Nau Do Gyarah and how to escape boredom
Somewhere during Dil Hai Ke Manta Nahin, Aamir Khan and Pooja Bhatt end up in an abandoned barn (or was it a garage), while escaping the clutches of the private jasoos duo of Rakesh Bedi and Virendra Saxena. There’s a radio playing in the background and through the crackle you hear Kishore’s voice singing ‘Hum Hain Rahee Pyar Ke, Hum Se Kuchh Na Boliye’. Aamir picks up a startled Pooja Bhatt and gives us a quick peek at his skills in ballroom dancing as the song plays on. When I first watched the film (almost 18 years to the day), I had no idea where the song was picked from. But, it stayed on my lips for a while.
A few weeks later as I spent a lazy afternoon inside the sacred environs of Sangeet Sitare Music store and Recording centre (like many such afternoons of my summer vacations) and went through the dog-eared register that the owner (the venerable Asim bhai) maintained of all the songs that he has on offer to record, I came across ‘hum hain rahee pyar ke’ in a page which had ‘Nau Do Gyarah’ written on top of it. It was an instant decision. Rs. 12 was spent on a blank 60 minute T-Series (Jai Mata Di) cassette and I asked Nau Do Gyarah to be recorded on it (Rs 3 for Side A and Rs. 2 for Side B, don’t ask why!).
A few years later when I watched the Dev Anand – Kalpana Kartik starrer on Doordarshan I understood the reason why Mahesh Bhatt had the song in DHKMN. DHKMN was based on Chori Chori (Raj Kapoor-Nargis) which in turn was inspired from Capra’s It Happened One Night. But Mahesh Bhatt wouldn’t let go without tipping his hat to another movie of the 50s which was ‘loosely’ based on the premise of Capra’s blockbuster. That was Nau Do Gyarah.
Anyway, all of that happened much later. What happened next morning was I listened to the soundtrack of Navketan’s Nau Do Gyarah. And, from then to this date, many all-time-best soundtracks later, I maintain, it’s one of the finest soundtracks ever in Hindi cinema.
Tall claim? Yes.
Taller, if you consider that an avowed Lata bhakt like me is ready to give the pride of place to an album that has no song by her.
But, kanoon sirf saboot ko manta hai and tamaam gawahon ke bayaanat ko madd-e-nazar rakhte huye, I must reach the same conclusion. Lata, or no Lata, it is one unforgettable album.
Nau Do Gyarah was the first directorial venture of Vijay ‘Goldie’ Anand who had written scripts for earlier Navketan films (Taxi Driver and Funtoosh). Apparently, Goldie put his foot down with his latest script. “The script comes with the director”, he told his older siblings. And, they concurred. SD Burman was the automatic choice by then for scoring a Navketan film with Sahir as the lyricist. But Goldie knew his script and felt Majrooh would do justice to the kind of songs needed for the milieu. So, for the first time Majrooh came into the Navketan banner.
However, by this time, Lata was out of SDB camp. As the story goes, this misunderstanding between Dada Burman and Lata started off with the recording of the song ‘saiyan kaise dharun dheer’ from the film Sitaron Se Aagey (1957). Dada wanted the song recorded again and asked his assistant Jaidev to convey the message to Lata. Lata had a trip abroad planned then and replied that she would do the recording after she’s back. Dada insisted on being given the first preference once she got back (again through Jaidev on phone) and was refused by Lata. This stung Dada to quick and he decided to not work with her anymore. This rift lasted for 6 years and the singer who replaced Lata in Dada’s camp was Asha (and the occasional Geeta Dutt).
Among male singers, Dada’s perennial favorite when it came to Navketan films was Kishore Kumar. In fact, I don’t remember a single Rafi number on Dev Anand under SDB’s baton before Nau Do Gyarah. However, by 1957, Kishore was getting serious about his acting career and wanted to invest more time on it. Dada, therefore, had to start getting used to Rafi for a Dev Anand film and Nau Do Gyarah would be his first experiment.
