Dil Machal Raha Hai

What was the connection RD had with RK? It could be quite coincidental, but the movies which had RK as a hero always inspired Pancham more.

RK, who? Of course Rajesh Khanna!

An easy enough answer, except that this also holds true for two more heroes - Rishi Kapoor & and who else but one of Pancham's best friends in the industry - Randhir Kapoor.

Beginning with Rampur ka Laxman, Randhir Kapoor & Pancham did about 14 movies together. A large number of them did not really fare well. If Jawani Deewwani, Rampur ka Laxman, Dharam Karam & Kasme Vaade did extremely good business, there were movies like Khalifa, Harjaee, Dhongee and many more which turned out to be quite a damp squib.

Damp squib, only as far as their commercial success or artistic value is concerned. Their scintillating musical score was always the saving grace – perhaps the only reason for which even now these movies merit a recall.

Take Khalifa, for instance. This 1976 movie, directed by Prakash Mehra, had Randhir Kapoor, in double role - one good & one evil, along with Rekha. The movie had nothing much to write home about - except its compositions - specially this one.

The composition is very stylish – pacy and very unpredictable as it moves. If the interludes are sensuous – the structure of stanza, with its pulsating beats arrangement & high octave singing that effortlessly glides into seductive crooning, carries hallmark of what Pancham was famous for. Add to that Kishore Kumar in play-full yet romantic full- throated rendition & smooth as honey singing of Asha Bhosle – it was a perfect recipe for creating the magic. This was also the first movie where Gulshan Bawra, till then more of an actor & less of a lyricist, & Pancham collaborated first time. Later they went on to do many more movies, including Kasme Vaade, Harjaae & Satte pe Satta.

On screen, while RK’s acting fortunately does not really create a jarring note, what is worth noticing is Rekha – specially the nuances that she brings to her face while singing. Those were early days – “Ghar” was still a couple of years away - but watching her you would know for sure that the process had begun of her evolving into the beautiful swan that she went on to be.

Look at it yourself. I am sure you will agree too.

Albela Re..

Each art has certain personalities who end up defining the art itself. The Hindi movies music lovers - specially those of 60s to 80s, were luckier as there have been a plethora of such towering personalities. Those who not only kept extending the parameters of their own performances, and went beyond it, but also created a Gold standard for those who were to follow them in the later years. Of all these great personas, Lata Mangeshkar, who has turned 85 today, remains the first among equals. To put things in proper perspective, in a country with 67 years of post independence history, her's has been one of the omnipresent voices.

Pancham idolised her, and hence chose to make his own debut with her singing Ghar Aaja Ghir Aaye - a classical number matching Lata perfectly. And why not? For is not Lata's singing essentially about a sound that purists & the classical music lovers would love? Over the years, there were many more such classical or sugar syrupy compositions which Pancham created keeping only Lata in mind, and most of them went on to become all time hits.

However, it would have been a very un-Pancham like to not give her the compositions where she had to get out of her own boundaries. Yes, he did manage to give her a number of such compositions - like the raunchy - "Bangle ke Peeche" from Samadhi or Anamika's seductive "Baahon men Chale Aa". Another such number was from Rampur ka Lakshman, picturised on Rekha - in her those days when she was yet to become the proverbial beautiful elegant swan.

This composition is zany and has very interesting interludes, specially the way Bongo beats have been used through out, intermingling with Guitar notes. Add to that the peppiness with which Lata has sung it, giving emphasis on some of the words, making them sound so fizzy, as Rekha tries to stop the running-away Randhir Kapoor, singing Albela Re..

Mera Woh Samaan Lauta Do..

For a person who plays with simplest of the conversational words to create magical verse, has an amazing array of stories, screenplays & directorial ventures to his credit, it is indeed an interesting combination that his names create. Yes, I used the plural “names”, because he has two – one the real and another the pen name. The real name “Sampoorna” which means encompassing everything & the pen name that means a garden full of flowers - Gulzar.

Gulzar and Pancham gave some of the finest songs to Hindi movie buffs. In fact, there is hardly a movie where they both collaborated without creating a magic. Starting their journey together with Parichay they took us on a route that had milestones like Aandhi, Khushboo, Kinara, Ghar, Basera, Sitara, Golmaal, Khubsoorat, Massom, and Namkeen before culminating in – at least as far as a released movie is concerned - at Ijaazat – which according to me is Gulzar’s best work forever.

