The man, who was acknowledged as a genius by people who understood and appreciated music, was never at the top rung in the hit parades or with the big banners or the big stars.He had very few Hit Films but His Music was always Hit.
He had no set method of conjuring a tune. New tunes floated into his head at the most unexpected moments - while going up a lift, driving his car, or sometimes while leaning over the balcony of his Pedder Road flat to watch the traffic below.
The famous "Madan Mohan style" was established in the true sense with Adalat (1958) when he composed some outstainding melodies - Jaanaa Tha Hamse Door, Yoon Hasaraton Ke Daagh, Unko Ye shikaayat Hai, Jaa Ja Re Jaa Saajanaa, Zameen Se Hamein Aasmaan Par... so many great melodies in one movie. This was the movie which made Madan Mohan the uncrowned king of ghazals. After this, he composed many ghazals and with each composition, he attained great heights of popularity and fame. A situation came when every producer wanted him to compose at least one ghazal for his film.
In Madan Mohan's initial period, the trend of film making was for heroine-oriented subjects which gave him ample scope to improvise upon his talent. Some even called him a "ladies composer". Moreover, he had composed comparatively more catchy tunes for female singers than male. After 1960, hero-oriented films became the trend. But during this period also fortunately the subjects which came by Madan Mohan's way had more scope for female songs than male songs.
The year, 1964 witnessed eight releases in a row having Madan Mohan's compositions, including Aap Ki Parchhaiyan (a love story), Ghazal (a musical), Haqeeqat (war film), Jahanara (costume drama), Pooja Ke Phool (family drama), Suhagan (social theme) and Woh Kaun Thi?(mystery). Madan Mohan handled each subject gracefully and came out with many all-time hits for these films.
The following years saw the release of Rishte Nate (1965), Dulhan Ek Raat Ki (1966), Mera Saaya (1966) and Naunihal (1967) full of typical Madan Mohan melodies.
In the year 1970, Madan Mohan's film Dastak was released. It was like a musical art movie giving full scope to the composer to showcase his talent. The songs Baiyaan Naa Dharo, Mai Ri Main Kaase Kahoon and Ham Hain Mataay-e-Kuchao fetched him the National Award for best music direction for that year.
Dastak was followed by Heer Ranjha, a totally unique experiment nobody dared the way Chetan Anand handled it. Lyricist Kaifi Azmi wrote the dialogues and lyrics of the film. he composed romantic songs like Milo Na Tum To Hum Ghabaraye and Meri Duniyaa Mein Tum Aayiand on the other hand, soulful songs like Do Dil Toote, Doli Chadhale Hee (traditional Heer moulded in his own style) and Yeh Duniyaa Yeh Mehfil. The song Yeh Duniya Yeh Mehfil from the film is a unique composition of the maestro.
During his last days, he was offered Mausam (1975) and Laila Majnu (1976).Laila Majnuwas a traditional love story for which Madan Mohan composed a very beautiful number Husn Haazir Hai Mohabbat Kee Sazaaa Paane Kosung by Lata Mangeshkar. Mausam was a very soft romantic subject and was handled with equal softness by Gulzar. Madan Mohan understood the mood of the film composed songs like Dil Dhondtaa Hai (in happy and sad version) and Ruke Ruke Se Qadam, which really helped the film to convey its theme effectively.
The King of Melodies, who was at the peak of his popularity, died at the age of 51. He died on 14th July 1975
Song of Bhai Bhai 1956
Song of Pocketmar 1956
Song of Chhote Babu (1957)
Song of Dekh Kabira Roya (1957
Song of Sanjog 1960
Song of Anpadh 1962
Song of Anpadh Aap Ki 1964
Song of Woh Kaun Thi 1964
Song of Gazal 1964
Song of Sharabi 1964
Song of Haqeeqat (1964)
Song of Mera Saaya 1966
Song of Naunihal (1967)
Song of Dastak 1970
Song of Heer Ranjha 1970
Song of Heer Ranjha 1970
Song of Dastak 1970
Song of Laila Majnu 1976
No comments:
Post a Comment