Different situations in Hindi movies are associated with different songs. Obviously when the mood is happy & romantic,the songs are of that type. And when there is a twist in the tale or a break-up or a judai or a deceit (bewafai) or an unforeseen calamity, then the same song is used to depict that mood. More often than not, the rhythm of the two types of songs is different- happy songs in fast rhythm & sad ones in a slow pace. The use of instruments also differs.Sometimes the lyrics change.. Sometime the lyrics are same but the change in tune & rhythm creates an entirely different impact. .
Madan Mohan in his many films has done this giving us some wonderful songs.. Posting some of them on his birth anniversary today (25th June) ..
1) The first one is from the film- Adalat (1958).. Here probably Nargis is yearning for Pradip Kumar(who has deceived her?) & that emotion is depicted through the slow rhythm & tune & importantly the lyrics- (tujhko garaj kya meri wafa se.. Jiyu ya maru mein teri balaa se)... But in the same song, the mood changes.. the song becomes a mujra.. Then you have sarangi & clarinet( reminiscent of OPN) in fast rhythm. Lata Mangeshkar sings for Nargis & for mujra dancer Asha Bhosale lends her voice.
2) The second song is again from a Pradip Kumar starrer- Duniya na mane (1959) - Here the happy song is a duet sung by Lata Mangeshkar & Mukesh- Tum chal rahe ho, hum chal rahe hai.. magar duniyawalo ke dil jal rahe hai..
And the sad version is rendered by Mukesh- with change in lyrics & also the tense of the song- Hum chal rahe the, wo chal rahe the.. magar duniyawalo ke dil jal rahe the.. Have a look-
a) Lata & Mukesh http://www.youtube.com/watch?v=QeTOuQzzuBc
b) Mukesh-
3) In the next film Ghazal (1964)- there are not one, not two but three versions of the same song- Interesting part is that happiest/ romantic version is in slow pace. This is the first time the hero meets the heroine. The song which depicts the feeling of deceit,hurt, pain & anger as the heroine marries another person has a fast tempo.Lyricist Sahir has penned the emotions so very well-
a) Lata-
b) The second time, the hero presents the song in a mushaira where of course she is also there.. the song is in a different andaz..
Rafi-
c) Rafi-
4) And now we come to two of my favorites- the first one is from Mausam (1975) I could listen to this song forever & still never get tired of it..The connect is also with the lyrics- Dil dhoonta hai fir wohi.. fursat ke raat-din.. Here the lyrics don't change in both the moods.. But what wonders has Bhupindersingh's voice created in this song!
a) The start of this song is with Lata's superbly echoing prelude & then after the guitar piece, how well does Bhupinder pick up the song!
b) Bhupindersingh-http://www.youtube.com/watch?v=ZiQT44E9hLM
5) And the last song is from film Chirag (1969) - Here probably the pace of the song doesn't change but still the two situations are different in the film. In Lata's version, heroine has lost her eyesight which has affected the hero quite a bit. And it is she who pacifies him with this song.. The lyrics change in the Lata's version..Previously, I used to like Rafi's version. But now I feel Lata's version gives a feeling difficult to describe- may be a quietness, serenity, peace.. sukoon..
a) Rafi-
b) Lata-
6 comments:
Amazing !!! to recollect and present it in this maner is special....
सुंदर संग्रह राजेश...आठवणींचा.
मदनमोहन च्या गाण्यातली माझ्यासाठी दुखरी नस म्हणजे अंगावर सरसरून काटा आणणारे मुखडे. लगेच आठवणारे नमुने:
१. बैयां ना धरो
२. नैना बरसे
३. है तेरे साथ मेरी वफा (यात लताबाई जेव्हा सगळ्यात पहिल्यांदा मेरी वफा म्हणतात तसं म्हणणारी आजतागायत एकसुध्दा voice of lata ऐकली नाहीये...अद्वितीय...
४. तुम जो मिल गए हो
५. कर चले हम फिदा
६. दिल ढूँढता है (लताबाई)
Etc etc...
आम खाओ पेड मत गिनो...
धन्यवाद राजेश
आज या कमेंट सेक्शनमध्ये येऊन मला पण तीनशे साठ पांच दिवस (नविन मराठी...आणि बंडल बकवास YZ सुध्दा :)) झाले...
वरच्या माझ्या यादीत अजून एक भर घालतो...
आज सोचा तो आँसू भर आए...अप्रतिम.
यांत पण लताबाईंनी जसं 'आज सोचा' अशी सुरुवात केली आहे ते एकाही voice of lata ला जमलं नाहीये...
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सुंदर लेख
Sir, just to add few points to this
1) Dil Dhundhata hai song, was composed in three tunes. Two tunes are used in movie Mousam and third rejected tune was used after 30 yrs in VeerZara movie for song 'Tere liye hum hai jiye...
2) sometimes Madanji used two different tunes in Mukhda and Antara, he was the only one to experiment this in his time.. So actually in one song he was using two tunes, which could have been two songs altogether..
@Girish Thakare - Thank you so much for reading the blog and for your valuable inputs on it.
आज परत हा ब्लॉग वाचून काढला.
मदनमोहनच्या चाली ऐकून ब-याचदा वाटतं की काsssश हा संगीतकार पंचमइतकाच ध्वनिमुद्रणाबद्दल सुध्दा जागरूक असता तर त्याची पण गाणी पंचम इतकीच आज सुध्दा जोरात वाजली असती. अर्थात आजही या गाण्यांचं मूल्य अजिबात कमी होत नाहीच. पण हातामध्ये 'मृत्युंजय' कादंबरीच्या अगदी पहिल्या आवृत्तीच्या पहिल्या प्रतीची जीर्ण झालेली प्रत आणि अगदी अलीकडच्या प्रकाशित झालेल्या आवृत्तीची 'लिमिटेड एडिशन' मधल्या गठ्ठ्यातील एक प्रत अशा दोन्ही एखाद्याला हातात देऊन सांगितलं की ही मराठीतील सर्वात लोकप्रिय कादंबरी आहे तर तो स्वाभाविकच नवीन प्रत हातात प्राधान्याने घेईल. गाण्याचं उदाहरण द्यायचं झाल्यास तुम जो मिल गए हो याचं देता येईल. या गाण्याचं संगीत संयोजन (केरसी लॉर्ड) इतकं उत्तम आहे पण रेकॉर्डिंग दर्जा सुमार आहे. असो.
नैना बरसे रिमझिम रिमझिम तर क्या जानूँ सजन इतकंच हॉंटिंग वाटतं मला...
असो. आणि संगीतकाराच्या पश्चात त्याची चाल दुस-याने रेकॉर्ड केली की एक भयानक विनोद होतो. दोन उदाहरणे देतो...लताबाईंच्या आवाजातील कुछ ना कहो (१९४२ अ लव स्टोरी) हे टुकार झालंय...अगदी वीर झाराच्या गाण्यांसारखं...कुठल्याही बाजूने (लताबाई असूनसुध्दा) ही गाणी मदनमोहनची वाटत नाहीत.
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कुणाच्या भावना दुखावण्याचा हेतू नाही. 🙏
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