ho : Film – Jis Desh Mein Ganga Behti Hai 1960, MD – Shankar Jaikishan, Lyricist – Shailendra, Singer(s) – Lata Mangeshkar, Geeta Dutt, Mukesh, Manna Dey, Mahendra Kapoor & Chorus

Then what is this blog about Raj Kapoor and the music in his films is doing here? Are we talking about two artists whose work is as related to each other as the chalk and the cheese?

The obvious and the popular answer to this question is of course “yes”. When one takes a little extra efforts and tries to have a more realistic look at Raj Kapoor’s career, he/she can find a few interesting things. Firstly, Raj Kapoor did not get it all on the silver platter from his father, Prithiviraj Kapoor, an established star of those times. Raj did go through quite a bit of struggle in his initial years as an actor..Ok, now we are talking..!

Let us try to look at the initial portions of his filmography as an actor for a moment.

Inquilab (1935)
Hamari Baat (1943)
Gauri (1943)
Valmiki (1946)
Jail Yatra (1947)
Dil-Ki-Rani (1947)
Chittor Vijay (1947)
Neel Kamal (1947)
Gopinath (1948)
Amar Prem (1948)
Aag (1948)
Sunehre Din (1949)
Parivartan (1949)
Andaz (1949)
Barsaat (1949)
Sargam (1950)
Pyaar (1950)
Jan Pahchan (1950)
Dastan (1950)
Bawre Nain (1950)
Banwra (1950)

So apart from producing Aag and Barsaat, Raj did act in a bunch of films till 1950, almost 19 of them. Out of these 19 films, young Geeta Roy has sung for as many as 8 films. That is a much bigger and better proportion compared to what we saw earlier. Here are some details of those 8 films and the contribution of Geeta Roy as a playback singer for them:

Dil Ki Rani (1947) : Lead singer for actress Madhubala
Chittor Vijay (1947) : Lead singer for actress Madhubala
Neel Kamal (1947) : Lead singer along with co-singer Rajkumari
Sunhre Din (1949) : Sang two duets with other co-singers
Baawra (1950) : Lead singer for actress Nimmi
Pyaar (1950) : Lead singer for actress Nargis
Jaan Pehchaan (1950) : Lead singer for actress Nargis
Baware Nain (1950) : Sang the most popular song of the film with Mukesh

Unfortunately, no song from the film Chittor Vijay is available, hence our focus henceforth will be on the songs of the rest of the films.

Dil Ki Rani (1947)

This was a musical romantic film with a flimsy story line and a weak plot, only supported by its melodious music composed by S D Burman. His protegee, Geeta Roy, who had sang the chart busters for the film Do Bhaai released the same year, sings all the songs for this film too. One can not decide if he/she is smitten by the sweetness of Geeta’s voice or the charm in young Madhubala’s expressions?

1) Dil Ki Rani – Bigadi Hui Taqdeer – Geeta Dutt
MD – S.D.Burman, Lyricist – Yashodanandan Joshi

2) Dil Ki Rani – Kyon Baalam Humse Rooth Gaye – Geeta Dutt
MD – S.D.Burman, Lyricist – Yashodanandan Joshi

3) Dil Ki Rani – O Duniya Ke Rehne Waalo – Geeta Dutt & male voices
MD – S.D.Burman, Lyricist – Yashodanandan Joshi

4) Dil Ki Rani – Aha More Mohan Ne Mujhko Bulaaya – Geeta Dutt
MD – S.D.Burman, Lyricist – Yashodanandan Joshi

5)Dil Ki Rani – Aayenge aayenge aayenge re – Geeta Dutt
MD – S.D.Burman, Lyricist – Yashodanandan Joshi

Neel Kamal (1947)

This film was literally a one-man show by the producer, director, writer and lyricist Kedar Sharma. The film starred young Raj Kapoor, Begum Para and Madhubala among others. The music was composed by Snehal Bhatkar (original name : V. G. Bhatkar – Vasudev G Bhatkar). The music of the film goes with its mood and it has got some lovely female duet songs sung by Rajkumari Dubey and young Geeta Roy.

1) Neel Kamal (1947) – Brij Mein Dhoom Machaata – Geeta Dutt & Rajkumari
MD – B. Vasudev/Snehal Bhatkar, Lyricist – Kedar Sharma

2) Neel Kamal (1947) – Aankh Jo Dekhe Hai Dhokha Khaaye Hai – Geeta Dutt & Mukesh
MD – B. Vasudev/Snehal Bhatkar, Lyricist – Kedar Sharma

3) Neel Kamal (1947) – Ab Kya Teri Marzi Re – Geeta Dutt & Rajkumari
MD – B. Vasudev/Snehal Bhatkar, Lyricist – Kedar Sharma

4) Neel Kamal (1947) – Jawaani Agar Hai – Geeta Dutt & Rajkumari
MD – B. Vasudev/Snehal Bhatkar, Lyricist – Kedar Sharma

5) Neel Kamal (1947) – Maa Ne Bheja Dhor Charaane – Geeta Dutt & Rajkumari
MD – B. Vasudev/Snehal Bhatkar, Lyricist – Kedar Sharma

Sunhre Din (1949)

This film had Raj Kapoor acting opposite Rehana , Roopkamal and Nigar Sultana. The story was the usual love triangle and had as many 13 songs composed by veteran composer Gyan Dutt. Raj Kapoor was in the early days of his film career but yet acted very well. Rehana was a popular actress of those days although her acting and behavior was considered to be not so sober for those days,, a far cry from what is seen nowadays ! Young Geeta Roy sang a couple of duets with other singers for this film.

1) Sunehre Din – Jiya Ka Diya Piya Tim-Tim hove – Geeta Dutt & Shamshad Begum
MD – Gyan Dutt, Lyricist – ?

2) Sunehre Din – Umangon Ke Din Beete Jaayein – Geeta Dutt, Shamshad Begum & Sulochana Kadam
MD – Gyan Dutt, Lyricist – ?

Baawra (1950)

The film, starring Raj Kapoor and Nimmi had music by Krishna Dayal, B Sc., another name forgotten in the passage of time. It has a lovely duet of Geeta Roy and Mohammed Rafi possibly filmed on the lead pair. Geeta also sings a natkhat song “Is dil ka bangla khaali hain” and a melancholy ” Meri duniya ki shayad har khushi kam hoti jaati hain” for this film.

(1) Meri duniya ki shayad : Geeta Dutt : Film – Bawraa (1950)
MD : Krishna Dayal, Lyrics : Ghafil Harnalwi

(2) Is dil ka bangla khaali hain : Geeta Dutt and others : Film – Bawraa (1950)
MD : Krishna Dayal, Lyrics : Ghafil Harnalwi

(3) Shama jalti hain toh parwaane : Geeta Dutt, Mohd Rafi : Film – Bawraa (1950)
MD : Krishna Dayal, Lyrics : Ghafil Harnalwi

Jaan Pehchaan (1950)

This one is a truly the top of the line singing by Geeta Roy for any Raj Kapoor film. She sings as many as five solos and a duet with Talat Mahmood (all for the leading lady Nargis). The score is composed by the legendary Khemchand Prakash who passed away at a very young age. Manna Dey seems to have assisted in the recordings of the songs after the demise of Khemji (as he is fondly called by music lovers). All the songs are classic and melodious. Truly, an album to cherish!

1) Jaan Pehchaan (1950) – Armaan Bhare Dil Ki Lagan Tere Liye Hai – Geeta Roy/Dutt & Talat Mahmood
MD(s) – Khemchand Prakash & Manna Dey, Lyricist – Shakeel Badayuni

2) Jaan Pehchaan (1950) – Aaoge Na Saajan Aaoge Na – Geeta Roy/Dutt
MD(s) – Khemchand Prakash & Manna Dey, Lyricist – Shakeel Badayuni

3) Jaan Pehchaan (1950) – Pardesi Se Lag Gayi Preet Re – Geeta Roy/Dutt
MD(s) – Khemchand Prakash & Manna Dey, Lyricist – Shakeel Badayuni

4) Jaan Pehchaan (1950) – Bhoolne Waale Tujhe ..Dil Mein Ek Hasrat – Geeta Roy/Dutt
MD(s) – Khemchand Prakash & Manna Dey, Lyricist – Shakeel Badayuni

5) Jaan Pehchaan (1950) – Naina Mila Ke Dil Chheena Sajan – Geeta Roy/Dutt
MD(s) – Khemchand Prakash & Manna Dey, Lyricist – Shakeel Badayuni

6) Jaan Pehchaan (1950) – Duniya Mohabbat Karne Na Degi – Geeta Roy/Dutt
MD(s) – Khemchand Prakash & Manna Dey, Lyricist – Shakeel Badayuni

Baware Nain (1950)

Another all-in-one act by Kedar Sharma with Raj Kapoor and Geeta Bali (her only film with Raj) in the leading roles and Vijayalakshmi playing the third angle but bagging the most popular song of the film, sung by Mukesh and who else but Geeta Roy!
Rajkumari sang some of her most popular songs (all filmed on Geeta Bali) for this film. Yet, the song that gave composer Roshan his first genuine hit was the evergreen “Khayalon mein kisi ke issi tarhe aaya nahin karate” soulfully sung by Geeta and Mukesh.