All of the above meant, Dada started off with Nau Do Gyarah with no Lata, limited time commitment from Kishore, Majrooh as a first-time Navketan lyricist and storyline which was decidedly urban (more OPN territory in those days). Decidedly a tall order for any music composer.
But, Dada Burman was not any music composer.
What magic did he weave in the face of those apparent constraints!!
Nau Do Gyarah (atleast the way I heard it first time) starts off with a Geeta-Asha picnic duet ‘kya ho phir jo din rangeela ho’. Geeta starts off languidly almost taking you to the beachside.
“kya ho phir jo din rangeela ho
rait chamake samundar neela ho
aur aakash geela geela ho”
Asha adds to the joie de vivre with an infectious laugh ringing out in her lines.
Aahaa phir to badaa mazaa hogaa
ambar jhukaa jhukaa hoga
sagar rukaa rukaa hogaa
toofan chhupa chhupa hoga
As female duets go, this is absolutely top notch. Almost at par with Sajjad’s duet ‘Dharti se door gore baadalon ke paar’ with the same singers in Sangdil. However, unlike the solemn likeness between the singers in Sangdil, here, Geeta shines on like a mellow afternoon sun while Asha bursts forth like tropic thunder.
Next in queue is ‘Aankhon mein kya ji’ which starts with an Asha aalap accompanied by a whistle (used very effectively through the album). There’s a certain loose-limbed impish image of Dev Anand in my mind which fits in with the playfulness of Kishore’s voice in this song. Majrooh almost had the morality brigade of the time up in arms with his lyrics in this song.
Aankhon mein kya ji? Rupahala badal.
Ok.
Badal mein kya ji? Kisi ka aanchal.
Ok
Aanchal mein kya ji?
Ajab si halchal
Blasphemy!!
What do you mean ‘ajab si halchal’? Majrooh clarified in the same vein as Anand Bakshi did years later on “Choli ke peechec kya hai”?
Asha decides on going solo for the next song, “Dhalki jaaye chundariya hamari ho raam”, which again starts with an Asha aalap and the trademark whistle of the album. Asha sounded her best (for me) in OPN compositions but this is strong argument in favor of the view that Dada Burman provided the finishing touches to the gem that OPN had so carefully polished. Majrooh, the master evoking first love (all the way to Pahla Nasha), puts it beautifully:
Jaise thandi pawan ban ke pyaar aa gayi
jaise chupake se ban mein bahaar aa gayi
phool ban ke
ho phool ban ke mahakane ke din aaye ho
Dhalaki jaaye chundariya hamari ho raam
Dhalaki jaaye
Another Asha solo follows but more in the club/cabaret format that we are so familiar with when it comes to her. “Jaane jigar haaye haaye, dekho to idhar haaye haaye” is the typical Asha number who raises it a few notches with her multiple intonations of ‘haaye haaye’. A Geeta solo follows almost in tandem with the similar club-intrigue-cloak and dagger feel. ‘See le zubaan’ is the only average number of the album (in my opinion) and it’s only the virtuosity of Geeta’s voice in such numbers that keeps you away from the forward button.
That brings us to the first SDB-Rafi song for Dev Anand. ‘Kali ke roop mein chali ho dhoop mein kahan’ almost has jazz like beginning with SDB taking upon himself to show his expertise on modern instruments and shedding the ‘master of folksy tunes’ image. The first minute of this song is simply brilliant orchestration which is followed by the Rafi query at the start of the song and Asha’s response, “sunoji meherbaan, hoge na tum jahan, wahan.” It’s a beautiful ‘chhed-chhad’ song and the quality of singing and the lyrics safely places it above (for me) that other chart-busting ‘chhed-chhad’ song ‘Chhod do Aanchal’ by SDB-Majrooh in the same year for Paying Guest.
