SHAKEEL BADAYUNI- Lo Aa Gai Unki Yaad

 

He was a great lyricist of the Golden Era of Bollywood. That was the time when most of the poets were writing about the downtrodden sections of society, their upliftment, the betterment of society, and depressive songs. But Shakeel had an altogether different taste – his poetry was romantic and close to the heart.

in his first film, he wrote the song Afsana Likh Rahi Hoon. sung by Uma Devi(TunTun), became immortal, In the 1949 film Dulari, he wrote 'Suhani Raat Dhal Chuki'.He was the lyricist of many immortal songs 'Pyar Kiya To Darna Kya' , 'Chaudvin Ka Chand Ho Ya Aftab Ho', Husnwale Tera Jawab Nahin' (Gharana), 'Kahin Deep Jale Kahin Dil' (Bees Saal Baad), or 'Mere Mehboob Tujhe Meri Mohabbat Ki Kasam' 

Shakeel shared a close friendship with Naushad, he and Naushad became one of the most sought-after composer/lyricist duos in the industry. Among the scores they churned out together, are those of Deedar (1951), Baiju Bawra (1952), Mother India (1957), and Mughal-e-Azam (1960), that stand out. Other films they scored together include Dulari (1949), Shabab (1954), Ganga Jamuna (1961), and Mere Mehboob (1963)He also collaborated with Hemant Kumar and Ravi to give us many memorable songs.

Below is a List of Shakeel's Memorable songs with a link

1 Afsana likh rahi hoon/Uma Devi/Naushad/Dard

https://youtu.be/D7XJy4bSNRY

2 Suhani Raat Dhal Chuki Na - Dulari Song - Naushad - Mohd Rafi

https://youtu.be/RPNMFQDISIY

3 Man Tarpat Hari Darshan Ko Aaj - Naushad-Rafi (Baiju Bawra) 

https://youtu.be/4c9yzRB5pPc

4 Madhuban Me Radhika Naache Re (Kohinoor)

https://youtu.be/krDhXUtL7Zg

5 Ghunghat nahin kholu saiyya tore aage/Lata Mangeshkar/Naushad/Mother India

https://youtu.be/HgxzXkuHfu0

6  Pyar Kiya To Darna Kya? (Mughal- E- Azam)

https://youtu.be/FzVG01dDTCA

7  Chaudvin Ka Chand Ho (Chaudvin Ka Chand)

https://youtu.be/wRbBORKhGYg

8  Nain ladh gayi hain hain toh /Mohammed Rafi/Naushad/Ganga Jamuna

https://youtu.be/xVp4ziT5ufI

9 Kahin deep jale, kahin dil/Lata Mangeshkar, Hemant Kumar/Bees Saal Baad

https://youtu.be/kKnyg_ZkFlY

10  Na Jao Saiyaan (Sahib Bibi Aur Ghulaam)- Geeta Dutt

https://youtu.be/TCDbIT13MRY

11 Mere Mehboob Tujhe Meri (Mere Mehboob) (1963)

https://youtu.be/BJNRyWh30jE

12  Tumhe Paa Ke Hum Ne (Gehra Daag)

https://youtu.be/CrDyRTrMDvU

13 Dil Laga Kar Hum Ye Samjhe (Zindagi Aur Maut)

https://youtu.be/0MQlso1ww9Y

14  Lo Aa Gai Unki Yaad (Do Badan)

https://youtu.be/HNsItgvVun4

15 Koi Saagar Dil Ko (Dil Diya Dard Liya)

https://youtu.be/XisFzdMbGGY

Naushad- The Man Who Introduced Raaga Based Songs in Hindi Movies.

 

Naushad started as an independent music director from the 1940 film Prem Nagar. He made Hindi songs popular by mixing UP and Bihar folk music with Indian classical music.He first got noticed with A.R. Kardar's film Sharda (1942) wherein 13-year-old Suraiya debuted with the song "Panchhi Ja" for the playback for heroine Mehtab. It was Rattan (1944) that took Naushad right to the top 

 It was in 1946 he got superstar status with the two immortal songs from the film Anmol Ghadi.. In the same year, K L Saigal gave one of his immortal songs "Jab Dil Hi Toot Gaya" under his composition in Shahjehan (1946) in Raag Bhairavi. His favorite ragas were raga Pahadi, Aiman, Darbari, Kafi or Des along with Raga Bhairavi. He also composed songs in unconventional and difficult ragas such as Jaijaiwanti, Kedara, Brindabani Sarang, Bihag, Durga, Kirwani and Kalavati.  