Baawre Nain – Khyaalon Mein Kisi Ke – Geeta Dutt (Roy) & Mukesh
MD – Roshan, Lyricist – Kidar Sharma

Pyaar (1950)

This is truly the creme de la Creme album from the baton of S D Burman for a film starring Raj Kapoor and Nargis. It was S D Burman who had Kishore Kumar singing for Raj Kapoor , an opportunity which he never got again. Young Geeta was by far “the voice” of Nargis (with success of films like Darogaji, Jogan, Jaan Pehchaan etc) and sang three solos and two duets with Kishore Kumar for this film. All the songs are once again melodious and hummable!

1) Aa gayi re aa gayi : Geeta Dutt : Film – Pyaar (1950) MD : S D Burman, Lyrics : Rajinder Krishan

2) Do din hansaaya pyar ne : Geeta Dutt : Film – Pyaar (1950) MD : S D Burman, Lyrics : Rajinder Krishan

3) Woh sapnewaali raat : Geeta Dutt : Film – Pyaar (1950) MD : S D Burman, Lyrics : Rajinder Krishan

4) Oh bewafaa yeh to bataa : Geeta Dutt , Kishore Kumar : Film – Pyaar (1950) MD : S D Burman, Lyrics : Rajinder Krishan

5) Ek hum aur doosre tum : Geeta Dutt , Kishore Kumar : Film – Pyaar (1950) MD : S D Burman, Lyrics : Rajinder Krishan

Coming back to the beginning of the article, it is true that Raj Kapoor as a film maker and his favorite composer duo did not have any trust on Geeta Dutt as a singer, yet we are glad to listen to as many as 30 odd songs of hers in early Raj Kapoor films.

Note : Thanks to SHyd1967 for making the video of the song “Aayenge aayenge re” available to us to be embedded in this article.

Oh denewaale yeh kya diyaa tune…..

Friday, February 5th, 2010

Geeta Dutt

When it comes to the life of an artist, one should not try mixing the career and personal life. Yet, in the life of Geeta Dutt, a lot of songs she sang in the early part of her career began reflecting the personal calamities she met with in her future. Songs like “Mera sundar sapna beet gaya”, “Kaise koi jeeye, zeher hain zindagi” are some of the prominent examples. Song like “Waqt ne kiya, kya haseen sitam” and “Na jao saiyyan” which she sang in the later part of her career almost reflected the state of her mind at that time.

Here is one song released in the year 1952 from an obscure film called Badnaam starring Balraj Sahani. The film features two of her songs, both filled with melancholy. The lyrics were penned by talented lyricist Shailendra and the composer was Basant Prakash (younger brother of legendary composer Khemchand Prakash). Geeta sang for composer Basant Prakash for the lone song in the film Anarkali (Aa jaane wafaa aa), Badnaam, Nilofar, Nishan Danka etc.

In the song “Oh denewaale yeh kya diyaa tune”, Geeta showcases her supreme skills of “Bhaav Gaayaki”. The words come in her honey filled voice from the bottom of her heart. It seems as if she is pleading to the God (Denewaale) why he has been so unfair to her. Why has he showered her with just a few tears and some sighs?


Oh denwaale yeh kyaa diya tune
do chaar aansoo do chaar aahen
Oh denwaale…

Hoke rahee barbaad jawaani
Hoke rahee barbaad jawaani
Dil ko milee ek dard nishaani
Dil ko milee ek dard nishaani
Loot liya taqdeer ne sab kuchh
Loot liya taqdeer ne sab kuchh
Duniya chaahe to kyun chaahe

Oh denwaale yeh kyaa diya tune
do chaar aansoo do chaar aahen
Oh denwaale…

Meri muhabbat adhoori kahaani
Meri muhabbat adhoori kahaani
Khilke jalee phool si zindagani
Khilke jalee phool si zindagani
Dukhadonki nagaari, gham ka andhera
Laayi kahaan mujhe pyaar ki raahen

Oh denwaale yeh kyaa diya tune
do chaar aansoo do chaar aahen
Oh denwaale…

Discovery of two rare and melodious songs ..

Saturday, January 30th, 2010

Geeta Dutt

We have been working on the database of Hindi film songs of Geeta ji taking Hindi Film Geet Kosh (HFGK) as a reference. Very recently we compiled the database of songs so far known to us on our main website here. We did realize that it is still a work in progress and it is very likely that we might discover some more songs of our beloved singer.

A few hours back, dear friend Aditya (who has already written a wonderful article for our website) pinged me and asked me if I knew about any song of Geeta ji from a film named Khuda Ka Bandaa (1957). “Nope” came my prompt reply. Aditya advised me to listen to 2 songs posted by great music lover and contributor Shri Surjit Singh ji on his site here. I listened to both the songs and felt that they indeed feature voice of Geeta ji. Our friend Romesh ji who helped us with the database of Hindi film songs of Geeta ji checked the HFGk for us. He mentioned that the HFGK does not mention singer names for this film. The composer is Shri S N Tripathi ji. The lyricist as per the HFGK is Shevan Rizvi sahab.

It is a great discovery of two rare and extremely melodious songs of Geeta ji, first a solo and a duet with Manna Dey ji. We are extremely thankful to the original contributor Dr M L Kapur and Shri Surjit Singh ji for sharing these wonderful songs with all of us.

For the convenience of readers of our blog section, we have hosted them on Youtube and provided links below to listen to them online.

Enjoy these sweet and melodious songs of Geeta ji, most likely never heard before.

Thanks Dr M L Kapur, Shri Surjit Singh ji, Aditya and Romesh ji.

Na jaane kahan kadam le chale hain : Geeta Dutt : Film – Khuda Ka Banda (1957) MD : S N Tripathi

Naya naya chand hain ji nayi nayi raat hai : Geeta Dutt, Manna Dey : Film – Khuda Ka Banda (1957)
MD : S N Tripathi

A tribute from a music lover

Saturday, January 16th, 2010

Geeta Dutt

This is a tribute to our beloved singer Geeta ji from a veteran music lover Shri Vipin Mago. We are thankful to him for writing this excellent article on our special request.

Early last year , as I opened my email one morning I found a friend’s forward of the Geeta Dutt-led chorus in Lajwanti titled Aaja Chhaye Kaare Badraa. I had heard many GD songs until then but not this one. As I sipped my tea, I felt two paradoxical sensations: one, of thrill and joy and the other of extreme mellowness, the kind of feeling that one might get after a rich cocktail– a nasha really. On the one hand, one felt like getting up and dancing; on the other, it was as if one was being lulled into a realm of sweet dreams. The song came on a cloudy and chilly morning, but filled me with warmth all over and quickly replaced my scowl with a smile on my face. It was as if the song had heralded the bright sunshine of spring. The effect began as soon as GD uttered the thematic phrase “aaja chhaye.” I didn’t even have to wait for ” kaare badraa” to follow, but when that part did follow my joy was doubled instantly. Soon the delightful “yaaaa yaaaa” call followed in the song and I was drifting toward space .

My day had well begun; I felt as if I would have nothing but goodwill toward all mankind, at least that day.
I even repeated a cliche to myself: Have I died and gone to Heaven? As I reflected on this experience, I concluded that Geeta Dutt’s voice had such a blend of sweetness , intoxication and exotic flavor that just a couple of words from her lips were enough to put any music lover in her thrall.

Such thrill and joy-filled songs have long been considered Geeta Dutt’s musical signature or her trademark. Other illustrations of this style are abundant in her repertoire. For example , listen to Yeh Lo Mein Haari Piya, Babuji Dheere Chalna , Aa Sapne Tujhe Bulaayein, Baanki Adaaein Dekhnaji Dekhna, Jaata Kahaan Hai Diwaane, Rangeele Rangeele meri nazron ke do jaam pile, Majhi Albele, Haule Haule Hawaa Dole, More Saiyaan Gori Baiyaan, and you will see that each transports you into the same nasha-filled euphoria and you just don’t want to let it go!

Her signature-style though such songs may represent, they do not exhaust the range of her talents. We her devotees know very well that she could sing deeply spiritual hymns, semi-classical songs, minstrel songs, festive folk songs, joyful as well as melancholy romantic songs, mujra songs, lullabies , and ghazals with equal effect on us. The only genre in which she has not done many songs is Qawwali. There is one from the early film Hamari Manzil (1949) with Mohd Rafi and S D Batish. Then there is one from the film Awaara Abdullah released in the year 1963.

Let me turn my attention to a few of her songs in these other categories.

