The other Anarkali: NAUSHAD’S MAGIC !!

****The other Anarkali: NAUSHAD'S MAGIC !****

Naushad is undoubtedly another king of melody in Hindi Film Music. He composed a wide variety of tunes. One of his masterpieces is the music of K.Asif magnum opus Moghul-e-Azam. What made the tunes sound better was that they were filmed on the ultimate beauty of Hindi films: Madhubala!

The melodious music of Moghul-e-Azam is apparent from the very beginning when the titles are shown. Most members must be familiar with the story, and hence i don't want to delve into the details this time. The beauty of the music in this film lies not only in its songs, but the background score as well. A good example of the background music is the time when Prince Salim returns to his mother after 10+ years at the front, where he was sent as a kid in order to "be all you can be!"

We finally get to the first song after a remarkable scene in which Madhubala poses as a marble statue, and is given the title of Anarkali. This song is in celebration of the return of Salim to the royal palace.

1. "Mohe panghat pe nandlal cheR gayo re......"

http://www.youtube.com/watch?v=0kai2g7Z9Lc

The opening notes on the flute before the song begins are... , well, music to the ears! What else could they be :-) Naushad Sahab has used his classical music background to the maximum to churn out such a tune. The interludes on the sitar are good as well. Another talent of Naushad Sahab is to use the chorus almost like an extra instrument to add to the song's melody. He does that very well in this song.

2. "Teri mehfil me kismat aazmake hum bhi dekhenge......"

Teri Mehfil Main Kismat Aazma Ke

http://www.youtube.com/watch?v=s4bK4ytFTX0

i think this is the second song in the movie which is a competition between Anarkali and her rival Bahaar, and is equivalent to the present day antakshri. Again this song is a combination of good music and lyrics.

Mohabbat humne maana zindagi barbaad karti hai

Ye kya kam hai marne pe duniya yaad karti hai

Kisike ishq me duniya lutakar hum bhi dekhenge......

1. Ai ishq ye sab duniyawale bekaar ki baaten karte hai

The mutual love which develops between Salim and Anarkali is noticed by her younger sister who has the courage to sing the following song in front of the prince himself. i find this song as the most melodious song of the movie, although not the most popular. It has a certain "flow" about it and the stanzas go up and down in a smooth fashion. Also, the almost-negligible pause between two lines of a stanza adds to the melody.

"Ai ishq ye sab duniyawale bekaar ki baaten karte hai

Paayal ke ghamon ka ilm nahin, jhankar ki baaten karte hain...."

4. Hume kaash tumse mohabbat na hoti

Kahani humari haqeeqat na hoti

http://www.youtube.com/watch?v=AkFBZCNvxfY

i think this is the 4th song in the movie. It really is a very difficult song to sing and only Lata could have done justice to it. The song is set to a very high pitch and has been sung to perfection by Lata. Anarkali realizes that falling in love with the prince is not the ideal thing to do for a palace maid.

At this juncture, Akbar comes to know about the Salim-Anarkali romance and catches them together. The background music while Akbar approaches is superb. Anarkali tries to run away upon hearing the announcement of his arrival, only to walk almost right into him. She then turns back and runs towards Salim, and faints in his arms. This scene is picturized very well and the expression on Dilip Kumar's face at this time is a testimony to his prowell as a great actor.

5. Mohabbat ki jhooti kahani pe roe, Badi chot khaee jawani pe roe...

http://www.youtube.com/watch?v=4FAJLUZ0VuY

Anarkali is imprisoned and sings the following song in the prison. Another good combination of music and lyrics:

"Mohabbat ki jhooti kahani pe roe

Badi chot khaee jawani pe roe...."

Khabar kya thi honton ko seena padega

Mohabbat chupake bhi jeena padega

Jie to magar zindagani pe roe.

6. Pyaar kia to darna kya....

http://www.youtube.com/watch?v=ygVS5xnldjU

Now comes the most popular song of the movie: the immortal "Pyaar kia to darna kya...." This part of the movie was in colour (rest was B&W in the original film). Anarkali is promised freedom on the condition that she will declare that she made Salim fall in love with her only due to the selfish motive of becoming the queen. This song is her answer to Akbar. This is one of those songs along which you feel like snapping your fingers. Very pertinent lyrics too:

Aaj kahenge dil ka fasana, jaan bhi lele chahe zamana

Ishq me jeena ishq me marna, aur hume ab karna kya

Jab pyar kia to darna kya.......

