Posts Tagged ‘Tribute’

A fan’s tribute: Vol. 2

Wednesday, November 21st, 2012

Geeta Dutt

Song: Koi dil ko sambhalo mera dil chalaa
Film : Grihasthi (1963)
MD : Ravi
Lyrics: Shakeel Badayuni
Singer: Geeta Roy Dutt

Geeta Dutt – the name evokes memories of an era of classical romance in Hindi cinema. When it was a soft melodious number, her voice glided through like “Thandi Hawaa”. When it was a mischievous number, it felt like the “Kaali Ghataa” had really broken up and the pitter patter of rain drops had “Aa Hee Gayee Jhoom Ke”. She had a remarkable repertoire and her voice spanned the entire gamut of human emotions, effectively and effortlessly.

Earlier this year, I had a chance to catch up on the 1965 Tamil movie “Motor Sundaram Pillai”, starring the thespian Sivaji Ganesan. The movie was a remake of the 1963 Hindi movie “Grihasti”, starring Ashok Kumar. What caught me by surprise was that the Geeta Dutt number “Ding Dong Ding Dong Ding Lala” (music composed by Ravi and lyrics by Shakeel Badayuni) was retained in the Tamil version in its entirety. I am not aware of too many instances where a full-length Hindi song featured in a Tamil movie (“Kaise Kahoon Kuchh Keh Na Sakoon” from the 1981 Tamil movie “Nandu” is another one that comes to mind).
Apart from this statistical rarity, what caught my attention was the contagious joi-de-vivre that Geeta Dutt brought to the song. The vibrancy of her singing could make even a leaden-footed non-dancer get a spring in his step. Her voice, flitting along with the “bhanwara” on his flight of fantasy, truly “kaanon mein ras ghole”. It leads to an exultation of the spirit, making “mera dil chala”. The song pulsates with her uninhibited phenomenal energy that comes through in a caressing understated manner.

This is my humble tribute to Geeta Dutt whose beautiful singing could open out a way for the imprisoned splendour within the listener to escape. The voice of Geeta Dutt may have been stilled but her music lives on for all eternity….

The film version (which is less than two minute long) is here

Acknowledgements:

We are extremely grateful to our dear friend Ambrish Sundaram ji for writing this article on our special request.

A fan’s tribute: Vol. 1

Wednesday, November 21st, 2012

Geeta Dutt with Pankaj Mallik

This is a tribute to Geeta ji by one of her fans. We will be publishing several tributes over the next few days.

Song: Mujhe dekhkar woh jab muskuraayenge
Film : Zalzala (1952)
MD : Pankaj Mullick sahab
Lyrics: Ali Sardar Jafri
Singer: Geeta Roy Dutt

Zalzala

Whenever I see these pictures or hear this song from the film Zalzala (1952), I have this fantasy of my darling singer GEETAJI and the musicians gathered around a large microphone, which must have funneled the sounds they produced down to a diaphragm, which vibrated and moved the cutting needle & translated that acoustical energy into a groove in the wax master recording. Oh! What a rare combination of angelic delicacy and extraordinary power, that was capable of such a bravura moment as this rendering ,of my most favorite song of hers composed by my most favorite composer, the one and only Pankaj Mullick –the great !!!

Listen to the way she starts off the song…..MUJHE VO DEKHKAR JAB MUSKURAYENGE , TO KYA HOGA… tenderly ,achingly romantic, pure of voice with lush musical arrangements by the genius composer, she is so emphatically sentimental, & with such emotional singing style….she stands apart for me because ,as they say about “STYLE”…..“you’ve either got it or you haven’t got it, [and] if you’ve got it ,you stand out a mile” ….oh! that she does,…several miles apart !…in my opinion .
Already full of confidence & impeccable sense of timing, she glides effortlessly into MERI DUNIYA PE BIJILI SI GIRAYENGE TO KYA HOGA …at the end of this kya hoga ,….her voice became deeper and even richer, with her phrasing cleaved more closely to the emotional demands of the song….