I consider myself a secularist in terms of not belonging to any organized religion. Yet when someone sings a bhajan with melodiousness, it resonates with some hidden spiritual core in me. Among the GD bhajans that I have long adored are Aeri Mein to Prem Diwani in Jogan and Darshan Pyaasi Aayi Daasi in Sangdil. Both are sung in kirtan style, a genre in which I consider GD next only to Juthika Roy and on a par with Lata Mangeshkar. Fellow bhajan lovers may recall Lata Mangeshkar’s hymn from Nau Bahar with the same initial words as GD’s in Jogan. Whereas LM’s song is saturated with sweetness and is aptly slow in tempo, GD’s hymn is both sweet and fervent and so is sung at a faster tempo. Honestly, I can’t choose between them. They are both beloved to me and have become spiritual bookends for me.

The Sangdil bhajan appeals to me for the way GD and Madhubala become one in the movie. It’s as if a total fusion took place between the two. It bespeaks a quality of all great playback singers and movie stars.They each study the context and the role thoroughly and throw themselves with their heart and soul into it. The Sangdil song is very precious to me on that score.

One song , a GD-led chorus, that seems to straddle the spiritual-secular boundary is Daaro Re Rang Daaro Re. Again, the moment GD starts with those initial words , she pulls me in irresistibly toward her own and her troupe’s invisible presence. One feels like playing holi, not only with Nargis and her troupe for whom the song is sung, but with GD herself and her co-singers. Such is the spell their voices cast on me. GD and Bulo C. Rani of course set the tone and the chorus follows most enchantingly. It’s a rapturous experience for me.

Just for a slight diversion from solos, I would like all of us to listen to two duets from the 1955 Devdas, sung by GD and Manna Dey. One is Aan Milo Aan Milo Shyam Saanware and the other is Gori Saajan Ki Ho Gayi. Two outstanding features make me overjoyed to listen to these duets. One is again the total identification between the on-screen singers and the GD-MD duo. The other is the authentic representation of the Bengali baul (minstrel) tradition in a Hindustani movie. That credit goes equally to both the director and composer as always ,but what a vocal rendition the two singers gave! They take us to the heart of the vanished world of Bengal’s itinerant singers.

Some simple songs would be nowhere today except for the magical touch that GD gave them through her voice. Consider Kabootar Aaja Aa Jaa Re sung for Bhanumati in Mangla. Don’t you feel like humming along with GD even though your mind says its lyrics are rather pedestrian and not worth much?

In the same movie, listen to Jhanan Jhanan Jhanwa and see GD in greater glory. In this sweet , playful romantic song, GD sings in two different tempos and glides through them like a vocal ballerina- or figure skater – without the slightest hint of faltering anywhere along the way.

Turning to pensive or melancholy songs of love, loss and longing, how about her Rut Phiri Par Din Hamaare from Pyaasa? Doesn’t she move you to the point of making your own eyes moist? Might this one not go on her ten-best list? As alternatives I would suggest the sad-sweet song Chand Hai Wohi that GD sang for Meena Kumari,Mera Sundar Sapna Beet Gaya, and Kaise Koyi Jiye in Baadbaan.

And speaking of Meena Kumari and GD, can anyone not love the visual-vocal fusion between them in the song Raat Mohe Meetha Meetha from Tamaasha ? There’s hardly a week when I am not drawn to this song at least once for the innocence of this love song, which Meena Kumari expressed so perfectly on the screen and GD sang with matching sweetness off the screen.

Though I don’t understand Bengali except in occasional words and phrases, I find GD’s love song Tumi Je Amar the epitome of pathos-filled sweetness among all the songs I have heard from her repertoire.

Transferred to a lori, her ability to project a different kind of love, that of a tender mother for a baby, is likewise movingly shown in the Bengali song Ghum Majhi Oi Haal Dorecche sung for the beloved Suchitra Sen.

Mujra song , anyone? Listen to GD’s Maane Na Maane Na from Savera and tell me if you don’t think it measures up to the best in the genre.

As if all this range was not enough, GD also held her own beautifully when it came to classical songs. Who can ever forget her classical song Baat Chalat Meri Chunari? This is another GD song I must listen to on a weekly basis to refresh and replenish the musical part of my spirit.

Finally, let me say a word about GD’s ability even as a 17-18 year old girl fresh out of Bengal to step into another language, Punjabi, and sing a song that would be called a spectacular home- run in baseball terminology. Punjabi listeners feel their jaws drop when they hear GD ( Geeta Roy then) sing Laal Rang Di. I have heard great non-Punjabis like Lata Mangeshkar, Asha Bhonsle, Raj Kumari Dubey, and Suman Kalyanpur give excellent Punjabi renditions, but in mastering the requisite accents, none can show a candle to GD. In fact, make Punjabi speakers listen to this song without revealing the singer’s identity, and I am certain they won’t be able to tell it’s a non-Punjabi singer. Being sensitive to the nuances of sounds, all great singers have the potential to cross linguistic boundaries very successfully, but no singer I know did it so beautifully and consummately that early in her career.

Trust me on this one, for I am a native speaker of Punjabi.

GD gave music lovers enormous joy in her very short but resplendent life. Her songs remain her precious legacy to all of us. As long as our music lives, her fond contributions will live too–that is to say, for ever!

Hemant, Geeta and Kishore : A unique combination

Sunday, January 3rd, 2010

Geeta Dutt

Hemant Kumar as a composer was one of the notable list of MDs who consistently composed melodious songs for Geeta. Though the volume of her work with Hemantda (in Hindi and Bengali) is not so huge, the variety of songs she sang for Hemantda speaks volumes. Right from his debut film as a composer (Anand Math in the year 1952) till the early sixties, he continued to give lovely songs to Geeta.

For reasons unknown to many, the singing sensation Kishore Kumar was not as prolific in the late forties and the fifties. He continued to act, sing for himself and sing for other actors during these times. Perhaps he was not focused on his career as a playback singer in the forties and the fifties. In spite of common composer like S D Burman being a mentor for Geeta and Kishore, they sang very few songs together. The precise number is 13 for Hindi films and just two for Bengali films. One each from Hindi and Bengali is composed by the talented Hemant Kumar.

Both the songs are almost diametrically opposite to each other. The common factor between them is that Kishore Kumar has sung both of them for himself on the screen. Both the songs were released back to back with the Hindi song coming up in the year 1957 and the Bengali beauty in the year 1958.

Bandi (1957) – Ghar Ki Raunak Hai Gharwaali – Geeta Dutt & Kishore Kumar
This film starred all the three Ganguly brothers (Ashok Kumar, Kishore Kumar and Anoop Kumar) along with Beena Rai, Nanda and Shyama. The film was directed by the veteran Satyen Bose. The music was provided by Hemant Kumar and the songs were penned by Rajendra Krishan. The film’s music has a memorable song “Chup ho jaa” in the voice of Kishore Kumar and the solo song “Gora badan mora” by Geeta. Kishore and Geeta sang this comical song “Ghar Ki Raunak Hai Gharwaali” for this film. The song was filmed on Kishore Kumar himself and Kammo dancing on the streets advocating the benefits of a marriage.

The second song is an absolutely sweet romantic song for the film Looko Churi (1958). In this song, Geeta sings for Mala Sinha and Kishore Kumar sings for himself. The songs of the film were penned by Gauri Prasanna Majumdar, a favorite of Hemantda when it comes to Bengali films. The film was a big hit in those times. Filmed in a park and the lake within, the song flows smoothly in the heart of the listener. Mala Sinha’s expressive eyes convey the right mood of the song matching the vocals of Geeta.

Looko Churi – Shudhu Ektukhani Chaoa – Geeta Dutt & Kishore Kumar

Some films starring songs of Geeta Dutt..

Tuesday, December 8th, 2009

Geeta Dutt

Dil Ki Rani (1947)

Here is an early movie of Raj Kapoor. In this year (1947) he starred in three movies with Madhubala. Two of his movies, including this one, during this year had music by S.D. Burman. I am not sure how many times this happened (Raj and Burmanda combination), but Burmanda providing music for two Raj Kapoor starrers in the same year is quite a remarkable coincidence!

1947 was a memorable year in the history of India. We got our independence after hundreds of years of British rule. This was also the year Burmanda recognizing the talent of hitherto untested Geeta Roy, who was just 17 years old, had her sing in Filmistan’s “Do Bhai”. That movie made musical history when Geetaji made millions cry with her deeply touching song “Mera Sunder Sapna Beet Gaya”. She sang seven out of nine songs in that movie. Burmanda had Geetaji sing five out of nine songs for “Dil Ki Rani”. Four of these are solos and the other one is a duet with Raj Kapoor. Raj Kapoor also sang a solo in this movie. One can see the influence of great K.L. Saigal in his singing style. It also sounds sometimes close to that of Mukesh’s voice, his future playback singer for most of his songs.

