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Joined: Sun Nov 02, 2008 3:32 pm Posts: 992 Location: भारतीय निश्चेतक
while accessing the article repertoire came across this nearly fresh one on Gulzar-R D Burman chemistry, before you embark on this short and sweet article must listen to this song which will help understand this. MERA KUCH SAMAN/CLICK
Ijaazat song was prophetic for RD Burman and me: Gulzar
Lyricist Gulzar has pointed to a strange coincidence in a new anthology of songs, Qatrah Qatrah, which comprises lyrics written by him for composer RD Burman.
Says the poet-lyricist: "In one of Pancham's (as the composer was known) most beloved songs, Mera kuch saamaan tumhare paas pada hai in the movie Ijaazat, I had written ek sau solah chaand ki raatein, ek tumhaare kaandhe ka til. Those 116 moonlit nights that I wrote about proved prophetic.
"When these two anthologists Vishwas Nerurkar and Biswanath Chatterjee got together to prepare this anthology Qatrah Qatrah for Sangeet Kala Kendra, they realised that exactly 116 of my songs were set to music by Pancham. I unconsciously wrote about it in the song," the lyricist recalled.
Indian classical literature incidentally lists 116 phases of the moon.
Gulzar is full of memories and anecdotes about Pancham. "He used to be at his wit's over my lyrics. Ek to bechare ki Hindi weak thi aur oopar se meri poetry (the poor man's Hindi was weak and to top it, he had to grapple with my poetry.)," the poet said.
"When I gave him mera kuch saamaan... he threw away the sheet saying, 'next you'll give me the headline of Times Of India and tell me to tune it," laughed Gulzar.
For Iss mod se jaate hain, he wanted to know where this city called, Nash-e-man, could be found. I'd sometimes hear him humming a Bengali song and ask him to give it to me. That's what happened with Tere bina zindagi se (Aandhi) and Do nainon mein aansoon bhare hain (Khushboo). For a song in Ghar, he was petrified to tell Lataji to sing the word badmaashiyon. I had to do the needful while Pancham hid behind a pillar. Pancham lived only for his music. Everything else was a distraction for him. Of course I miss him. This anthology reminded me of him," Gulzar said.
That isn't all. Veteran journalist Saibal Chatterjee has penned a biography Echoes & Eloquence: The Life And Cinema Of Gulzar which weaves little-known details from Gulzar's life from his childhood and growing up years, with his cinema.
Says Gulzar: "Saibal is someone I've known for years. He has a great deal of affection for my work. Normally, I wouldn't want books written on my work. That's too self-important. But I couldn't say no to this."
Here's a very old article from filmfare... the article last part tells how this pair created the songs for the film Aandhi..... rest of the article more discusses about the film and its making and all........
“Do you have any idea of sur and taal?” How aandhi got its songs - Gulzar [Published in Filmfare]
Time for a flashback once again. Since November 6 marks the 20th death anniversary of Sanjeev Kumar, I've chosen one of Sanjeev's and my favourite films, Aandhi, as the topic of this month's conversation.
In a way, Sanjeev and I grew up together. I knew him from his early National Theatre days. I was associated with IPTA (Indian People’s Theatre Association) and we’d often meet while rehearsing at the Bhulabhai auditorium in Mumbai. Sanjeev had played the old man in All My Sons, with Leela Chitnis playing his wife, and he must have been just 22 or 23 when he played the character. The best compliment he received was from Prithviraj Kapoor who asked him after the show, “Who was that old man?” Sanjeev was thrilled that the thespian himself hadn’t recognised him.
As far as I was concerned, Sanjeev Kumar was born an old man for me and he played a role much beyond his age the very first time he worked with me, in Parichay. If you’ve observed, his age group and costumes were almost the same in both Mausam and Aandhi. And yet how differently he portrayed the two characters. This is something budding actors must learn from him “changing a costume is not enough to play a different character.”
So how did Aandhi come about? The story started with J Om Prakash, who wanted to make a film with Sanjeev Kumar and Suchitra Sen. He asked me to direct it. Sachin Bhowmick, who’d written the story, narrated it to me, in the presence of Sanjeev Kumar and Omji. But I felt the heroine’s role didn’t do justice to Suchitraji’s talent. I told them, if this is the story you want to make, there’s no need to trouble Suchitraji. Any actress could do the role. To my pleasant surprise, Sachinda agreed with me.
The question then arose: What should we make? I told them I’d think about a story. And came up with a synopsis revolving around a politician who arrives at a hotel to discover the hotel manager is her estranged husband. To begin with the husband is very traditional, conservative. He doesn’t like his wife going out to work. But towards the end, he realises his mistake. So when the wife tells him she wants to give up her career, he tells her, “No, you have a duty to the nation. I don’t want to see you defeated at home or outside it. I’m there with you.” The change in the husband drives the point home that a woman has as much right to go out as the man.
Contrary to popular opinion, my story wasn’t based on Indira Gandhi’s life. It had nothing to do with Indiraji. She was just the role model for the lady politician. Frankly, who better could there be? She was such a dynamic lady.
But one theatre publicised the movie with the line, “See the Prime Minister of India.” Filmfare published a photograph of that theatre and a controversy erupted. The Emergency was on and the movie was banned in its 23rd week. I was in Moscow with the print of the film when I got the news. We tried our best to get the ban revoked and J Omji pursued the matter relentlessly.