With apparent frailty, innocence and a vulnerability that evokes deep passions, casual and unpretentious — almost self-deprecating….she sings… MAI UNKE SAAMNE AAYI [2] AAYI TO HU JEE KO KADA KARKE
Such articulated words of a personal anguish…ISHARON SE JO PAAS APNE BULAYENGE, TO KYA HOGA…wah!
A singer can have a note-perfect high range and no flexibility at all. What counts is the capacity to negotiate the tricky intervals, and listen to Geeta do an instantaneous jump here that can leave the words ringing as clear and open as the previous lyrics …
MERI NAZARON SE GHABARAKAR , VO [NAZARE KHUD CHUPALENGE ]-2,
what an angelically soaring journey…..

Geeta Dutt

The standard item of praise for any singer is ‘breath control’ but certainly every professional singer has a certain amount of that. What Geeta ji really had was enunciation control….please listen to her start the next line thus….JHUKA KAR APNI NAZARE PHIR UTHAYENGE TO KYA HOGA

For me GEETA ji , is literally my heartbeat singer-of a persona who can make every song a story, with her characteristic signature style, so much so that her songs become more than stories rather they became epics or anthems to me…..plz listen to the rest of the song to understand my feelings……

YE MAANAA [2] UNKE AAGE APNA HAAL-E DIL CHUPA LUNGI..DIL CHUPA LUNGI
JO VO ALHAD JAWANI KO JAGAYENGE TO KYA HOGA….
UJALA HAI[2]…ANDHERI SHAB ME AANSOO KE CHARAGON SE AANSOO KE CHARAGON SE
AGAR PALKO SE AANSOO TOOT JAYENGE TO KYA HOGA…What an original sound she brought forth to the world ,memorable and undeniably addictive……..GEETA ROY/DUTT-is the kind of singer who comes along once in a lifetime—a vocal brand with a powerful style that is NONPAREIL….period!!!

Acknowledgements:

1) The photo of Geeta ji with Pankaj Mullick sahab has been taken from the official website http://pankajmullick.org/

2) We are extremely grateful to our dear friend Priya for writing this article on our special request.

Tribute by Bela Mukherjee, wife of Hemant Kumar sahab

Monday, November 19th, 2012

This is the small write-up (translated). Remembrances of Geetaji from Bela Mukherjee’s writing. Bela Mukherjee and Hemant Kumar were close family friends of Geetaji-Guru Dutt.

Geeta ji Bela Mukherjee, Hemantda

(Bela Mukherjee-Geeta Dutt-Hemanta Mukherjee-Sri Arup-Saroj Sengupta)