Jaan Pehchaan (1950)

Here is another Nargis-Raj Kapoor starrer for which the music was composed by Khemchand Prakash. Born into a family with rich music tradition Khemchand Prakash became a pioneer in the field of classical music. He had a thorough knowledge and grasp of ghazals, thumris, and Mawar folk songs. Quest for fame and fortune led him to then Calcutta where he was able to find a job as an assistant music director to Timir Baran. Among films he assisted was “Devdas (1935)” with Saigal and Khurshid. Soon he became an independent music director with “Ghazi Salahuddin (1939)”. Naushad ji was his assistant music director for several movies during this time. In an interview Naushad ji stated that Prakash ji was his Guru.

Prakash ji gave Lata ji her first big hit with “Aayega” song of “Mahal (1949)”. He also introduced Kishore da as a playback singer in “Ziddi (1948)”. The very first song Kishore da sang in this movie was for Dev Anand who was the hero of “Ziddi”.

Prakash ji died very young when he was only 42. Soon after the thundering success of “Mahal” he was inundated with offers. But even before he could complete his assignments, he passed away. At the time of his death, he was working on four movies. “Jaan Pehchaan” was one of them. Its music was completed by Manna Dey. B. Shreshtha completed the music for “Muqaddar”. Basant Prakash finished giving music for “Jai Shankar”. Finally for the movie “Shri Ganesh Janma” the music composition was completed, once again, by Manna Dey.

In a professional career that spanned only 11 years, Khemchand Prakash ji composed music for 34 films. Today he is remembered for immortal Saigal’s “Tansen (1943)” and the trendsetting “Mahal”.

Hamari Beti (1950)

This movie produced, acted, and directed by Shobhana Samarth introduced both of her daughters Nutan and Baby Tanuja to the screen for the first time. Even though the movie didn’t click, Nutan’s first perfromance as an actress clicked. In th next couple of decades she reamined a force in acting especially in those films that demanded a great deal of restraint, understanding, and sensitivity.

Snehal Bhatkar composed nine songs for the movie. Nutan, who initially wanted to be a singer, also sang a song in this movie. Later, Samarth also made “Chhabili” with Nutan and Bhatkar combination in which Nutan had some hit tracks.

Bahaar (1951)

“Bahaar” originally was made in Tamil and starred a 15-year old Vyjayanti Mala for the first time. The movie was a super hit. AVM remade it in Telugu as “Jeevitam”. The movie in Telugu was also a great hit. It was inevitable that they make it in Hindi as well. And they did it. Hindi movie also did well. Vyjayanti Mala became an overnight sensation and became a much sought after actress in all three langauages. The movie was directed in all three languages by M.V. Raman (later became famous for Kishore’s “Aasha”).

Pyaasa (1957)

This probably is one of the most profoundly affecting movie ever made in India. Appropriately titled “Pyaasa”, it tells the story of a young poet’s thirst for love, recognition, and spiritual fulfillment. Based on a story written in 1947 called “Kashmakash”, writer Abrar Alvi comes up with a gem of a screenplay. Guru Dutt who acted, produced, and directed the movie changed the story on the very first day when the shooting began. Originally the story was about a painter. Guru changed the hero from the painter to a poet. A perfectionist, this was how apparently Guru Dutt worked. He never hesitated to make changes at the last minute.

The movie originally was to star Nargis, Madhubala, and Dilip Kumar. Nargis backed out because she was unhappy with Guru Dutt because Sunil Dutt, her husband, was dropped from a movie Guru was producing and directing. The movie progressed well and canned even few reels but suddenly Guru decided to scrap the project quietly and didn’t even bother to inform Sunil Dutt about it. Madhubala backed out because she felt her experience with Guru Dutt from “Mr. & Mrs. ‘55” showed that he could be overpoweringly demanding and not easily satisfied. When both the heroines backed out, Mala Sinha was selected to play Nargis’ role and Waheeda was given the role that would have gone to Madhubala. For the first day of shooting when Dilip Kumar didn’t show up, Guru Dutt learned that Dilip didn’t want play the role because he thought it was going to be another “Devdas”. Guru then decided to cast himself in the role of the poet.

Guru Dutt also changed the ending from what Abrar Alvi wrote. In the original story, the movie would have ended with Vijay (Guru) meeting Meena (Mala Sinha) for the last time. But when the distributors saw this, they felt that it was too gloomy. Guru shot the last scene with he and Waheeda in each others arms started going towards the distant sunset in search of a better life.

Johnny Walker was originally cast to play Guru Dutt’s roommate (in the role of Shyam), kind of a negative role for Johnny. After several days of shooting, Guru changed his mind and cast Johnny as Sattar and took one of his assistant friends, Shyam Kumar, to play the role of Shyam.

The movie was dedicated to Gyan Mukherjee whom Guru Dutt admired immensely. Mehmood played the role of young Ashok Kumar in “Kismat” that was directed by Mukherjee. That is where Guru Dutt met Mehmood. Guru offered Mehmood to play his older brother’s role in “Pyaasa”. Mehmood also appeared in Guru’s previous film C.I.D. These were before Mehmood found his groove as a comedian.

For the important role of the publisher, Guru went back to his old friend Rehman. A fine actor, Rehman was not getting any decent offers. “Pyaasa” revived his career.

For Guru’s previous four films (“Baaz”, “Aar Paar”, “Mr. & Mrs. ‘55”, and “C.I.D.”) O.P. Nayyar composed music. This time because of the backdrop of Calcutta, Guru Dutt decided to go with S.D. Burman as the music director. He worked with Burman before in “Baazi” and “Jaal” and as a team they were terrific together.

S.D. was brilliant in capturing the magic of Bengal with gently lilting tunes and great background score that helped create the subtle atmosphere demanded by so many scenes. The background score was the same for each principal character in the movie. For example, in Meena’s (Mala Sinha) case, whenever she appeared on the screen, a harmonica was used to play a beautifully haunting tune. Incidentally the harmonica player was R.D. Burman. Sattar’s song “Sar Jo Tera Chakraaye” in “Pyaasa” was also composed by the young Burman, R.D. Recognizing the promise and talent, Guru offered R.D. his first job as a music director for his next project. After the completion of “Pyaasa”, Guru did start this project with R.D. as the music director, but after shooting few reels the movie was scrapped. R.D. used those recorded but unused songs for Mehmood’s fisrt own production “Chhote Nawab”. By default it also became the first movie for which R.D. was the music director.

Sahir Ludhianvi was selected to write lyrics. Much of the credit for the success the movie enjoyed goes to the immensely rich lyrics written by Sahir. Articulating political commentary with humanitarian compassion and blending it with the experience of tragedy was the undercurrent of many of the songs written for this movie. Many people believe that Sahir’s own unhappy romances set a pattern of expression for these songs. Sahir never forgot what “Pyaasa” and Guru Dutt did for his writing career. Many a times he acknowledged Guru to be the principal reason for opening up the emphasis on content rather than on form in creating songs for the movies.

One of the things that made movie so great was the voices of Geeta Dutt, Hemant Kumar, and Mohd. Rafi. Every song they sang still lingers in your thoughts. But the song that symbolizes this movie is that atmospheric stunner, “Aaj Sajan Mohe Ang Laga Lo”. This probably is one of the greatest romantic moments ever filmed for a movie. Its sensuality is heightened by Geetaji’s mesmerizing voice that seem to oscillate by taking the listener between the earth and the heavens. A lovely interpretation of earthly divine love.

Mala Sinha was a relatively newcomer to Hindi films but already acted in many Bengali movies. However, for Waheeda, this was the first movie which demanded her to exhibit her histrionics and emotional skills. Guru was very patient with her. Encouraging and assisting. Instilling confidence. The end result is that a real star was born with this movie. Restrained and understated performances became her trademarks for most of her career.

The photography of “Pyaasa” adds another dimension to the movie’s unprecedented achievements. Guru Dutt and the cameraman V.K. Murty use black and white light effects and shadows so effectively that they leave their alluring imprints in heart forever. Imagery of Christ is used as a symbolic narrative, an allegory, of Vijay’s sufferings. When Rehman is reading the story in the newspaper about the death of Vijay, Meena is holding an issue of the Life magazine whose cover is adorned by Jesus Christ on the cross. Like Jesus himself, Vijay resurrects. When he appears for his own commemoration meeting, he stands at the doorway hands stretched much like Jesus on the cross.

In 2005, Time magazine voted “Pyaasa” as one of the 100 greatest movies in the world. A London-based magazine voted in 2007 Guru Dutt as one of the top 67 directors in the world. Quite a tribute to one of the great cinematic geniuses of Indian cinema.

In 1977, exactly 20 years after “Pyaasa” was released, it was remade in Telugu as “Malle Puvvu”.

Guru dutt was a genius, so was Sahir and SD Burman. This is probably the best hindi film made. The best Geeta duet and solo is in this film and my favorite Hemant Kumat song is in the film and my favorite comedian Johny is in this film but all this would be of less signifiance if Rafisaab wold have not sang the majority of songs of this film.