7. Bekas pe karam kijie Sarkar-e-Madina

Bekas Pe Karam Kijeye

http://www.youtube.com/watch?v=D9gpADoAUw0

Anarkali is imprisoned again, and a war is waged between Akbar and Salim with Akbar naturally emerging victorious in the end. The following song is a supplication by Anarkali in the prison. Its a song which touches your soul, and is rated by Lata herself in her top ten! Another very difficult song to sing:

Bekas pe karam kijie Sarkar-e-Madina

Gardish me hai taqdeer, bhanwar me hai safeena

8. Wafa ki raah me, aashiq ki eid hoti hai

http://www.youtube.com/watch?v=fMbdJi066qg

Salim is arrested and sentenced. A local sculptor leads a protest against Akbar and sings this song, the sole Rafi song in the movie:

Wafa ki raah me, aashiq ki eid hoti hai

Khushi manao logo, mohabbat shaheed hoti hai

Zindabad, zindabad , ai mohabbat zindabad

Daulat ke zanjeeron se tu, rehti hai aabaad.

9. Jab raat hai itni matwali

http://www.youtube.com/watch?v=a8CcRZvbwXQ

Salim's life is spared on the condition that Anarkali would lose hers, and she agrees. However, she insists that she be allowed to become the "malaika" for a day, since Salim had promised her. She is granted her wish and asked to drug Salim at night so that she could be taken away without his knowledge. At this juncture, Bahaar (Anarkali's rival) sings the foll. song on the night before Anarkali is to be executed. Note the pertinent lyrics:

Jab raat hai itni matwali

Phir subah ka aalam kya hoga.....

10. Khuda nigehbaan ho tumhara, dhadakte dil ka payaam lelo

http://www.youtube.com/watch?v=Uavzz1iqwt8

The final song is a background song, while Anarkali drugs Salim. Again Naushad Sahab's musics combine with Shakeel's lyrics to produce a gem. At this time, Salim is unconscious, while Anarkali knows that she is going to die the next day.

Khuda nigehbaan ho tumhara, dhadakte dil ka payaam lelo

Tumhari duniya se jaa rahe hain, utho hamara salaam lelo

My fav. stanza in this song:

Uthe janaza jo kal humara, kasam hai tum ko na dena kaandha

Na ho humari mohabbat ruswa, zara mohabbat (?) se kaam lelo

Finally, it turns out that Anarkali does not die, but Salim is made to think so.

Thanks Didi here is an article

love saga to add colour to Divali

New Delhi, October 24
When today's generation sees the sheesh mahal (glass palace) in glittering colours in the song 'Pyar kiya to darna kya', it often wonders why the film 'Mughal-e-Azam' was produced in black and white, little realising that making films in technicolour in those days was a very expensive affair. Realising that today's viewers — except those of the old school who are nostalgic about old black and white cinema — will generally not accept films that are not in colour, this film which was the most opulent production when released in 1960 is being re-released in colour. And though viewers even today wonder about Madhubala's extraordinary beauty and inscrutable smile, few know that the re-release of this K Asif epic will be the first-ever time that Madhubala will be seen in colour throughout the film, apart from the famous sheesh mahal song. Clearly the most expensive Bollywood film of its time, this love saga of Salim and Anarkali will be the first-ever 35-mm film in the history of world cinema to be turned into colour. The coloured version of this classic starring thespian Dilip Kumar and Madhubala along with the late Prithviraj Kapoor was made possible through the initiative of one-time financier Shapoorji Pallonji, who holds the rights for the negative of the film. Pallonjis spokesperson Suryavanshi said the colour version, where an old mixed sound track has been re-recorded and digitally re-mastered for a Dolby 6.1 Mix for the first time in the world, will be released all over India around Divali. Veteran music maestro Naushad who had composed the music of the film was also involved in the digital re-mixing.

On seeing the coloured version, Dilip Kumar remarked that he looked much younger in it, Suryavanshi said. — UNI

Thanks didi,

Songs of Mughl-e-azam is evergreen . So is most of Naushadji's compositions.

When it came to composing songs based on Hindustani classical music, no other music director could beat Naushad. His composition for the film Baiju Bawara is considered by experts to be the best classical ever in Hindi films. Naushad always tried to give prominence to Indian musical instruments. He was not in favor of using western instruments, although occasionally he did use them. His composition of classical based songs 'Man Tadpat' (Raga: Malkauns) and 'O! Duniya ke rakhwale' (Raga: Darabari) in the film Baiju Bawara are the best compositions ever for these two respective ragas.