Neer Chhoto Kshoti Nei, Aakaash To Baro – Who knows, how much of hope, this song may have established in Love! Geeta indeed possessed a beautiful voice, but her nature was even more beautiful. Prior to Lata’s arrival, Geeta was almost a monopolistic institution in the Industry, as far as music was concerned. Especially in romantic songs, she still has no peer.
The intimacy of Hemanta with Geeta and Lata, which began from the time of ‘Anandmath’, had ever increased. While he went on and on singing with Lata in ‘Shart’, ‘Jaal’, ‘Nagin’, ‘Anarkali’, Hemanta continued to sing marvellous duets with Geeta in ‘Shrimatiji’, ‘Munimji’, ‘Bahu’, ‘Bandini’, ‘Police’, ‘Hum Bhi Insaan Hai’ and other films.
Bengali films have been no exception here. Whenever he got an opportunity, Hemanta wonderfully used either of their songs in his films. In the earlier phase, it was Geeta who got more priority. Right from ‘Harano Sur’ to ‘Joutuk’ or ‘Indrani’ – every romantic situation demanded Geeta’s songs! Her songs for Suchitra Sen would madden lovers of film and music in those days!
Gradually Geeta turned out to become a close family friend. Lata would still have certain hesitations at times, but Geeta never cared for anything – she seemed to be no less than a member of our family. Earlier Geeta would come to meet us alone but after her marriage to the eminent actor and filmmaker Guru Dutt, both began coming to our place now and then.
Both Geeta and Guru were extremely moody, and on top of that, Geeta, very touchy. It is impossible for me to accurately say, how many times we have had to be confidantes in their trifling fights! Such has also happened that when on some winter night, having completed our dinner, lying on the bed we are speaking to each other under our blankets, Geeta has suddenly arrived! Knowing her through and through, we never asked how and why she came at such unexpected times – even Geeta would never give any reason. She would just get herself under the blanket and soon a chat session would begin! In an hour’s time the doorbell would ring again and we would get another guest in – Guru. Again, there was no question of asking. We would understand that they have had some petty fight, after which, Geeta, being more sentimental has come up earlier and later, her husband. Guru too, was always aware where his other half might be. So in search, he would always come up to our bungalow – Geetanjali. Our chat session would only get livelier!
As the night would go deeper and deeper, one of the two would suddenly think of returning, and breaking the chat session midway, they would leave for home smiling! No, it was not only that they came to our place only after some quarrel. Geetanjali was actually the heart of our lively chats! Besides going on and on chatting, would often play cards together! Again at times, when we would go for outings for a day or two, our team never seemed complete without Geeta and Guru.
We had felt the loss of a soul’s mate when Guru passed away. Some people are very sensitive. Just as there is no limit of their joy in each wonderful moment of life, each strike of pain and sorrow breaks them up to pieces. The danger happens at that point. When in certain circumstances, situations shake the very foundation of the hearts of these people; they lose the rhythm of life.
As far as my memory goes, a match between India and England was going on in Bombay at that time. Cricket has always been a favourite game of mine and we are there, in the gallery. Our driver, Sanat, came panting and said, ‘An accident has taken place.’ Thinking that someone at home must have faced some accident, I was anxious, but we were utterly shocked when he said next, ‘Guru Saab has committed suicide.’
Guru and Geeta’s house was close to the stadium. We immediately rushed to the place. Men from the Police in every corner of the bungalow… The very house where we had spent many colourful hours of our lives had been submerged into a veil of darkness and sorrow… Entering the bedroom we saw the hero in eternal sleep. The very person, whose laughter made us feel as if the entire world was submerged in the waves of joy, the one whose personality rightly carved for him the throne of a king in the Industry, seemed so helpless… His hand hanging out from the bed… A glass of liquor lying down… It was as if he had great hurry to leave… Even his drink was lying half consumed.
Searching for Geeta, we found that she had still not gained her senses. Two sons, a daughter… How old were the three! How would Geeta be able to manage her household with those three little children?
At the initial stage, after the departure of Guru, Geeta had lost the rhythm of her own life. She would keep indoors, refusing to leave, whatever the cause be outside. But soon she found herself without a single penny. Geeta then began to at times appear in the recording studio, she was often seen performing on stage. Situations forced her to jump back to life. Was there any other way? An artiste she was – how could she have survived without her Art? Over that she had her little children to grow.

Acknowledgements:

This has been compiled from the writing of Bela ji. She had recalled Geetaji in various parts of the writing. We have put those scattered bits together. We are grateful to our dear friend Sounak Gupta for this exclusive article on the occasion of Geeta ji’s birth anniversary on 23rd November.

Dil ki umangein hain jawaan..

Monday, October 22nd, 2012

Dev, Johny, Guru and Geeta

The legendary actor, director, producer Dev Anand sahab is no more. We pay our tributes to this great legend and pray for his soul to rest in peace. Among all the films Geeta ji sang for, her maximum number of songs (in terms of quantity as well quality) might very well be from films starring Dev sahab.

One can see Geeta ji-Guru Dutt ji with Dev Sahab, and Johny Walker sahab in the above pic. We all very well know that Dev sahab was a close friend of Guru Dutt ji and information about their friendship is available everywhere on the internet.

Geeta ji, the queen of “Bhaav Gaayaki” has sung such a wide range of songs for all these films. Here is an almost complete list of such films:

Jeet (1949)
Khel (1950)
Birhaa Ki Raat (1950)
Dilrubaa (1950)
Afsar (1950)
Stage (1951)
Nadaan (1951)
Baazi (1951)
Zalzalaa (1952)
Tamashaa (1952)
Jaal (1952)
Armaan (1953)
Ferry/Kashti (1954)
Humsafar (1953)
Baadbaan (1954)
Munimaji (1955)
Milaap (1955)
Dev Anand in Goa (Alias Farar) (1955)
Pocket Maar (1956)
CID (1956)
Paying Guest (1957)
Nau Do Gyarah (1957)
Love Marriage (1959)
Manzil (1960)
Kaala Baazar (1960)
Ek Ke Baad Ek (1960)
Film Hi Film (1983) — The song Hum Khoob jaanate hain starred Dev sahab.