12 O’Clock (1958)

Here is another delightful romp from the great maestro O.P. Nayyar. Movie wasn’t that great but not because of its music. It was just outstanding and even today, after 50 plus years, sounds great to listen to. Geetaji had five songs in it; three solos and two duets. As usual her voice is just mesmerizing. These songs cast a spell on you. One of my very very favorite songs of Geetaji is “Kaisa Jaadoo Balam Tu Ne Daara”. With this song in her sublimely beautiful voice, Geetaji grips your soul and controls your senses. You just totally surrender to the way she melodiously modulates her voice in gliding through this song with gay abandon. You’re helplessly consumed with its passion and beauty.

Kaagaz Ke Phool (1959)

When it was released in 1959 “Kaagaz Ke Phool” was rejected by both critics and audience alike. With the success Guru Dutt enjoyed with his earlier classic “Pyaasa”, there were so many high expectations about this movie. It even had a grand premiere in New Delhi that was attended by then Vice-President of India, Dr. Sarvepalli Radha Krishnan. But many now think of this movie otherwise. It has reached a cult status and enjoys full houses whenever it is rereleased. There are several reasons for this. Let us explore some of them here …

The movie was released commercially in France in early 80’s. It received unexpected and unprecedented praise from the French movie critics. French audience flocked to see the movie. France, the home of new wave cinema and the domicile of many experimental movie makers, when their discerning film critics took notice of this movie, everyone else started paying attention to what this was all about. In 2002, in Sight & Sound magazine’s critics and director’s poll “Kaagaz Ke Phool” was selected as 160th best film ever made in the world. This is a British monthly film magazine published by the British Film Institute. The critics poll is taken every 10 years with the next one due in 2012. Of course, each time the poll is conducted, the list changes.

This movie made history because it was the first movie shot in cinemascope. V.K. Murty, who photographed most of Guru Dutt’s movies, was sent abroad to study advanced techniques in photography and learn how to use cinemascope (simply stated, two lenses in stead of one for broader coverage) lenses. But it was not the technology that was used, it was how the lights and shades were used to picturize most scenes in the movie that became talk of the town. Murty got a Filmfare award for his work. The most famous example in the movie is the lighting used for the song “Waqt Ne Kiya Kya Haseen Sitam”. This scene itself, the photography, the music, the song in Geeta ji’s rich voice, the richness of lyrics, all are subjects of study by serious-minded filmmakers. One of the criticism of the movie was that the photography took the front seat to the rest of the movie … However, Guru was a master in using cinematography as one of the major narrative threads. There was an ample evidence of this in his earlier classic “Pyaasa”. The molding of lights and shadows the way Guru uses evokes as much emotion as dialogues or lack of them, as music or silence.

Even though Guru considered Khayyam to be the music director, he went along with SD. Burman and Guru worked in many films together. Their films always had great music. RD assisted his father in this movie. Apart from the classic “Waqt Ne Kiya”, the movie also had several other great songs. Rafi Saab’s song “Dekhi Zamaane Ki Yaar” is there throughout the movie. A beautiful piece that depicts not only the story of the movie accurately, but parallels that of Guru’s real life. Geetaji also has another winner in “Ek Do Teen”. “San San San Woh Chali Hawa” is also a noteworthy song.

Originally, Guru Dutt wanted Sahir to write lyrics for the movie. But Sahir and SD never worked together again after their pinnacle achievement “Pyaasa”. Guru approached Kaifi Azmi to write the lyrics. Azmi was underground because of his work with Communist Party in late 40’s as the party was banned for some time. He was still looking for the recognition that eluded him and jumped at the opportunity offered by Guru Dutt. Even though he wrote some great songs for the movie and they became highly popular, because of its commercial failure Azmi could find only occasional work. But later, Chetan Anand’s “Haqeeqt (1964)” changed all that.

The song “Waqt Ne Kiya” had interesting beginnings. Burman created a tune that Guru liked very much. He was looking to create a situation to use the music and approached Kaifi Azmi to write a song. He penned “Waqt NeKiya” in response to the request. Guru later created the sequence to use in the movie. As it happens, this is the song and the scene to remember for the ages.

By all accounts Guru Dutt’s mental state was not stable during the filming of “Kaagaz Ke Phool”. His home life was anything but peaceful. That effected a great deal his working style. He changed the script of the movie while it was in full progress many times. The movie almost was prophetic in the sense that it showed that death was a sort of release from all the suffering. The main character in the movie suffers that fate. A solitary end of a broken and abandoned man. This drama played out in Guru’s real life as well.

Heartbroken with the failure of the movie, Guru vowed never to direct again … What a pity …

Chaudhvin Ka Chand (1960)

Guru Dutt bought the rights to the story of “Chaudhvin Ka Chand” from Aisa Theaters long before he actually made the movie. The story, originally entitled “Ek Jhalak”, with the complete script was written by Shaukat Hussain Rizvi. He was the husband of the famous singer and actress Noor Jehan. He wrote and directed “Khandan (1942)” with Noor Jehan and Pran in the lead that was a huge success. After partition when Noor Jehan and Rizvi decided to migrate to Pakistan, he sold the rights of “Ek Jhalak” to Asia Theaters.

Guru Dutt paid a fortune to buy the rights of “Ek Jhalak” but postponed making it because he felt the script was too long. Guru approached Abrar Alvi to see what he can do with the story. In the original story, the friend sees a woman in a marketplace when she briefly uncovers her veil (thus “Ek Jhalak”). Unknowing that she is actually married to his best friend, he confides this to him about the beautiful woman he saw. Friend immediately realizes that he was talking about his own wife and vows to find her for him. He asks his wife to divorce him. When she refuses, he kills himself. His wife over stricken with grief kills herself. Abrar didn’t like how the story ends. Instead he revised the story where the friend realizes the mistake he made by unknowingly falling in love with his best friend’s wife and commits suicide. The movie’s title was changed to “Chaudhvin Ka Chand” which was the name of a short story Alvi published before. But as usually the case with Guru, he postponed making the movie for some time.

After “Kaagaz Ke Phool” failed miserably, Guru became close to insolvent. To keep his entire unit going, he decided to make “Chaudhvin Ka Chand”. Guru went against advise of many friends and hired M. Sadiq to direct the movie. Sadiq was not doing well professionally as well as financially. But Guru thought because the subject dealt with Muslim way of life, Sadiq would be the best person to handle it.

Guru Dutt originally wanted Naushad to give music to the film “Chaudhvin Ka Chand”. Nearly broke, he just couldn’t afford the fees Naushad was charging. His publicist suggested Ravi’s name. Ravi was available for a modest amount of remuneration for his services and was hired.

Ravi has to come up with several tunes for the title song as Guru was neither happy nor easily satisfied. But Ravi’s efforts were vindicated as the title song became one of the all time hits. It was also one of the best romantic songs Rafi has sung. He won the best singer Filmfare award for the song. The rich lyrics for the song won Shakeel Badayuni Filmfare award for best lyricist. Ravi richly deserved the award for best music, but he lost to Shankar & Jaikishan for their fine music of “Dil Apna Aur Preet Parai”. This same year Naushad ji was nominated for “Mughal-E-Azam”. That is how tough the competition was.

Making of color movies was just coming into vogue and Guru Dutt originally wanted to make the movie in color. He sent his regular photographer V.K. Murty to Europe for training. But because of the huge investment required for the color movie, Guru decided to shoot the movie in black and white, and in a hurry. Nariman Irani was hired as the cameraman as Murty was still away in training in Europe. The movie was beautifully shot on location in Lucknow.

It is on record that even though Sadiq directed the movie, Guru’s unmistakable imprint is all over the movie. This is no more evident than in the songs picturized, especially the classic title song. That song was shot in color. It was shot beautifully as the camera almost caressingly moves over Waheeda’s innocently charming face and catches every passing mood reflected by her shy radiance.

The movie when it was released became a runaway success. It remained the biggest hit of Guru’s career. It was shownin the Moscow International Film Festival of 1962. This was the first of Guru’s movies to be shown abroad. Guru travelled to the festival to Moscow. Unfortunately, the movie didn’t sit that well with the foreign movie critics.

With the money the movie brought in Guru could afford to buy part of Modern Studios in Andheri and renamed it as Guru Dutt Studios. The jubilee of “Chaudhvin Ka Chand” was celebrated on his studio grounds. This is where he started preparing for his next venture, “Sahib Bibi Aur Ghulam” …

Sahib Bibi Aur Ghulam (1962)

A great writer, director, and a very close friend of Guru Dutt, Abrar Alvi passed away on Novermber 18th. May his soul rest in peace. The following write up about this movie is in his honor and memory …

This outstanding achievement in Hindi film history started when Guru Dutt bought the rights from Bimal Mitra on whose novel the movie was based on. 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).