When it came down to composing music, Naushad was a perfectionist. When Rafi was doing the rehearsals before recording the bhajan 'Man Tadpat', Naushad discovered that Rafi had a problem in pronouncing certain Sanskrit words in the lyrics. Naushad immediately brought Sanskrit pundits from Varanasi and asked them to work on Rafi's diction. These Sanskrit pundits worked day and night to improve Rafi's diction and after several rehearsals, Naushad gave the green signal for the final recording. And this bhajan went onto become an all time hit and is sung in almost every Hindu temple all over the world. After the great success of classical music of Baiju Bawara (1953), Naushad had already won the admiration of the famous producer V. Shantaram. In 1953, when Shantaram was planning to produce his most famous film Jhanak Jhanak Payal Baje, he initially invited Naushad to compose music for this film. At this time, Naushad already knew that great music director Vasant Desai was already an employee of Shantaram's Rajkamal studios. Naushad thanked Shantaram for the offer. But after a few minutes of chat, pointed out that when music director of the caliber of Vasant Desai was already available in Rajkamal Studios, it would be appropriate that Shantaram offer this film music to Vasant Desai. He also stressed that Vasant Desai was fully capable of giving classical based music. So Naushad was noble enough to forego the opportunity to compose music for Shantaram's film. After coming to know about this incident, next day, Vasant Desai, with tears in his eyes, personally came to Naushad and thanked him for this noble gesture. We all know that Vasant Desai did a wonderful job in composing classical based music for the film Jhanak Jhanak Payal Baje. Naushad not only gave music with classical base but he also guided most of the producers to write effective script for their films. Naushad put lots of efforts in bringing the script in line with the music that he had in mind for a particular movie based upon the story of the movie. Very few music directors acted this way.

Naushad's in-laws were totally against Hindi films and its music, and they considered it to be a social stigma. Naushad's family hid this fact from his would be in-laws before he got married. And the in-laws were not aware that Naushad was a music composer in Hindi films. The songs of his film Ratan had already become a super hit all over India. Ironically, his Baaraat (wedding band) in his native place in UP (far away from Mumbai), played songs from the film Ratan. Naushad got scared. In order to show his innocence, he asked one of the members of his in-laws' wedding party if they liked what the band was playing. And most of them said that they enjoyed the tunes being played by the band and wondered as to who may have composed these tunes originally. Naushad heaved a sigh of relief but did not disclose that he was the composer of those tunes.

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I had read this while scavenging on the MD's of golden years and thought ot share with you all.

Source:

http://dr-narasinha-kamath.sulekha.com/blog/post/2003/10/bol lywood-music-directors-some-facts.htm

Making of Mughal-e-Azam
Source: Filmfare
Author: Roshmila Mukherjee

(This article is an extraction from the authors article and focuses on the making of the music and songs of Mughal-e-Azam and also Naushad ji's involvement in the various department of the movie along with the movie's director K.Asif.)

Madhubala was an unforgettable Anarkali. And her portrayal of Radha in "mohe panghat pe nandala chhed gayo re" continues to mesmerise movie-goers. Surprisingly, the song was almost edited out. "It's bakwas.. it'll ruin the film," thundered noted director Vijay Bhatt after the recording. "Why show Akbar celebrating Lord Krishna's birth?"

Music director Naushad argued that with Jodhabai present in the Mughal court, it wasn't all that illogical. After discussions with the panel of script writers, a line was incorporated in Anarkali's introduction scene to Prince Salim. A courtier was made to say "Aaj Krishna janmashtami hai aur Radha ke liye Anarkali theek rahegi." The song went on to become piece-de-resistance.

K.Asif wanted the best choreographer for the song. Naushad suggested Lachchu Maharaj. And the great Kathak exponent burst into tears the minute her heard the song. Asif was baffled. "Why is he crying," he asked Naushad. "Tell him to start dancing."

Naushad took the dancer aside and asked him why he was weeping. Lachchu Maharaj confided that his father, Alkaji Bindadin, had been Nawab Wajid Ali Shah's darbari dancer. And "mohe panghat pe nandalal" with nawab playing Krishna, was his favourite composition. "Hearing the number after all these years, I was overwhelmed. It reminded me of baba".