The film worthy a special mention is of course Baazi. It was an unique phenomenon — Geeta ji sang for both Geeta Bali and Kalpana Kartik. All those songs were solos sung for the debonair hero Mohan aka Dev. Not only that, Geeta ji sang for the director Guru Dutt [whom she didn’t even know], not for her lover off screen. But when Geeta ji sang Aaj ki raat piya dil na todo OR tarrarrum, tararrum ye kaun ayaa… she was singing very much for the character on screen and the person off screen Kalpana Kartik who was headlong in love with Dev Anand and so was he…. so much so that they tied the knot right in the sets of Baazi!! Chetan anand had introduced Kalpana for the first time who was a girl from Shimla.

An interesting aspect of “Two Geetas” and Dev sahab.. Dev sahab acted With Geeta Bali ji in seven films : Baazi, Jaal, Zalzala, Ferry, Farar, Milap, Pocketmaar. All of them had at least one song by Geeta ji, in fact she was one of the primary singers for all the films except Pocketmaar.

The only time when the viewers of Hindi cinema got to see the glimpse of Geeta ji on the silver screen was also from the Dev Anand film “Kaala Baazar”

The director-singer couple can be seen in the video below at 2:55 minutes arriving at the premiere of Mother India. Dev sahab plays the role of a person who sells the theater tickets in black (hence the name of the film is Kaala Baazar).

There are close to five dozens or more songs of Geeta ji from films starring Dev Sahab. She was very much a part of his films, specially in the early to mid fifties. Here is one fun-and-romance filled song featuring Dev sahab, Nalini Jaywant ji and Pran sahab from the film Munimaji (1955), a rare occasion where Geeta ji says a few lines apart from singing.

The legacy of Dev Anand, the eternal romantic hero will live on forever. Rest in peace Dev sahab.

Acknowledgements:
We are thankful to Haimanti Banerjee, author of the book “Geeta Dutt — The Skylark” and our dear friend Sounak Gupta for their contributions towards this tribute.

* This post was originally posted as a tribute to Dev sahab on December 3rd, 2011. We lost some pages due to technical issue. Now we are in the process of re-publishing these articles.

Discovering Geeta Dutt..

Sunday, October 21st, 2012

Geeta Dutt

If there is any female playback singer other than Lata Mangeshkar that I am a big fan of, it has to be Geeta Dutt. I must admit that I have only discovered her fairly recently. I mean I always enjoyed listening to her popular numbers like Mera Naam Chin Chin Choo (Howrah Bridge) or Babuji Dheere Chalna (Aar Paar) or the all-time classic like Waqt Ne Kiya (Kaghaz Ke Phool), but in my mind the image of Geeta Dutt largely remained that of a singer who excelled in only one kind of genre – the club song – with a few sprinklings of pathos-ridden songs here and there.

And, boy was I wrong! As I listened to more and more of her songs, I realized that her repertoire is so wide that it is difficult to slot her into a particular genre. That’s what I mean, when I use the word ‘discover’ in her context.

I am presenting below some songs that I have discovered only in the last 4-5 years, but which have left an impression on me for varied reasons. They are relatively less talked about or even heard, cover different genres and styles and are beyond her usual hits i.e. those from Guru Dutt films or those composed by S. D Burman, O. P Nayyar and Hemant Kumar.

Barkha Ki Raat Mein He Ho Ha (Sardar, 1955, Jagmohan ‘Sursagar’, Udhav Kumar)

What an infectious song! The joi de vivre captured in this composition comes alive in Geeta Dutt’s voice. I can never get enough of this song. If I play it once, it ends up being played several times in a loop.

O Raja Re Mujhe Apni Bana Le (Leela, 1947, C. Ramchandra, Qamar Jalalabadi)

This is one of the few solos that C. Ramchandra composed for Geeta Dutt. What a delightful song! Hear the way she renders the words “O Raja Re” – pleading and seducing at the same time!

Mujhe Huzoor Tum Se Pyar Hai (Son of India, 1962, Naushad, Shakeel Badayuni)
Naushad hardly ever used Geeta Dutt’s voice, and this is the only full-fledged song he gave to her (the earlier song she sang in Dillagi can best be classified as a song-let). Geeta Dutt’s rendition oozes romance with just a modicum of seduction sprinkled in.