Bimla 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 it into Hindi and Urdu. At Guru’s advise, 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)”, says 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 long time friend from Prabhat Studios days and who has worked with him earlier in two of his very successful movies, was brought in to play the role of Chhote Babu. Rehman was just natural and unforgettable in the role. For Manjhle Babu, Guru cast Sapru, again an old friend from Prabhat days. Interestingly, the character speaks only once in the entire movie, and it was done deliberately. It was felt that his silence actually creates a menacing and sinister presence the role calls for. Indeed it was.

Guru originally wanted Nargis to play the role of Chhoti Bahu. Nargis excused herself saying that she is retired. 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 that 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 risen 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 his own film that very same year, “Bees Saal Baad”. For all his magnificent efforts Hemantda was not even nominated for any awards for “Ghulam”!

Originally it was Geetaji who was supposed to sing all the songs in the movie. But with Guru having marital problems, he even tried to commit suicide during the filming of this movie, he decided not to have her sing any one of the songs. This was finally 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 she was singing for, that of Chhoti Bahu. Our fellow member, Aditya Pant had a nice article written about how the lives of Meenaji and Geetaji mirror each other. This can be seen at the following address:

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’m 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. He had all the film reels in Bombay replaced with 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 or 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, but Alvi 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 a recent interview, Waheeda Rehman, who had a principal role in the film, claims that “It wasn’t really directed by Guru Dutt. Of course, he did help Mr. Alvi throughout but this was because the two were close friends, and felt like giving Mr. Alvi the chance to direct a film.” She continues 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 concludes that “Guru Dutt did not direct the film”.

Abrar Alvi, who passed away recently, did admit of help from Guru in the picturization of the songs. If anyone who is familiar with Guru’s work, can easily see his stamp all over in the movie as well as 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 also the Best Photography Filmfare award. The movie also won President 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 did not attend because her husband, Kamal Amrohi, declined to go. Guru had much admiration for Ray. Interestingly both movies 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 didn’t make any waves at Berlin. Later it was also entered Oscars in Best Foreign Film category. But Oscar award selectors also didn’t think much of the movie. It doesn’t 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 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 …”


This write-up has been penned by our friend Swarapriya in several posts on our forum site here. Many thanks to Swarapriya.

मेरा दिल जो मेरा होता….गीता जी की आवाज़ और गुलज़ार के शब्द, जैसे कविता में घुल जाए अमृत

Friday, December 4th, 2009


गीता दत्त जी के गाए गीतों को सुनते हुए आज हम आ पहुँचे हैं इस ख़ास लघु शृंखला ‘गीतांजली’ की अंतिम कड़ी पर। गीता दत्त डोट कोम के सहयोग से इस पूरे शृंखला में आप ने ना केवल गीता जी के गाए अलग अलग अभिनेत्रियों पर फ़िल्माए हुए गीत सुनें, बल्कि उन अभिनेत्रियों और उन गीतों से संबंधित तमाम जानकारियों से भी अवगत हो सके। अब तक प्रसारित सभी गीत ५० के दशक के थे, लेकिन आज इस शृंखला का समापन हो रहा है ७० के दशक के उस फ़िल्म के गीत से जिसमें गीता जी की आवाज़ आख़िरी बार सुनाई दी थी। यह गीत है १९७१ की फ़िल्म ‘अनुभव’ का, “मेरा दिल जो मेरा होता”। और यह गीत फ़िल्माया गया था तनुजा पर। इस फ़िल्म के गीतों पर और चर्चा आगे बढ़ाने से पहले आइए कुछ बातें तनुजा जी की हो जाए! तनुजा का जन्म बम्बई के एक मराठी परिवार में हुआ था। उनके पिता कुमारसेन समर्थ एक कवि थे और माँ शोभना समर्थ ३० और ४० के दशकों की एक मशहूर फ़िल्म अभिनेत्री। जहाँ शोभना जी ने अपनी बेटी नूतन को लौंच किया १९५० की फ़िल्म ‘हमारी बेटी’ में, ठीक वैसे ही उन्होने अपनी छोटी बेटी तनुजा को बतौर बाल कलाकार कास्ट किया था उसी फ़िल्म में। उसके बाद तनुजा को पढ़ाई लिखाई के लिए विदेश भेजा गया जहाँ पर उन्होने अंग्रेज़ी, फ़्रेंच और जर्मन भाषाओं की तालीम प्राप्त की। वापस आकर १९६० की फ़िल्म ‘छबिली’ में अपनी बड़ी बहन नूतन के साथ उन्होने अभिनय किया, जिसका निर्देशन उनकी माँ ने ही किया था। इस फ़िल्म में गीता दत्त ने नूतन के साथ अपना एक्लौता डुएट गाया था। इसके एक दशक बाद बासु भट्टाचार्य की फ़िल्म ‘अनुभव’ में तनुजा का किरदार बहुत सराहा गया। तनुजा ने इस फ़िल्म की शूटिंग् के लिए अपना अपार्टमेंट बासु दा को दे रखा था, जिसके बदले बासु दा ने उन्हे दी एक यादगार भूमिका।

‘अनुभव’ फ़िल्म के गीतों की अगर बात करें तो वह एक ऐसा दौर था जब गीता दत्त बीमार हो चुकीं थीं। उनके पति गुरु दत्त का स्वर्गवास हो चुका था और उन पर अपने तीन छोटे छोटे बच्चों को बड़ा करने और ‘गुरु दत्त फ़िल्म्स’ के कर्ज़ों को चुकाने की ज़िम्मीदारी आन पड़ी थी। ऐसी स्थिति में फ़िल्म ‘अनुभव’ उनके जीवन में एक रोशनी की तरह आई और फिर बार फिर उन्होने यह साबित किया कि अब भी उनकी आवाज़ में वही अनूठा अंदाज़ बरक़रार है जो ५० और ६० के दशकों में हुआ करती थी। ‘अनुभव’ के गानें बेहद लोकप्रिय हुए और आज जब भी गीता जी के गाए गीतों की कोई सी.डी रिलीज़ होती है तो इस फ़िल्म का एक गीत उसमें ज़रूर शामिल किया जाता है।

गीता दत्त के गाए ‘अनुभव’ फ़िल्म के तीनों गानें अपने आप में मास्टरपीस हैं और इन गीतों की चर्चा घंटों तक की जा सकती है। हमें याद रखनी चाहिए कि उस समय बाक़ी सभी संगीतकार उनसे मुँह मोड़ चुके थे। इसमें कोई संदेह नहीं कि गीता जी ने इन गीतों में जान डाल दी थी और वह भी उस समय जब कि उनकी अपनी तबीयत बहुत ख़राब थी और ख़ुद अपनी ज़िंदगी की तमाम परेशानियों से झूझ रही थीं। किसी तरह का नाटकीय या बहुत ज़्यादा जज़्बाती ना होते हुए भी उन्होने इन गीतों में वो अहसासात भरे हैं कि तनुजा के किरदार के साथ पूरा पूरा न्याय हुआ है। “मुझे जाँ ना कहो मेरी जाँ” गीत के अंत में उनकी हँसी कितनी नैचरल लगती है, है न? इस फ़िल्म में संगीत था कमचर्चित संगीतकार कानु रॉय का, जिनके संगीत निर्देशन में गीता जी की ही आवाज़ में फ़िल्म ‘उसकी कहानी’ का गीत “आज की काली घटा” हमने आपको गीता जी की पुण्य तिथि २० जुलाई को सुनवाया था।

दुर्भाग्यवश ‘अनुभव’ की कामयाबी उस दीपक की तरह थी जो बुझने से पहले दमक उठती है। गीता जी जल्द ही इस दुनिया-ए-फ़ानी को छोड़ कर चली गईं अपनी अनंत यात्रा पर, और पीछे छोड़ गईं वो असंख्य मीठी सुरीली यादें जिनके सहारे आज हम कभी थिरक उठते हैं, कभी मचल जाते हैं, कभी उनकी रोमांटिक कॉमेडी हमें गुदगुदा जाती हैं, तो कभी उनके भक्ति रस वाले गीतों में डूब कर हम ईश्वर को अपने ही अंदर महसूस करने लगते हैं, और कभी उनके दुख भरे गीतों को सुनते हुए दर्द से दिल भर उठता है यह सोचते हुए कि क्यों इस महान और बेमिसाल गायिका को इतने दुख ज़िंदगी ने दिए! दोस्तों, गीता जी पर केन्द्रित यह शृंखला समाप्त करते हुए आइए सुनते हैं ‘अनुभव’ फ़िल्म का यह गीत, और चलते चलते एक बार फिर से हम आभार व्यक्त करते हैं पराग सांकला जी का इस पूरे शृंखला के लिए गानें और तथ्य संग्रहित करने के लिए। इस शृंखला के बारे में आप अपने विचार हमें टिप्पणी के अलावा की ई-मेल पते पर भी भेज सकते हैं। धन्यवाद!