The movie - a poignant tale of the eternal love triangle, comes across like a poem on celluloid. Absolutely stunning locales, breathtaking photography, very mature handling of the story, crisp direction and power-packed performances by three protagonists – Rekha, Naseer & Anuradha Patel ! The movie had everything going for it, and if this was not enough, the troika of Pancham, Gulzar & Asha lent that extra something which made Ijaazat into an all time classic.

While all the compositions of the movie were superb, since Gulzar is well-known for turning simple conversations into lovely verse, it is befitting to present a composition where Pancham, after hearing the verse, asked him – are you going to get me a newspaper headlines next to compose a song on!

The song, picturised on uff-so-ethereally-captivatingly beautiful Anuradha Patel, finds Pancham at his creative best. The composition – difficult one to suit a metre-free verse – finds him using santoor, sitar, tabla and guitar – in manner that enhances the mellifluous vocals of Asha Bhosle. The impact is sensuous yet full of a heart-ache and as mesmerising off screen as much as on-screen when you hear Maya sing:

Ek Akeli Chhatri Me Jab 

Aadhe Aadhe Bhig Rahe The

Aadhe Sukhe Aadhe Geele, 

Sukhaa To Main Le Aayi Thi

Geela Man Shaayad Bistar Ke Paas Padaa Ho

Woh Bhijavaa Do, 

Meraa Woh Saamaan Lautaa Do

It was interesting that while the music of Parichay got Lata Mangeshkar & Bhupendra their National Awards, Ijaazat got Asha bhosle & Gulzar get their national awards for this song. Pancham, however, remained un-rewarded. That however is a story for some other time. Just now, listen to this simply amazing song:

Yeh Raat Hai Khwab Ki..

Sing, Sing a Song

Sing out loud

Sing out strong

Born 85 years ago, his was a voice for all seasons. Calling him merely a singer though would be a terrible injustice to the genius that he was. In the history of Hindi cinema, he has remained the only genuine one-man industry. A genius who tried & succeeded amazingly in each field related to movie making. No prize for guessing! He was Kishore Kumar, an entertainer par excellence.

And if at all there was one person who could bring out each of his moods in singing, it was Pancham. From masti to romance to melancholy - Pancham created some of the most magical compositions and Kishore brought it alive for the listeners.

Talking about romance & melancholy, here is a song hovering in the zone in between. One of my most favourite songs from this duo, this is a composition that is yearningly romantic, and yet at its core has a deep underlying feel of tragedy.

Movie: Ghar , a sensitive masterpiece dealing with the topic of rape & the trauma relating to it. 

Situation: Vinod Mehra, the husband in the movie is trying to normalise the situation for his wife Rekha, wooing her with a smile that was so infectiously sensuous. Yet, the event of the recent past is casting its shadow on their moods.

A difficult situation – portrayed so well by the performers, and brought forth superbly by the composition itself. As was his wont, Pancham used the opening strand of The Carpenter's classic "Sing, Sing a Song", mixes with delicate notes of guitar; and then ensembles his instruments to match the mood. Listen to the interlude pieces, that is so subtly arranged to bring out both - pain & love.

And the sheer poetry that goes with it! Gulzar toys with an imagery as fragile as a dream and a glass. It would be difficult not to get that extra beat in your heart when Kishore renders these simple yet such eloquent verse:

Kaanch ke khwab hai, 

Aankhon me chubh jayenge

Palkon me lena inhe, 

Aankhon me ruk jayenge

Yeh raat hai khwab ki

Khwab ki raat hai

Ik Din Sapne men Dekha Sapna

Talking about dreams, most people do have a dream that gives them wealth & fame. A dream like this has to have a name & a face - someone whom you would aspire to replace.

Here is another composition of Pancham - whacky in style & whackier in lyrics, penned by Gulzar for the topmost grosser of 1979. Amol Palekar, the hero of the movie, whom this performance landed his first & only Filmfare award for the Best Actor, has aspirations to fame and talent both, and the song reflected those. Of course his character, apart from being essentially a middle class guy, also struck closer home - as he was shown pursuing the professional course of CA. 

Yes, this is Golmaal - that hilarious comedy by Hrishikesh Mukherjee which also got Utpal Dutt an award for the best comedian. 

At the time when this movie was released, there existed an actor who was not only one of the most celebrated stuntmen of Hindi Cinema, but also quite dreaded due to his looks, whenever he appeared on his screen. His son, then about 6 years old, after growing up went on to make a series of comedies titled Golmaal - of course with different kind of sensibilities yet quite witty. This is Rohit Shetty, son of the Fight Master Shetty. 