Here is the film version of this song

And here is the full audio of the same song

Dil Lagana Tu Kya Jaane (Commander, 1959, Chitragupta, Sarshar Sailani)

Chitragupta was one composer who exploited Geeta Dutt’s expertise in various genres to the fullest, giving her all variety of songs though the 50s. This club-style composition from Commander has Geeta Dutt written all over it.

Sun Le Zameen Aasman Ke Khuda (Nek Khatoon, 1959, Jimmy, ?)

Complaints to God are usually composed in a maudlin, mostly melodramatic fashion. That’s what makes this song different. I would love to see the situation of this song as this is composed like a dance song. Geeta Dutt does complete justice to the contrast in subject and form.

Dilbar Se Pyar Chhupane Mein (Inquilab, 1956, Hansraj Bahl, Raja Mehdi Ali Khan)
In this song, Geeta Dutt sings for two on-screen characters. Filmed as an exchange between two friends, this song has a certain cuteness that is difficult to resist.

Thi Aur Mulaqat Wo (Nirmal, 1952, Bulo C. Rani, Moti B. A)

Bulo C. Rani is another composer whose collaboration with Geeta Dutt was nothing short of magical. Nirmal is his lesser known film with some lovely Geeta Dutt songs. The high point of this romantic song from Nirmal is when Geeta Dutt renders the second stanza. The variations in the word ‘jhulaoon’ are simply a class apart.

Ankhiyon Se Need Chura Re (Bhool Bhulaiyan, 1949, Bulo C. Rani, Rajinder Krishan)
Another Bulo C. Rani beauty set to a simple, but catchy rhythm. From the words the song seems like depicting the first realization of love by the character. Geeta Dutt adds a distinct charm to this song by accentuating the new-found longing of the character as she lingers on just a little longer on the word ‘haaye’.

Dhak Dhak Karti Chali Rail (Dilruba, 1950, Gyan Dutt, Pyarelal Santoshi)

This effect of a moving train is masterfully created by Gyan Dutt in this song. The ease of Geeta Dutt’s rendition is perfectly in sync with the gay abandon with which Rehana dances on screen.

O Pagle Manwa Rota Hai Kyun (Bheeshm Pratigya, 1950, S. K Pal, Manohar Khanna)
While most people tend to unfairly stereotype Geeta as a singer of sad and devotional songs in the early part of her career, it cannot be denied that her sad songs of the era have a quality that comes straight from the heart. This song from Bheeshm Pratigya is quite rare, but deserves a much wider appreciation.

I hope you enjoyed the above selections. By no means do they represent what I would consider Geeta Dutt’s best or even a list demonstrating her width and depth. But they are certainly songs that deserve to be heard.

Acknowledgements:

We are extremely grateful to our dear friend Aditya Pant from Ghaziabad for paying tribute to Geeta ji’s lesser heard gems through this post. Aditya’s interests and knowledge in Indian film music has great variation and depths. He also has his own blogpage Urge to Fly dedicated to his passion about music and beyond. The URL is here

Tadapta Chhod Kar Mujhko Kahaan Tum Reh Gaye Pyaare … Geeta ji, Where Are You?

Sunday, October 21st, 2012

Geeta Dutt

It may have been nearly four decades since Geeta ji silently left for the heavenly abode but She has indeed never left our thoughts. Such was her mastery over her art that She can never disappear from our collective consciousness. Her voice had multiple facets and that rare ability to convey all merely by inflecting its pitch or tone. Her range is immense which can mesmerise anyone, totally capturing one’s attention and finally giving the listener an adrenaline rush like no other singer can. It is often that the nectar in her voice has had that effect on me.

I have a special fascination for the phase when She was still Geeta Roy, the singer who rose like a meteor and captured the imagination of a generation gone by.

And the song I listened to is by this very seductress.

The song stopped playing long ago but its strains still reverberate in my ears.

The honey of her voice will stay with us for ever.

After all, this was sheer magic. Hearing the song makes me miss her so much. And it is indeed ironic, that the song I heard is from a movie called “Kisi Ki Yaad”. The lyrics, composition and her singing have created a gem to cherish.

The mellifluous lyrics are by another genius long buried in the sands of time. He is the one who’s name means Pearl. Yes, it is Moti B.A. and his work complements another half-forgotten genius Hansraj Behl, who gave us many gems.

The song is “Tadapta Chhod Kar Mujhko Kahaan Tum Reh Gaye Pyaare”.