गीत के बोल हैं:

मेरा दिल जो मेरा होता
पलकों पे पकड़ लेती
होंठों पे उठा लेती
हाथों मे. खुदा होता
मेरा दिल …

सूरज को मसल के मैं
चन्दन के तरह मलती
सोने का बदन ले कर
कुन्दन की तरह जलती
इस गोरे से चेहरे पर
आइना फ़िदा होता
मेरा दिल …

बरसा है कहीं पर तो
आकाश समुन्दर में
इक बूँद है चन्दा की
उतरे न समुन्दर में
दो हाथों के ओख में ये
गिर पड़ता तो क्या होता
हाथों में खुदा होता
मेरा दिल …

Source :

हम “हिन्दयुग्म ” के “आवाज़” परिवार के आभारी है, जिन्हें हमें यह लेख यहापर प्रस्तुत करने की अनुमती दी. सजीव जी और सुजॉय जी का विशेष आभार.

मुझको तुम जो मिले ये जहान मिल गया…जिस अभिनेत्री को मिली गीता की सुरीली आवाज़, वो यही गाती नज़र आई

Thursday, December 3rd, 2009

Mala Sinha

“गीतांजली” की नौवी कड़ी में आज गीता दत्त की आवाज़ सजने वाली है माला सिंहा पर। दोस्तों, हमने इस महफ़िल में माला सिंहा पर फ़िल्माए कई गीत सुनवा चुके हैं लेकिन कभी भी हमने उनकी चर्चा नहीं की। तो आज हो जाए? माला सिंहा का जन्म एक नेपाली इसाई परिवार में हुआ था। उनका नाम रखा गया आल्डा। लेकिन स्कूल में उनके सहपाठी उन्हे डाल्डा कहकर छेड़ने की वजह से उन्होने अपना नाम बदल कर माला रख लिया। कलकत्ते में कुछ बंगला फ़िल्मों में अभिनय करने के बाद माला सिंहा को किसी बंगला फ़िल्म की शूटिंग् के लिए बम्बई जाना पड़ा। वहाँ उनकी मुलाक़ात हुई थी गीता दत्त से। गीता दत्त को माला सिंहा बहुत पसंद आई और उन्होने उनकी किदार शर्मा से मुलाक़ात करवा दी। और शर्मा जी ने ही माला सिंहा को बतौर नायिका अपनी फ़िल्म ‘रंगीन रातें’ में कास्ट कर दी। लेकिन माला की पहली हिंदी फ़िल्म थी ‘बादशाह’ जिसमें उनके नायक थे प्रदीप कुमार। उसके बाद आई पौराणिक धार्मिक फ़िल्म ‘एकादशी’। दोनों ही फ़िल्में फ़्लॊप रही और उसके बाद किशोर साहू की फ़िल्म ‘हैमलेट’ ने माला को दिलाई ख्याति, भले ही फ़िल्म पिट गई थी। १९५७ में गुरु दत्त ने माला को अपनी महत्वाकांक्षी फ़िल्म ‘प्यासा’ में एक महत्वपूर्ण किरदार निभाने का मौका दिया जिसे वो पहले मधुबाला को देना चाहते थे। माला ने उस किरदार में जान डाल दी। यह फ़िल्म ना केवल हिंदी सिनेमा की एक क्लासिक फ़िल्म है, बल्कि यह फ़िल्म माला सिंहा के करीयर की एक टर्निंग् पॊयन्ट भी सिद्ध हुई। इसके बाद माला सिंहा ने पीछे मुड़कर नहीं देखा। धूल का फूल, परवरिश, फिर सुबह होगी, मैं नशे में हूँ, लव मैरिज, बहूरानी, अनपढ़, आसरा, दिल तेरा दीवाना, गुमराह, आँखें, हरियाली और रास्ता, हिमालय की गोद में, जैसी सुपर डुपर हिट फ़िल्में माला की झोली में गई।

दोस्तों, गीता दत्त ने माला सिंहा के लिए जिन फ़िल्मों में पार्श्वगायन किया, वो फ़िल्में हैं – सुहागन (‘५४), रियासत (‘५५), फ़ैशन, प्यासा (‘५७), जालसाज़, चंदन, डिटेक्टिव (‘५८), आँख मिचोली (‘६२), और सुहागन (‘६४)। १९५७ की बंगला फ़िल्म ‘प्रिथिबी आमारे चाय’ में भी गीता जी ने माला जी का प्लेबैक किया था। आज हम जिस गीत को चुन लाए हैं वह एक बहुत ही ख़ूबसूरत युगल गीत है जिसमें गीता दत्त का साथ दिया है हेमन्त कुमार ने। फ़िल्म ‘डिटेक्टिव’ का यह गीत है जिसमें संगीत दिया था गीता दत्त के भाई मुकुल रॉय ने। गीत फ़िल्माया गया माला सिंहा और प्रदीप कुमार पर। ये मीठे सुरीले बोल हैं शैलेन्द्र के। इस फ़िल्म का निर्देशन किया था शक्ति सामंत ने। वाल्ट्ज़ के रीदम पर आधारित यह युगलगीत रूमानीयत के रस में डूबो डूबो कर रची गई है। मुकुल रॉय को बहुत ज़्यादा काम करने का मौका नहीं मिला। उनके संगीत निर्देशन में बस ४ फ़िल्में आईं – डिटेक्टिव, सैलाब, भेद, दो बहादुर। फ़िल्म ‘डिटेक्टिव’ में गीता जी का ही गाया एक और मशहूर गीत था “दो चमकती आँखों में कल ख़्वाब सुनहरा था जितना, हाए ज़िंदगी तेरी राह में आज अंधेरा है उतना”। क़िस्मत की विडंबना देखिए, जहाँ एक तरफ़ इस गीत को बेहद लोकप्रियता हासिल हुई, वहीं ऐसा लगा जैसे इस गीत के बोल हू-ब-हू मुकुल रॉय के लिए ही लिखे गए हों। प्रतिभा होते हुए भी वो आगे नहीं बढ़ सके। आज का यह अंक गीता जी के साथ साथ समर्पित है मुकुल रॊय की प्रतिभा को भी। सुनते हैं यह गीत.

यह हैं बोल:

हेमंत: मुझ को तुम जो मिले ये जहान मिल गया
गीता: तुम जो मेरे दिल में हँसे दिल का कमल देखो खिल गया

हेमंत: आ ऽ ये भीगती हुई फ़िज़ा, बरस रही है चाँदनी
गीता: तारों ने मिल के छेड़ दी मधुर मिलन की रागिनी
हेमंत: लेके क़रार आया है प्यार, क्या है अगर मेरा दिल गया
दोनों: मुझ को तुम जो मिले ये जहान मिल गया

गीता: आ ऽ देखते चल रहे हैं हम है प्यार का ये रास्ता
हेमंत: चाँद और सितारों का, बहार का ये रास्ता
गीता: लेके क़रार आया है प्यार, क्या है अगर मेरा दिल गया
दोनों: मुझ को तुम जो मिले ये जहान मिल गया

हेमंत: आ ऽ मेरे सुहाने ख़्वाब, कि तुम मेरे सामने रहो
गीता: ऐसी हसीन रात है दिल ये कहे सहर न हो
हेमंत: लेके क़रार आया है प्यार, क्या है अगर मेरा दिल गया
दोनों: मुझ को तुम जो मिले ये जहान मिल गया
तुम जो मेरे दिल में हँसे दिल का कमल देखो खिल गया

Source :

हम “हिन्दयुग्म ” के “आवाज़” परिवार के आभारी है, जिन्हें हमें यह लेख यहापर प्रस्तुत करने की अनुमती दी. सजीव जी और सुजॉय जी का विशेष आभार.