Asha and Rafi team up for the romantic ‘Aaja Panchhi Akela” next. It’s a simple tune, a single track number heightened by a dulcet Asha’s intonation of ‘so jaa nindiya ki bela hai” through the song. Rafi plays the ideal foil with an almost resigned way of singing his lines (in fact he actually sings, ‘mar gaye hum, nikala dum, mar gaye hum) while Asha keeps his hopes alive with her optimistic ‘mausam kya albela hai’.
And, so we come to the song that started this whole thing off – ‘Hum hain rahee pyar ke’. Kishore has specialized in this genre of ‘road songs’ – a single male on the go, bemused, philosophical and self deprecatory. ‘Hum hain rahee’, however, remains the pioneer and possibly, his best in this genre. All that’s best of dark and bright of this album (apologies to Lord Byron) meet in this song. There’s the whistle to get the song started, the orchestration is modern but just before the ‘raah mein pade hain hum’ stanza, Dada Burman brings a folksy tune to complete his oeuvre for the album and Kishore towers over all of this in an inimitable style that he reserved for Dev Anand.
18 years later, as the clouds loom on the horizon, I put my feet up and play ‘kya ho phir jo din rangeel ho’.
May be what they say is true!
Good music doesn’t age.
So do people who listen to it.
Because it seems like 1991 all over again to me.
(Must check the TV listings. Who knows, DHKMN might be playing somewhere.)
Note: You can listen to Nau Do Gyarah here on musicindiaonline.com
Tags: Asha Bhonsle, Dev Anand, Geeta Dutt, Kishore Kumar, Majrooh, Nau Do Gyarah, Rafi, SD Burman
Anurag Kashyap
Abhay Deol
Dibakar Banerjee
Hansal Mehta
Khalid Mohamed
Kundan Shah
Anish Kuruvilla
Jaideep Verma
Manish Gupta
Navdeep Singh
Bhavani Iyer
D. Santosh
Onir
Ashvin Kumar
Ramu Ramanathan
Sudhir Mishra
Pankaj Advani
Revathy
Saurabh Shukla
Shilpa Shukla
Sujoy Ghosh
Suparn Verma
Santosh Sivan
Shashank Ghosh
Shivajee
Pavan Kaul
Partho Sen-Gupta
Prroshant Naryannan
Sam Langoria
Satish Kasetty
hmm, detailed analysis subrat da.
havent heard the entire album of nau do gyarah, but now feel tempted.
btw, the recording of songs on T Series (3 for front, 2 for back – no blasphemy here…) has been encountered by me and countless others as well.
and yeah, buy the DHKMN DVD, instead of waiting for the TV listings. these days u r less likely to find these kinds ‘good’ movies on Zee Cinema or Star Gold. they hv gone to the dogs…
Subrat DHKMN keeps comming often on Star and Zee. Love the songs of NDG, Hum Hain Raahi Pyaare Ke, and Aankhon Mein Kya Jee being my favs.
Kishore-Dev-SDB together have given us some memorable albums.
*Paying Guest( Mana Janab Ne Pukara Nahin, Chod Do Aanchal, Chand Phir Nikla).
* Funtoosh( Ae Mere Topi Palat ke aa, Dukhi Man mera)
* Gambler( Churi Nahin mera Dil, Dil Aaj Shayar Hai)
* Jewel Thief( All the songs)
* Tere mere Sapne( Hey Maine Kasam Li, Radha Ne Mala Jape Shaam ki, Jeevan ki Bagiya).
* Prem Pujari- The movie was a real turd, but had fabulous songs, Shokiyon Mein Gola Jaaye, Phoolon Ke Rang Se, Rangeela Re.
Thanks for this nostalgia trip.
that scene of DHKMN is awesome…i just watched it on cable this afternoon n felt that the song is so pleasant…n also wondered wat has happened to Mahesh Bhatt now…
i don’t remember if that scene from dhkmn was in capra’s original, but it was certainly there in that harrison ford movie with the amish. and it was in a barn, whereas in dhkmn it was a garage.
“Geeta shines on like a mellow afternoon sun while Asha bursts forth like tropic thunder.”
Aha….you have just immortalized the song in my mind.