It took Lachchu Maharaj five days to choreograph the number. His Radha was lovely..but she was no classical dancer. So the camera would zoom in on Madhubala for the close-ups. And one of Lachhu Maharaj's boys doubled for the actress in the long shots. On every one of those five days, there was an important visitor across the border of the sets - Zulfikar Ali Bhutto. He would drive down from Worli to Mohan Studio and spend the day there raptly watching the song being picturised.

For Salim and Anarkali it was love-at-first-sight. It's a moonlit night. The prince is caressing her cheek with a feather. "No dialog," decided Asif. "Just a song playing in the background." Tansen singing "prem jogan ban jaoo.." in raag Sohni. A purely classical number which only an ustad could render.

Naushad suggested Bade Ghulam Ali Khan. But Ustadji didn't sing for films. Asif was convinced he could make him change his mind. One Sunday morning he drove down to the Ustad's house with Naushad.

Ustadji hated Asif on sight. He took Naushad aside and whispered, "Who is this man smoking so arrogantly? Doesn't he know this is a musician's house? I can't sing for him." But the director wasn't stymied. Flicking ash on the floor has said,"You will sing. Just name your price." Affronted, the Ustad mentioned a staggering sum, "Rs 25000!" Asif immediately handed him Rs 10000 and promised to pay the rest on the day of the recording. Bade Ghulam Ali Khan would sing!

On the day of the recording, he was there at the Mehboob Studio on the dot. Glancing around the studio he thundered, "Where is the gadda, chaddar, takiya? I can't sing like this!" Within minutes, the studio was transformed into a baithak. The Ustad started in the gamak taan but it sounded too heavy for a romantic scene. When Asif suggested something softer, Ustadji called for pack-up. "Show me the scene first, only then I will sing," he said before leaving the baithak.

Fortunately the scene had already been shot. It was edited overnight and Bade Ghulam Ali Khan saw it the next morning. One look and he was fida over Madhubala. "Anarkali kaafi khubsoorat hai. Shehzada bhi kaafi khubsoorat hai. The scene's been photographed well," he nodded approvingly. He rendered the number four times and each time the film had to be rewound and played. At the end of the marathon session, all he had to say was, "Take whatever you want.. Just see that it's good.".

However, K. Asif was not finished with the Ustad yet. Salim was returning home after 14 years. Jodhabhai sends word to Tansen to sing in a raag which would make Salim forget the sound and fury of the cannon blasts. And Tansen meant going back to Bade Ghulam Ali Khan. Another Rs 25000! "Shubh din aayo re" was recorded. And only 15 second segment from it was retained!

Almost 20 songs were recorded for Mughal-e-Azam at the price of
Rs 3000 each. Each one was a classic. And yet, almost ten of them were left out, including "Husn ki baraat chali" sung by Lata, Shamshad Begum and Mubarak Begum because the scene where Salim comes to the boathouse to give away awards to the court singers was deleted from the film.

So were "akele mujhe chhod ke kahan chale re" and "aai ishq yeh duniyawale bekaar ki baaten karte hain". Another hummable Shamshad Begum song "chala ja re nami chhalakte hua" was also never heard again because Anarkali never did send her prince a love letter in a floating lotus.

There were times when Naushad wondered why he'd taken on the project. He almost hadn't the first time K.Asif had approached him. "I was upstairs in my music room. The family had strict instructions that I was not to be disturbed," Naushad reminisces. "But who could stop Asifsaab? He entered the room and announced, 'I'm making Mughal-e-Azam.' Immersed in my work I didn't hear him. He repeated himself. I didn't react. Then he threw a bundle of notes on my harmonium. I was livid. I glared at him. He still
insisted that I should compose the music for his film."

Meanwhile Rs 75000 lay scattered in the room. When the servant came up with a trayful of tea, he was horrified. He rushed to the music director's begum with the news that currency notes were scattered all over. She shrugged, "Maybe they're counterfiet." He insisted that they were real. She finally gathered the notes unnoticed by her husband.

Today Naushad talks of the Mughal-e-Azam experience fondly. "I remember composing "pyar kiya to darna kya". We had been experimenting all day and rejected two lyrics. It was almost midnight when I remembered a folk song of East UP, "prem kiya kya chori kari hai". It didn't take Shakeelsaab long to convert that into a beautiful ghazal. By the time, we had the song wrapped up it was 6am".

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