चंदा चांदनी में जब चमके…गीता दत्त और गीता बाली का अनूठा संगम

Thursday, December 3rd, 2009

Geeta Bali

हमारे चुने हुए गीता दत्त के गाए गानें इन दिनों आप सुन रहे हैं ‘ओल्ड इज़ गोल्ड’ की ख़ास लघु शृंखला ‘गीतांजली’ के अन्तर्गत। आज के अंक में गीता दत्त गा रहीं हैं गीता बाली के लिए। जी हाँ, वही गीता बाली जिनकी थिरकती हुई आँखें, जिनके चेहरे के अनगिनत भाव, जिनकी नैचरल अदाकारी के चर्चे आज भी लोग करते हैं। और इन सब से परे यह कि वो एक बहुत अच्छी इंसान थीं। गीता बाली का जन्म अविभाजित पंजाब में एक सिख परिवार में हुआ था। उनका असली नाम था हरकीर्तन कौर। देश के बँटवारे के बाद परिवार बम्बई चली आई और गरीबी ने उन्हे घेर लिया। तभी हरकीर्तन कौर बन गईं गीता बाली और अपने परिवार को आर्थिक संकट से उबारा एक के बाद एक फ़िल्म में अभिनय कर। बम्बई आने से पहले उन्होने पंजाब की कुछ फ़िल्मों में नृत्यांगना के छोटे मोटे रोल किए हुए थे। कहा जाता है कि जब किदार शर्मा, जिन्होने गीता बाली को पहला ब्रेक दिया, पहली बार जब वो उनसे मिले तो वो अपने परिवार के साथ किसी के बाथरूम में रहा करती थीं। किदार शर्मा ने पहली बार गीता बाली को मौका दिया १९४८ की फ़िल्म ‘सुहाग रात’ में। और इसी फ़िल्म से शुरु हुआ गीता बाली और गीता रॉय का साथ। गीता बाली और गीता दत्त, दोनों ने ही यह साबित किया कि दर्दीले और चुलबुले, दोनों तरह के किरदार और गीत गानें में वो अपनी अपनी जगह पारंगत हैं। १९५१ में गुरु दत्त की पहली हिट फ़िल्म ‘बाज़ी’ से गीता बाली एक नामचीन अदाकारा बन गईं। देव आनंद ने इस फ़िल्म के बारे में कहा था कि “People came repeatedly to theatres to see Geeta’s spirited dancing to “tadbeer se bigdi hui taqdeer bana de”. This cemented the bonding between Geeta Bali and Geeta Roy!” शम्मी कपूर गीता बाली की ज़िंदगी में आए जब वे दोनों ‘मिस कोका कोला’ और ‘कॊफ़ी हाउस’ जैसी फ़िल्मों में साथ साथ काम कर रहे थे। दोनों ने आगे चलकर शादी कर ली, लेकिन बहुत जल्द गीता बाली इस दुनिया से गुज़र गईं। उस वक़्त शम्मी कपूर ‘तीसरी मंज़िल’ फ़िल्म में काम कर रहे थे।

गीता बाली की थोड़ी चर्चा हमने की, और अब बारी है आज के गाने की। गीता दत्त की आवाज़ में पेश है गीता बाली पर फ़िल्माया फ़िल्म ‘मुजरिम’ का गीत “चंदा चांदनी में जब चमके”। वैसे आपको बता दें कि इस फ़िल्म में शम्मी कपूर की नायिका थीं रागिनी; गीता बाली तो बस होटल डान्सर की भूमिका में केवल इसी आइटम सॊंग् में नज़र आईं। इस गीत में गीता बाली को बर्मीज़ लुक्स दिए गए, जिस तरह से हेलेन दिखती थीं। बहुत ही खुशमिजाज़ गीत है और एक बार फिर से ओ. पी. नय्यर साहब की धुन, लेकिन इस बार गीतकार हैं मजरूह सुल्तानपुरी। इस गीत का शुरुआती संगीत काफ़ी हद तक हमें याद दिलाती है “मेरा नाम चिन चिन चू” के शुरुआती संगीत का। तो दोस्तों, आइए गीत को सुना जाए, पिछले दो गीतों की तरह आज भी बारी है झूमने की। गीता दत्त की आवाज़ में इस तरह के गानें इतने अच्छे लगते हैं कि सच में दिल झूम उठता है। ५० के दशक में नय्यर साहब ने बहुत से इस तरह के गानें गीता दत्त से गवाए हैं, जिनमें से बहुत से गानें आज कहीं से बिल्कुल सुनाई नहीं देते हैं। और आज का गीत उन्ही में से एक है। लेकिन पराग जी के प्रयास का नतीजा है कि आज हम इस गीत को एक बार फिर से जी रहे हैं। आइए सुनते हैं।

Source :

हम “हिन्दयुग्म ” के “आवाज़” परिवार के आभारी है, जिन्हें हमें यह लेख यहापर प्रस्तुत करने की अनुमती दी. सजीव जी और सुजॉय जी का विशेष आभार.

किया यह क्या तूने इशारा जी अभी अभी…गीत दत्त के स्वरों में हेलन ने बिखेरा था अपना मदमस्त अंदाज़

Tuesday, December 1st, 2009

Helen Geeta

इन दिनों ‘ओल्ड इज़ गोल्ड’ पर जारी है गीता दत्त के गाए हुए गीतों की ख़ास लघु शृंखला ‘गीतांजली’, जिसके अन्तर्गत दस ऐसे गानें बजाए जा रहे हैं जो दस अलग अलग अभिनेत्रियों पर फ़िल्माए गए हैं। आज जिस अभिनेत्री को हमने चुना है वो नायिका के रूप में भले ही कुछ ही फ़िल्मों में नज़र आईं हों, लेकिन उन्हे सब से ज़्यादा ख्याति मिली खलनायिका के किरदारों के लिए। सही सोचा आपने, हम हेलेन की ही बात कर रहे हैं। वैसे हेलेन पर ज़्यादातर मशहूर गानें आशा भोसले ने गाए हैं, लेकिन ५० के दशक में गीता दत्त ने हेलेन के लिए बहुत से गानें गाए। आज हमने जिस गीत को चुना है वह है १९५७ की फ़िल्म ‘दुनिया रंग रंगीली’ से “किया यह क्या तूने इशारा जी अभी अभी, कि मेरा दिल तुझे पुकारा अरे अभी अभी”। राजेन्द्र कुमार, श्यामा, जॉनी वाकर, चाँद उस्मानी, जीवन व हेलेन अभिनीत इस फ़िल्म के गानें लिखे जान निसार अख़्तर ने और संगीत था ओ. पी. नय्यर साहब का। ‘आर पार’ की सफलता के बाद गीता दत्त को ही श्यामा के पार्श्वगायन के लिए चुना गया। इस फ़िल्म में श्यामा के नायक थे जॉनी वाकर और इस जोड़ी पर कई गानें भी फ़िल्माए गए जिनमें स्वर आशा भोसले का था। आशा जी ने इस फ़िल्म की मुख्य नायिका चाँद उस्मानी का भी पार्श्वगायन किया। ५० के दशक के शुरुआती सालों में नय्यर साहब गीता दत्त से बहुत सारे गानें गवाए थे, लेकिन जैसे जैसे यह दशक समापन की ओर बढ़ता गया, आशा भोसले बनती गईं नय्यर साहब की प्रधान गायिका। १९५८ की फ़िल्म ‘हावड़ा ब्रिज’ में नय्यर साहब ने गीता जी से केवल दो गीत गवाए जो हेलेन पर फ़िल्माए गए। इनमें से एक था “मेरा नाम चिन चिन चू” जिसने गीता दत्त और हेलेन, दोनों को लोकप्रियता की बुलंदी पर बिठाया।

वापस आते हैं आज के गीत पर। आज का यह गीत कहीं खो ही गया था, लेकिन १९९२ में एच. एम. वी (अब आर. पी. जी) ने “Geeta Dutt sings for OP Nayyar” नामक कैसेट में इस गीत को शामिल किया और इस तरह से यह गीत एक बार फिर से गीता दत्त और नय्यर साहब के चाहनेवालों के हाथ लग गई। यह गीत एक साधारण गीत होते हुए भी बहुत असरदार है जो एक चुलबुली हवा के झोंके की तरह आती है और गुदगुदाकर चली जाती है। गीता जी का ख़ास अंदाज़ इस तरह के गीतों में चार चाँद लगा देती थी। एक तरफ़ गीता जी का नशीला अंदाज़ और दूसरी तरफ़ हेलेन जॉनी वाकर को इस गीत में शराब पिलाकर फाँसने की कोशिश कर रही है। भले ही इस गीत के ज़रिए हेलेन जॉनी वाकर को बहकाने की कोशिश कर रही है लेकिन ना तो गीता जी की गायकी में कोई अश्लीलता सुनाई देती है और ना ही हेलेन के अंदाज़ और अभिनय में। इस गीत में हेलेन के डांस स्टेप्स हमें याद दिलाती हैं फ़िल्म ‘अलबेला’ में सी. रामचंद्र के धुनों पर थिरकते हुए गीता बाली और भगवान की। नय्यर साहब का संगीत संयोजन हर गीत में कमाल का रहा है। इस गीत के इंटर्ल्युड म्युज़िक में भी उनका हस्ताक्षर साफ़ सुनाई देता है। तो आइए सुनते हैं फ़िल्म ‘दुनिया रंग रंगीली’ का गीत। इस फ़िल्म का नाम याद आते ही पंकज मल्लिक की आवाज़ में “दुनिया रंग रंगीली बाबा” जैसे दिल में बज उठती है। यह गीत भी भविष्य में सुनेंगे, लेकिन आज बहक जाइए गीता दत्त और हेलेन के नशीले अंदाज़ में।

Source :

हम “हिन्दयुग्म ” के “आवाज़” परिवार के आभारी है, जिन्हें हमें यह लेख यहापर प्रस्तुत करने की अनुमती दी. सजीव जी और सुजॉय जी का विशेष आभार.