In this blog, we take a journey of his raga-based songs in Bollywood.

In the 1944 film Rattan, he composed 10 songs and the music by Naushad was such a phenomenal hit that the company earned Rs 3 lakhs in royalties from Gramophone sales in the first year. You would be surprised to note that the producer Kardar spent 75,000 rupees on the production of this film. 

The Song based on Raga Pahadi

Song of Rattan 1944

Raga Bharavi

Song of Shahjahan 1946

Raga Kafi

Song of Shahjahan 1946

Raga Pahadi

Song of Anmol Ghadi 1946

His most durable composition Suhani raat dhal chuki was shaped in Pahadi and was from film Dulari made in 1949 that became legendary and is still considered an integral part of any singer’s repertoire in any musical gathering. 

Raga Pahadi

Song of Dulari 1949

Raga Pahadi

Song of Andaz 1949

Raga Jaijalvanti

Song of Andaz 1949

Raga Bhimpalasi

Song of  Babul 1950

His classical genius was the 1952 film Baiju Bawra in which he used the voices if the great Ustad Amir Khan and D V Palusjar. The climactic contest between Tansen and Baiju Bawra in the royal court of Mughal emperor Akbar demanded music of the highest finesse to exemplify the capabilities of these historical legends. Naushad introduced classical music with deft handling, making it melodious for mass appeal and yet retaining enough artistry as the situation demanded. 
There could not have been a better composer than Naushad Ali to make this film an unforgettable feature of Indian cinema. The music in “Baiju Bawra” is divine! It is, in fact, the soul of the film.
There are many moments in “Baiju Bawra” when the contribution of Naushad emerges the strongest point of the movie. Mohammad Rafi, lyricist Shakeel Badayuni and Naushad leave you in a trance with the all-time great number “Man tarpat hari darshan ko aaj”. Rafi had reportedly confessed to this being one of the toughest songs of his career as a demanding Naushad sought perfection from the legendary singer.

Raga Bharavi

Song of  “Baiju Bawra”  1952

Raga Darbari

Song of  “Baiju Bawra”  1952

Raga Malkauns

Song of  “Baiju Bawra”  1952

Raga Gara

Song of Mughal-e-Azam in 1960 

Raga Darbari Kanada

Song of Mere Mehboob 1963

Raga Kalavati

Song of Dil Diya Dard Liya in 1966 

NAUSHAD- Creations that have withstood the test of time

 

Naushad (25 December 1919 – 5 May 2006 ) started as an independent music director from the 1940 film Prem Nagar. After just a few years in films, he went to rule the Hindi cinema music world for around two decades, beginning with the landmark Rattan (1944). It was in 1946 he got the superstar status with the two immortal songs from the film Anmol Ghadi. The simple melody in Raag Pahari in the voice of Noorjehan " Jawan Hai Mohabbat" and the duet of Noorjehan and Surendra"Awaz Do Kahan Ho" mesmerized the music lovers. In the same year, K L Saigal gave one of his immortal songs "Jab Dil Hi Toot Gaya" under his composition in Shahjehan (1946) in Raag Bhairavi.

He did 65 films during his lifetime, 26 of those films celebrated Silver jubilees (25 weeks run) – 8 celebrated golden jubilees (50 weeks run) and 4 celebrated diamond jubilee. Many of which are musical milestones such as Andaz (1949), Baiju Bawra (1952), Mother India (1957) and Mughal-e-Azam (1960).

His classical genius was the 1952 film 'Baiju Bawra' in which he used the voices if the great Ustad Amir Khan and D V Paluskar. The music in “Baiju Bawra” was divine! It was, in fact, the soul of the film.There are many moments in “Baiju Bawra” when the contribution of Naushad emerges the strongest point of the movie. Mohammad Rafi, lyricist Shakeel Badayuni and Naushad leave you in a trance with the all-time great number “Man tarpat hari darshan ko aaj”

These were many Raag based songs that made Naushad Classical Genius. Naushad introduced classical music with deft handling, making it melodious for mass appeal and yet retaining enough artistry as the situation demanded.  Right from composing 'Rimjhim barse badarwa' in raga Pahadi in film Rattan effortlessly rendered by Zohrabai Amabalewali, Naushad emphasized the durable value of Indian classical music. 

