Annu Kapoor, the best chronicler of Hindi film music in our times, leads you through the stories behind the hit Bollywood numbers down the ages and how many songs, like Dum Maro Dum of Hare Rama Hare Krishna, almost got deleted from the film for perceived negative connotation
SHAMMI KAPOOR
Asha Parekh and Shammi Kapoor did three movies together — Pagla Kahin Ka (1970), Teesri Manzil (1966), Dil Deke Dekho (1959) in the 60s and the early 70s. Very few people know that Parekh used to call Shammi chacha. In fact, the late Shammi treated Asha Parekh as his daughter. During the shoot of a film, Geeta Bali (his first wife) came on the sets, saw Asha Parekh and told Shammi Kapoor that they should adopt this ‘sweet girl’. But thisjodi has been featured in many romantic classics that are remembered till date.
Shammi Kapoor is the only one who takes lipsyncing to another level. In the song Chham Chham Baje Re Payaliya from Jaane Anjaane (1971) starring him, Vinod Khanna and leena Chandavarkar, Shammiji actually sang the entire song. If one looks at the song and watches the lip movement, one will realise that he has sung the entire song from start to finish. It was extremely difficult to do, more so as the song was sung by Manna Dey.
KISHORE KUMAR
He was the most versatile of the lot when it came to acting, singing and being a music director. All his songs are evergreen. One need to only pick a song of his and it would have been a hit of its time. He had a fantastic voice and a sense of rhythm that few people have today. The only problem with him was that despite being such a great artist, he was not a great man. He was rather complex in real life and hence much speculation about personal life especially related to his marriage with Madhubala.
But when it came to work and music, we have yet to find his replacement. However, even at that time, Hindi cinema was inspired by folk music, classical ragas and western music. And the song — Thandi Hawa Yeh Chaandni Suhaani (Jhumroo, 1961) composed by Kishore Kumar is an almost verbatim lift from Julius la Rosa’s Domani. Of course, Kishore Da added his own brand of brilliance making it one of the best songs.
RAJESH KHANNA
Most actors don’t exercise their creative talent while portraying a role. But Rajesh Khanna brought in a style of his own at that time, that of the boy next door wearing a kurta and pants. This image of his, which began from Anand (1971) directed by Hrishikesh Mukherjee stayed with him till the very end. Though his stint as a superstar was short, he was definitely the mega star of his era. Some of the songs like Mere Naina Sawan Bhadon from the film Mehbooba are all time classics. The story goes that the song was originally supposed to be sung by Mohammed Rafi since it was semi-classical and Shakti Samanta felt that Kishore Kumar would not be the right person to sing it. Kaka, however, insisted that the song be given to Kishore Kumar and at night he went to Kishore’s house and told him that he had to sing for the movie. Kishore Da asked for some time because he was busy with another project. RD Burman though a little sceptical felt that he should be given a chance. The day arrived and Kishore gave the first take. He sang the song so badly that Samanta walked out in disgust.
Once he was out, Kishore Kumar asked Kaka if Shakti Samanta had left. Probably he knew that he was not the first choice of the director and had thus given his worst performance. But whatever had been going on in Kishore Kumar’s head — clash of egos — was put to rest. The second time that he sang the song, he stunned everybody including Kaka. The song, as we all know is one of Kumar’s best ever.
JOY MUKHERJEE
He was perhaps an accidental actor or an actor by default. It is said that he just stumbled into acting. RK Nayyar was looking for a fresh face for a movie and young Mukherjee just happened to be at the right place at the right time. The end result, love in Shimla, produced by Sashadhar Mukherjee, staring Joy Mukherjee and Sadhana. Both made their debut in this movie. One can’t say he was a great actor. The advantage that he had was that all his movies like Shagrid, Ek Mufasir, Ek Hasina, Phir Wohi Dil laya Hoon, love in Tokyo, etc had fantastic songs. It were the songs that made the movie a hit and not because Joy Mukherjee was good as an actor.
Songs like Aanchal Mein Saja lena Kaliyan sung by Mohammed Rafi film Phir Wohi Dil laya Hoon (1963) music by OP Nayyar and Dil Ki Awaaz Bhi Sun from the film Humsaya and music given by OP Nayyar are such beautiful songs. And they all are picturised on Joy.
Vaijayanti Mala
She was a beautiful dancer and wonderful person. In fact, some of her co-actors were in so much awe of her that they needed to prepare much in advance for movies in which she played the lead. In the song Dekhaa Hai Teri Aankhon Men, Pyaar Hi Pyaar Beshumaar in the movie Pyar Hi Pyar (1969), Dharmendra had to down four drinks before he could muster courage to do the song and dance sequence. Such was her aura. Of course, one can’t forget her brilliance in Hothon Pe Aisi Baat Main Daba Ke Chali Aayee (Jewel Thief, 1967). If you see the song carefully, one will know that each shot is long. Now, to give a long shot for a dance is the most difficult thing to do. Only a great dancer who has the stamina to do so can deliver this with finesse.
DEV ANAND
The songs in his movies were great and so were the storylines. So, his movies became superhits. In the movies which he produced and directed, he ensured that he was present at every stage — from the lyrics, to music composition to the final song.
Interestingly, the Asha Bhosle song Dam Maro Dam was never intended to be part of 1971 film Hare Rama Hare Krishna. Dev saab felt that it had negative connotations. But RD Burman and lyricist Anand Bakshi prevailed on him and the song was finally incorporated. Today, that song has become a cult and the focal point of introducing Zeenat Aman.
(As told to Shalini Saksena)