Interestingly Rohit Shetty's series of Golmaals were stories far different from the movie made in 1979. However, finally when he made the remake of Golmaal, it was titled Bol Bachchan - revolving around the name & fame of Amitabh Bachchan, whom, in original Golmaal, Amol Palekar is trying to be better than while singing this song.

The picturisation also had the Director paying homage to one of the scenes from his own Guddi, while another scene shows Rekha in her Khubsoorat avataar. In fact, considering the attire of Rekha, and knowing that Golmaal was quickly followed by Khubsoorat, I would not be too surprised if Rekha's special appearance was shot on Khubsoorat's set.

The song was sung by Kishore Kumar in his zany style. However, that small refrain of yodelling at the end of first stanza is not by Kishore, but by his son Amit Kumar. Believe me, one can not make out a difference.

So here is Ik Din Sapne men Dekha Sapna:

Tere Bina Jiya jaaye Na..

Looking at the clip of Rampur Ka Laxaman, I felt like playing a simple quiz - What's the Good Word?

One word - in English language - that describes a major change in the appearance or character of someone or something?

Easy to answer - Metamorphosis!

Now, the only word from Hindi film industry that is a perfect synonym of Metamorphosis?

Much more easy to answer - Rekha!

When Rekha emerged on the Hindi film screen in 1970, she was considered an average dusky pretty heroine - with not much credit given for her acting prowess. Her movies over next 7 years - barring Aalap & Do Anjane, also somehow never even hinted at what she was capable of. 

Then, in 1978, came a movie - directed by Manick Chatterjee with story & dialogues by Dinesh Thakur & lyrics by Gulzar. Here, in a very challenging & sensitive role, Rekha finally emerged out of her cocoon and took off as one of the most talented performer of Hindi film screen. Her persona, after that movie, changed and from just another pretty face, she went on to be an actress who was beautiful, enigmatic, sensitive & very very sensuous.

The movie was Ghar - which was also one of the milestones of Pancham's career. Each of the song was meticulously composed and crafted to suit the mood of the story and the verse of Gulzar - underlining the superb creative chemistry they both shared. 

While Phir Wohi Raat Hai, is a song that I love the most from this movie, for now, I would love to play Lata's Tere Bina Jiya Jaaye Na - for a few reasons. 

The obvious reason - the onscreen presence of Rekha & her chemistry with Vinod Mehra.

More importantly, for the way the song was structured: a beginning that has a touch of bossa nova, with suddenly the prelude mixing it to essentially the sound of only two instruments - which then remain the backbone of the entire song. The instruments were Maadal & Guitar. For this song, RD used a number of Maadals, each providing a different note, and each played by only one person - Ranjit Gezmer. 

Another reason - for a song known to be only of Lata, a surprise appearance by Kishore's vocals to end the song, in turn, making the song so much more special.

So here it is - a song to romance with - Tere Bina Jiya Jaaye Na..

Gum Hai Kisike Pyar Men

Manmohan Desai - the director of Aa Gale Lag Ja, was a connoisseur of the lost-and-found formulae. Later on he went on to make superhits like Amar Akbar Anthony, Parvarish and Suhag, amongst many others. However, for whatever reason, Aa gale.. was his second & the last movie with RD Burman as a composer. 

Considering the fact that both the movies where MKD worked with Pancham, the music was a major propeller towards their success, this has remained a mystery to most of the fans of Boss.

Which was their first movie? 

Well - another lost-and-found potboiler starring Randhir Kapoor & "dusky-and-pretty-who-went-on-to-become-one-of-the-most-beautiful" actresses Rekha with a villain who was becoming more popular than the hero himself - Shatrughan Sinha. This was Rampur Ka Laxman, with RD & Majrooh combining again to create some amazing numbers, the most popular one being this duet of Kishore & Lata.

The song is in conversational style - beginning with minor chords with a lovely liting feel to it. While Kishore Kumar sings his part so efficiently, it is Lata's rendition that really casts a spell making the song so bewitchingly romantic:

Chaha hai tumane jis bavari ko

Woh bhi sajanava chahe tumhi ko

Naina uthae to pyar samajho

Palken jhuka de to iqarar samajho

Rakhati hai sab se chhupa chhupa ke, kya,

Apne hotho me piya tera naam