Wonderful review.. Nau do Gyarah remains my most watched to date. Apart from music that just flows, it is a deftly made thriller and the lead pair are extremely charming.
I have liked different songs from this film at different times in life. These days I have been completely smitten by ‘Dhalti Jaaye Chundariya’. The songs tickles the senses like none other. You can almost feel the breeze in the song. I rate it as one of the finest of Dada Burman with Asha.
Thanks for this write-up. Time to revisit NDG.
Cheers
P.S I did want to add that Majrooh Saab’s entry into the Navketan camp was nothing short of a bolt of lightening… what energy!
Giving here an interview of SDBurman – from a Marathi Magazine ( translated into Hindi ) – talking about Kishore & Dev Anand :
“Guide” madhil Kishore Kumar-Lata Mangeshkar yaanni
gayilelya “Gaata Rahe Mera Dil Tu Hi Meri Manzil” he gaane vilakshan
gaazle. Digdarshak Vijay Anand ne he gaane padyavar
kalpaktene khulavla. Dev-Vahidane ya gaanyachya veli
ekmekanna itki samarasun saath dili ki, pranayi yugul
gaanyatle he gaane “masterpiece” tharla. He gaane me
jevha padyavar pahila tevha majhya swaranche sone zhalyacha anand
laabhla.
———
“Guide” mein Kishore Kumar-Lata Mangeshkar inhone
gaayaa huwaa gaanaa “gaataa rahe meraa dil tu hee
meree manzil” yah ek wilakshan geet bahut lokpriya hua.
digadarshak Vijay Anand inhone yeh geet apanee kalpana shakti ke bal
par padade par bahut achchhe dhang se khilaya. Dev-Vahidane is geet
mein ek doosre ko itanee bejod saath dee kee, premee yugal geeto mein
kaa yah gaanaa “masterpiece” ban gayaa. yah gaana maine jab padadepar
dekhaa tab muzhe lagaa, meree suron kaa sonaa ho gayaa hain.
—————-
Dev “Gaata Rahe” padyavar gaatana janu to swatahachya
galyatun – othatun gaatoy itka chapkhalpane Kishorecha awaaz Devla suit
zhala hota.
———
Dev ko “Gaata Rahe” padade par gaa dekh aisa lag raha tha ke maano woh
khud apne gale se, apne honthon se, gaa raha hai..itna perfect match ho
raha tha Kishore ka awaaz.
———
Arthat jyaveli Kishore Devsaathi Gayila tya tya veli haach
anubhav aala. Kishorecha awaaz janu Dev saathich nirmaan zhalay asa
vaatu laagta. Devchya abhinayachi prakruti, tyaachi samvaad bolnyachi
dhab aani vyaktimatvlatil haalchaali yaancha ekun vichar karta
Kishorechach awaaz yogya tharla. Mhanunach jevha jevha me Devcha
chitrapat sangeetasaathi ghetla tevha tevha Kishorechach awaaz
vaaparla. Pan Kishore aaplya laharipanacha malahi prasaad deun gelay.
Tyaala gaanyapeksha abhinayachi hukki aalyavar to gaanyasaathi
aksharshaha shodhun saapdena tevha mala nailazaane Raficha awaaz
vaaprava laagla.
———
Waise to har baar jab jab Kishore Dev ke liye gaaya, tab tab yahi
anubhav mila. Kishoreka awaaz maano Dev ke liye hi nirmaan hua hai,
aisa lag raha tha. Dev ke abhinay ki prakruti ( dhang ), uske
“dialogues” bolne ka tarika aur uske “personality” ke haal-chaal, ye
sab sochkar Kishoreka awaaz lena hi sahi nirnay hua. Isiliye jab jab
maine Dev ka film music dene ke liye liya, tab tab Kishore hi ke awaaz
ka istemaal kiya. Lekin Kishore ne apne swabhaav ka rang ( jo uske
dimaag mein aaye wohi karna ) mujhe bhi kai baar ikhaaya. Use gaanon se
zyaada jab abhinay karne ki soojhi, tab woh
gaaneke liye dhoondne se bhi na milta, tab mujhe Rafi ka awaaz ka
istemaal karna pada.
