Pyar Se Yeh Jahan Kahe Na Mil Ke Rahe

After the breathless rendition of Bamchiki Chaam Chiki, here is another rarely heard composition of Pancham - once again involving Kishore Kumar & Biswajeet. However, before that, kindly bear with me as I take you on a trip down my memory lane. You will soon know the reason.

As a child, I always felt privileged to visit my Dad's office, on a rare occasion, in that building which is popularly known as the Old Lady of Boribunder. After travelling through a crowded local train and crossing the busy road outside, as the massive gates of that awesome stone structure would close down behind me, silence of the passage could actually be deafening.  

A few steps would bring me to an old, mahogany paneled elevator, which would creep upward elegantly, carrying me through a strong waft of freshly inked newspapers & magazines, and deposit me on the floor where my Dad's office was. 

Stepping out of the elevator would be the time when I used to hear the noise that, till the advent of personal computers, was synonymous with any well-established office: a constant mechanical staccato of typewriters hunched upon which, like orchestra players on their respective instruments, would be the typists of all hues & ages, using their fingers to push the keys for striking the paper in the carriage. The sound would be regularly embellished with a tinkling or a bell sound as the carriage having travelled from right to left across the width of the paper would be brought back, with a slash of hand, to begin the next line. I am sure most of you still remember that sound. 

Now, Pancham is known for his penchant to use all kind of sounds in his compositions. I am not surprised, hence, when I found one of his compositions largely based on the roll & rattle – and of course that tingling bell - of a Typewriter. This is from Hrishikesh Mukherjee's Phir Kab Milogi. Yes, the same movie which took about 4-5 years in making and had that immensely popular Mukesh – Lata’s  Kahin Karti Hogi Woh Mera Intezaar.

The success of Kahin Karti Hogi & failure of the movie otherwise, meant that other compositions were never well appreciated. Amongst those remained hidden this lovely song; well composed, very hummable with Kishore da gliding ever-so-smoothly through the contours of the stanza, and with the verse from Majrooh that one finds relevant even now:   

Kahne Ko To Hum Hain Babu
Par Jeb Hai Khaali Aksar
Hai Dard Se Bojhal Kursi
Aahon Se Bhara Hai Daftar
Savere Ko Mukh Pe Khushi Thi Zara Si
Labon Pe Suhaani Hansi Thi
Shaam Ko Jab Babu
Ghar Chale Apne
Fileon Ke Neeche
Dab Gaye Sapne
Khaali Khaali Aankhen Hain Bechaara Hairaan Hai
Sar Jhukaaye Huye
Palkon Mein Dhool Bhare

Bharpoor Hai Jiski Muthhi
Duniyaa Mein Wahi Hai Tagdaa
Paise Ke Liye Har Uljhan
Paise Ke Liye Har Jhagdaa
Jo Kaho Kar Guzarta Hai Logon
Jise Dekho Paise Pe Marta Hain Logon
Jaane Kyun Paise Par
Main Bhi Marta Hoon
Jo Na Karna Chaahoon
Wo Bhi Karta Hoon
Ab Samjha Main
Phir Bhi Kyun Dil Ko Itminaan Hai
Ham Bure Hain To Kya
Jag Men Sabhi Hain Bure

Khit Pit Khit Kare
Aur Kat Kat Ke Mare
Pyaar Se Ye Jahaan
Kaahe Na Milke Rahe

Ek Ajnabee Haseena Se

Charisma is a word that tries to define something which is otherwise unfathomable.  It means compelling attractiveness or charm that can inspire devotion in others.  If ever, there was a star with Charisma on Hindi screen, it was Rajesh Khanna.

How else can one decode a phenomenon like him - average looks, good performer who could speak a lot with his eyes, broke through the accepted mould of a hero to create his own style, and then got confined within that. 

His fame was also like a comet that dazzled everyone with it for a while, and then disappeared as suddenly as it had arrived. During the brief period – relatively brief as compared to other superstars who followed him – that he shone through, his fan following was not only unprecedented but could always make even the later & bigger stars envious of it.

Apart from his charisma, another factor going for him was a troika that gave soulful songs for his screen avatars; songs which coupled with his crinkling eyes and a disarming smile could woo not only the actress on the screen but the entire female fan following to the extent that many of them were willing to lay their life for him.

The troika comprised of; yes, Kishore Kumar, Pancham & Anand Bakshi. In fact, even as his movies started faring badly, the songs created by these three continued charting new waves. Here is one such song, from Ajnabee, another movie by Shakti Samanta - whose Aradhana, Kati Patang & Amar Prem had ensured a golden run for Kaka earlier.

As a composition, with hardly any prelude, what make it interesting are those interludes – specially the first two, where Pancham mixes Santoor, Guitar & Sax so brilliantly. 

Kishore’s throaty rendition, the mischievous smile of Kaka & the subtle blushes of Zeenat, while he hints about their previous interaction, and all I can think of is the lost innocence of that era, where a serenade was an essential part of the life itself:

Woh Achanak Aa Gayee, 
Yun Nazar Ke Samane

Jaise Nikal Aaya Ghata Se Chand

Chehre Pe Zulfen Bikhari Huyi Thi,

Din Men Raat Ho Gayee

Jaan-e-man Jaan-e-jigar, 

Hota Main Shayar Agar

Kahta Ghazal Teri Adaaon Par

Maine Yeh Kaha To, Mujhse Khafa Woh

Jaan-e-hayat Ho Gayee

Ek Ajnabee Haseena Se

Yun Mulaqaat Ho Gayee