His most durable composition Suhani raat dhal chuki was shaped in Pahadi and was from film Dulari made in 1949 that became legendary and is still considered an integral part of any singer’s repertoire in any musical gathering. His other popular number in Pahadi was Tod diya dil mera composed for film Andaz in 1949 and rendered by Lata Mangeshkar.  Another of his milestone songs was Toote na dil toote na picturised on Dilip Kumar in Andaz in 1949 and sung by Mukesh,

Prominent immortal songs composed by Naushad are from  Mela, Deedar, Amar, Uran Khatola, Mother India, Kohinoor, Gunga Jumna, Mere Mehboob, Leader, Dil Diya Dard Liya and Ram Aur Shyam.

Song of Rattan 1944

Song of Shahjehan 1946

Song of Shahjehan 1946

Song of Anmol Ghadi 1946

Song of Anmol Ghadi 1946

Song of Dard 1947

Song of Dulari 1949

Song of Andaz 1949

Song of Deedar 1951

Song of Baiju Bawra 1952

Song of Uran Khatola 1955

Song of Mother India 1957

Song of Mughal e Azam 1960

ong of Gunga Jamuna 1961

Song of Mere Mehboob 1963

60 Years of Mughal E Azam

The Filmfare reviewed Mughal-E -Azam at the time of its release on 5th Aug 1960, it is a  tribute to the imagination, conviction, hard work, and lavishness of an extraordinary filmmaker K Asif. 
The development of Mughal-e-Azam began in 1944 when Asif read a play set in the reign of Emperor Akbar He got a financer/producer Shiraz Ali Hakeem to make the movie. K Asif cast Chandra Mohan, D.K. Sapru, and Nargis for the roles of Akbar, Salim, and Anarkali, respectively..Shooting started in 1946 in Bombay Talkies studio. It is said four reels were shot. The political tensions and communal rioting surrounding India's 1947 partition and independence stalled production. Shortly after partition, Shiraz Ali migrated to Pakistan, leaving Asif without a financier. 

The actor Chandra Mohan suffered a heart attack and died in 1949. Shiraz Ali had previously suggested that business tycoon Shapoorji Pallonji could finance the film. Although Pallonji knew nothing about film production, in 1950 he agreed to produce the film because of his interest in the history of Akbar. Production was then restarted with a new cast. Initially, K Asif rejected Dilip Kumar for the part of Prince Salim as he was too slim but later signed him for the role. For Akbar, the name of Prithviraj Kapoor was recommended by Shapoorji, and for the role of Anarkali the name of Suraiya was chosen but she refused the film. Ultimately Madhubala was signed for this role. 

In 1952 K Asif began the shooting with the new cast. The music director now was Naushad, earlier it was Anil Biswas. Asif wanted to make the film on a grand scale, each set took 8 to 9 months to complete. It took 7 years to complete the film. Shahpoorji had full faith on Asif, he kept on pouring money for this film. Those days a normal film used to have a budget if 12-15 Lakh but this film was made on a budget of 1.5 crore rupees.
The film was sold for an astounding amount of 1.7 million per territory at a time when a big film used to be sold at 3 to 5 lakh per territory. There was a great euphoria related to this film. A grand premiere of this film was organized at Maratha Mandir theatre in Bombay'.All the top celebrities attended the premiere.   In sync with the grandeur of the era, the film had set out to capture, invitations designed as a royal scroll and titled “ Akbarnama” were sent out to “command” the guests to arrive at the grand opening of the film.

. The film had an all-India release in 150 theatres simultaneously. This was a stupendous feat in those days. The film opened to largely positive reviews. It had captured the imagination of the viewers with its lavish scale, excellent performances, immortal dialogues, and soulful music. The film made a record collection 0f rupees 4 million by way of advance booking for the first week in Bombay only. Audiences queued up in front of theatres to see the film. Many stood and lived outside the theater for days. The demand for tickets of the
film forced the management to close ticket bookings for three weeks, “something that had never happened before—or since”.A rupees 1.30 ticket was sold in black for an amount as high as 200/-. Newspapers widely reported the success of the film and the mass hysteria amongst the audience. 
 Mughal-e-Azam became a mega-success and collected sales amounting to 35 million. It ran houseful in Maratha Mandir for three years, a record for Indian cinema which was broken after 15 years by Sholay in 1975.
Mughal-e-Azam garnered the position of a celluloid monument. On November 12, 2004, the film was re-released after fully coloring in theaters across India and history was all set to repeat itself.

Premiere of Mughal e Azam 1960

Song of Mughal e Azam 1960

Song of Mughal e Azam 1960

Song of Mughal e Azam 1960

Song of Mughal e Azam 1960

Song of Mughal e Azam 1960

Song of Mughal e Azam 1960

Song of Mughal e Azam 1960

Song of Mughal e Azam 1960

Song of Mughal e Azam 1960

Song of Mughal e Azam 1960