It was probably picturised on Sulochana Chatterjee’s character in the movie who is lost in the memories of her beloved. This kind of thoughts were to be Geeta’s life in the years to come. But Geeta didn’t need to go through that to lend her magic touch to the song. Come, lets see her glide through this tune.
The wonderful prelude doesn’t give half an inkling of what’s to come. The Young Geeta Roy takes charge of the situation from the word go, as She intones.

Tadapta Chhod Kar Mujhko Kahaan Tum Reh Gaye Pyaare, Kahaan Tum Reh Gaye Pyaare

Waah, Waah! Trust Geeta to give the right stress to each word and conveying the thoughts going on in the deep recesses of the heroine’s mind.
There is this discomforting ‘tadap’ in Tadapta and the feeling of separation in ‘chhod’. When She says Mujhko, it feels that all this is happening to me and when She inquires ‘Kahaan’, the mind wanders searching for where the beloved is. And the beautiful way in which She sings Pyaare. Oh, how in a word She manages to convey how deeply loved is he!

Chale Aao Bulaate hain Yeh Aansoo Dard Ke Maare, Yeh Aansoo Dard Ke Maare

With what elegance and sweetness She calls the beloved. Which beloved wouldn’t come if She called like this, with tears spawned by supreme sadness. The ‘pain’ in dard is unmistakable.

Oh Mujhko Bhoolne Waale O Mujhse Roothne Waale,

How elegantly She refers to the one who has forgotten her, probably angry over some small lovers’ tiff.

Tumhaari Yaad Mein Rote Bechaare Chaand Aur Taare, Bechaare Chaand Aur Taare

How innovatively,here, She conveys how the beloved is missed. Yes, indeed on listening, one can’t fail to realise how miserable are the poor moon and even the stars.

And again She goes in the same adorable tone,

Chale Aao Bulaate hain Yeh Aansoo Dard Ke Maare, Yeh Aansoo Dard Ke Maare

before She sings,

Mohabbat Karne Waalon Ko Nahin Kyon Chain Milta Hai

These kinds of lines would have been in so many songs but the effect She produces here has to be seen to be believed. One actually wonders, why the ways of love take away the peace.

Wahaan Tum Ho Yahaan Hum Hain Jeeyen Kaise Bata Jaa Re, Jeeyen Kaise Bata Jaa Re

Its absolutely heart rending, the manner in which She questions the separation, asking how can She live with this. It is even more amazing how She conveys how far apart the two are. ‘here’ and ‘there’ were never felt so “far” before.

No one will doubt on hearing this line that indeed life is not worth living in this state.

Tadapta Chhod Kar Mujhko Kahaan Tum Reh Gaye Pyaare, Kahaan Tum Reh gaye Pyaare

Dreamily, She calls him yet again. He mustn’t have heard else he would be here in a trance, I am sure.

Lagaaye Aas Baithi Hoon, Jalaaye Hoon Shamaa Dil Ki,

The heart burns as She narrates how the hope of return still burns in her mind and the fire burns. The way She stresses on Lagaaye, Jalaaye, Shaama, Dil all in the same breath is a sorceress at work!

O Mujhko Bhoolne waale Iddhar Bhoole Se Aaja Re, Iddhar Bhoole Se Aaja Re

Another awe-inspiring line. Nobody can show such a ‘bhool’ in two ways when She sings Bhoolne and Bhoole. Oh, won’t the beloved come by mistake just once?

Tadapta Chhod Kar Mujhko Kahaan Tum Reh Gaye Pyaare, Kahaan Tum Reh Gaye Pyaare

And suddenly comes this last line of the song filled with the same jamboree of emotions, one calling the beloved, another showing the pain and worry about where the beloved is.

Finally, I am left wondering thoughtfully, My life would have been incomplete without listening to this. This rainbow of talent alone could have produced this magic of a song. If only, She had sung this song to her real-life beloved and brought him back before it was too late. The film world would have been different perhaps.

By- Hildebrand

P.S. Thanks from the bottom of my heart to M.L. Kapur ji for taking the song out of his “vault” and Prof Surjit Singh ji for sharing it with us on his website. You both are one in a million.

* This post was originally posted on Monday, November 21st, 2011. We lost some pages due to technical issue. Now we are in the process of re-publishing these articles.