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
   

Phir Bhi Mera Man Pyaasa

In the last post I wrote about the troika of Anand Bakshi, Pancham & Kishore creating special compositions for Rajesh Khanna starrers, and the effect that flute created in Main Shayar Badnam.Well, as they say, "Mauka bhi hai, dastoor bhi aur mausam bhi". In the season of rain, how could I not play this one - a gem of a composition, from Mehbooba, based on Raga Shivranjani, with such beautiful verse that meets Kishore at his best.

The song was to be used in the movie at two different occassions - once for the heroine and again for the hero. Since the movie was based on the theme of reincarnation, love and classical music & dance, Pancham used a confluence of Dholak & Flute, while complementing the chords of a Guitar - his favourite instrument. The composition also was challenging as it required the singer to display a wide vocal range, and yet having that thehraav for staying true to the notes.

Pancham's natural choice for female version was Lata. However, when it came to male version, Kishore Kumar flatly refused because not being trained in classical music, he found it difficult. I am sure Pancham could have gone to Rafi, but he did not. He insisted, and finally Kishore Kumar relented on one condition - that he will only practice and replicate whatever Lata will sing. This is what he finally did, practising for a week, listening to Lata's version.

Picturised in the rain, the song starts with a bit low key humming and guitar chords, just like a brief calm before the impending storm. That is what Kishore Kumar creates - a storm with this song. Even now, when I listen to this song, and the goosebumps that I get every-time he raises his pitch in between the stanza, making it sound so simple, it seems unbelievable that anyone else could have done better than Kishore da in this song.

And the verse! Sumitra Nandan Pant had written - "Viyogi Hoga Pahla Kavi, Aah Se Upja Hoga Gaan". It required a real empathy with emotions and mastery over language to come up with something like -

Ae Dil Deevane

Khel Hai Kya Jaane

Dard Bhara Yeh

Geet Kahan Se

In Hothon Pe Aaye

Door Kahin Le Jaaye

Bhool Gaya, Ya

Bhool Ke Bhi Hai

Mujhko Yaad Zara Sa.

Phir Bhi Mera Man Pyaasa