We were then asked to make a few changes in the movie. It was suggested that the protagonist, ie Suchitraji, should declare in the film that she’s a great fan of Indiraji’s. So the scene was added on, to make it clear that Suchitraji isn’t Indira Gandhi. And we got it passed by Indiraji’s government.
But Indira Gandhi lost the elections soon after. Some people asked me to revert to my original movie. But I said, it’s just a matter of time before she comes back. And that’s exactly what happened. She was back after two years.
One interesting aspect that was brought to my notice after the movie was ready was that there’s just one female character in the entire film! There’s a mention of her daughter but you never see her. I hadn’t realised that, Omji hadn’t, even the actors hadn’t!
But Sanjeev Kumar complained, “Yaar, every time I hear your script, you tell me it’s my film, but when I see the movie, to heroine ki hoti hai” But I personally thought the movie belonged to both Sanjeev and Suchitra. If the story is about a husband and wife, how can it be just the wife’s story? I remember that when Meghna was making Filhaal, several heroes rejected the movie because they felt pregnancy is a woman’s problem. How can pregnancy be a woman’s problem without a man being involved? Similarly, in Aandhi, it’s just that the woman is the cause of conflict, so it seems as if the focus is on her.
The music of Aandhi was a big high for Pancham and me. In the song Is mod se jaate hain kuch sust kadam raste, there’s a line Patthar ki haveli ko sheeshe ke gharondon mein, tinkon ke nasheman tak. After he’d composed the song, I found Pancham deep in thought. Suddenly, he asked me, “Gullu, where is this nasheman?” He thought it was the name of some place that the roads led to. I had to tell him that nasheman meant a ghosla or nest.
Cut to when we were shooting the song. This time it was Sanjeev’s turn to ask me the same question. “I’ve never had to ask the meaning of any lyrics. But what does nasheman mean?” he queried.
As for Tere bina zindagi se, it simply happened one day at Pancham’s house. I had dropped in and found him composing a tune for a Durga Pooja album with Gauri Prassano, one of Bengal’s top lyricists. The lyrics went something like Amar deri holo je. I was so struck by the tune that I just started writing Hindi lyrics for it even as they were polishing it. After Gaurida left, Pancham asked me, “Now what do you want me to compose for you?” I told him, “Yehi gaana karenge.”
So we kept the original tune for the mukhda, and he composed something else for the antara. But when I inserted some dialogue into the lyrics, Pancham scolded me, “Do you have any idea of sur and taal? You cut in with your dialogue anywhere you want. It’s not done!” But we did it!
Lyrics >>>> of Tere bina zindagi se
Tere bina zindagi se koi shikwa toh nahin, shikwa nahin, shikwa nahin, shikwa nahin Tere bina zindagi bhi lekin zindagi toh nahin, zindagi nahin, zindagi nahin, zindagi nahin
Tere bina. zindagi se koi shikwa toh nahin...
Kaash aisa ho tere kadamon se Chunke manzil chalein, aur kahin, door kahinâ€”2 Tum agar saath ho, manzilon ki kami to nahin Tere bina zindagi se koi shikwa toh nahin, shikwa nahin shikwa nahin, shikwa nahin
Ji mein aata hai tere daman mein Sar chupake hum rote rahen, rote rahenâ€”2 Teri bhi aankhon mein aansooyon ki nami toh nahin
Tere bina zindagi se koi shikwa toh nahin...
Tum jo keh do to aaj ki raat Chaand dubega nahin, raat ko rok loâ€”2 Raat ki baat hai aur zindagi baki toh nahin Tere bina zindagi se koi shikwa toh nahin...
The greatest combination of music director-lyricist in Hindi cinema, IMHO. Lots of favourites. Here are my top 10 - though if I write the list an hour or a day later, some of the songs may change and so will the order of songs
1 Mera kuch saamaan - Ijaazat (brilliantly sung by Asha) 2 Beeti na beetayi raina - Parichay (Bhupinder in his element, and Lata of course) 3 Do naina - Masoom (an Aarti Mukherjee classic) 4 Tum aa gaye ho - Aandhi (Kishore-Lata) 5 Roz roz ankhon tale - Jeeva (Asha Bhosle and yes, Amit Kumar is phenomenally brilliant in this song) 6 Tere bina zindagi se - Aandhi (Kishore-Lata again) 7 Naam gum jaayega - Aandhi (Bhupinder-Lata) 8 Tujhse naraaz nahin - Masoom (both versions, by Lata and Anup Ghoshal) 9 Rishte bante hain - Dil Padosi Hai (private album - Asha) 10 Musafir hoon yaaron - Parichay (Kishore)
Am also trying to squeeze in 'Is mod' (Aandhi') and 'Katra Katra' (Ijaazat' )
Joined: Sun Nov 02, 2008 3:32 pm Posts: 992 Location: भारतीय निश्चेतक
Welcome on board, i am enjoying your posts, keep posting. Not many have heard great work of RDB-Gulzar duo in Dil Padosi Hai, you must be a musicbuff. here I am posting link for every one. link to dil padosi hai songs
My favourite is jhoote tere nain for intricacy in swara notation plus unusual chords when Asha ji si singin jhoote in various style, I also like saato baar bole bansi and bheeni bheeni bhor on raag miya ki todi if I am not wrong.
Have you heard all songs of Jeeva? there is a gem called dil pukare jeeva re aare, it has geat great preludes and interludes, i wonder what happened to such music which suffered because of flop movies. And
And the lyrics of this song from parichay sare ke sare gama ko le kar gate chale itself gives parichay that this is raag bilawal...!
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