———
“Guide” saathi 10 gaani hoti. Tyaatil avghya ekach -
“Gaata Rahe” ya gaanyasaathi Kishore upalabdha zhaala.
Baakichi gaani me Rafi ( Tere Mere Sapne, Din Dhal
Jaaye, Kya Se Kya Ho Gaya ), Manna Dey ( He Raam
Hamaare Raamchandra ) yaanchyakadun gaaun ghetli. Don
gaani ( Wahaan Kaun Hai Tera, Allah Megh De Paani De )
me swatahach gaayili.
————–
“Guide” ke liye das geet the. usame kaa sirf ek hee -
“gaataa rahe” is gaane ke liye Kishore upalabdh (maane
avaiable) the. baakee ke geet maine, Rafi (tere mere
sapane, din dhal jaaye, kyaa se kyaa ho gayaa),
Manna Dey (He Raam Hamaare Raamchandra) inse gavaaye. do geet (wahaan
kaun hai teraa, Allah megh de paanee de) maine khud gaaye.
———-
Me Devsaathi Kishorepramaane Rafi, Manna Dey, Hemant
Kumar yaanche hi awaaz gaanyasaathi vaaparle. Pan
Kishoreshivaay phakta Rafichaach awaaz Devla Yogya
Tharla. Mandy Burmanchya “Manzil” madhye me Devsaathi
Manna Deychya awaazacha vaapar kela hota tar “Jaal”
madhye Devsaathi me Hemant Kumarcha awaaz ghetla hota.
Ya “Jaal” madhil Hemant Kumarna Devsaathi Gaayilela
“Ye Raat..Sun Ja Dil Ki Daastaan” he gaana gaazla
khara pan padyavar hech gaane Devchya tondi khatkat
hote. Kaaran Hemant Kumarcha awaaz kahisa jaad,
bhaardast aslyane Devchya “gulaabi” vyaktimatvala to
shobhla nahi. Mhanunach me nantar Dev saathi Hemant
Kumarcha awaaz ghetla nahi.
——–
maine Dev’ke liye Kishore ke alaawaa Rafi, Manna Dey,
Hemant Kumar inaki ‘bhee aawaazein geeton ke liye istemaal
ki. Mandy Burman inake “Manzil” mein Dev’ke liye Manna
Dey kee aawaj lee aur “jaal” main Dev’ke liye Hemant
Kumar’kee aawaaj lee gayee. “jaal” me Hemant Kumar
inhon ne Dev’ke liye gaayaa huwaa “ye raat..sun jaa dil
kee daastaan” yeh gaanaa prasiddha huwaa to thaa par
padade ke upar yahee geet Dev’ke mukh par nahin jancha. kyon ke Hemant
Kumar inakee
aawaaj thodeesee bhaaree, gambheer aisee hone’ke
kaaran Dev’ke “gulaabee” wyakteematwa ko shobhaa
nahee de rahee thee. isake liye baad mein Dev’ke liye
Hemant Kumar’kee aawaaj nahee lee gayee.
—–
“Navketan” chya “Baazi” saathi me prathamach
Kishorecha awaaz Devsaathi ghetla. Tyaatil ek
yugalgeet tyaane Geeta Dutt barobar gaayile. Devsaathi
tyaane “Dandara Dandara” he vinodi bolgeet hi gaayile.
————–
“Navketan” kee “Baazee” me maine pahilee baar Kishore’kee
aawaaj Dev’ke liye lee thee. uname kaa ek yugalgeet
Kishore’ne Geeta Dutta inake saath gaayaa thaa.
Dev’ke liye unhone “dandara dandara” yan ek majaakee
geet bhee gaayaa.
——
Kishorechya awaazatil vividhata, lavchikta vilakshan.
Tyaamulech ha kotehi gaana sahajtene gaau shakto ashi
maajhi khaatri pakki zhali. Tyaachyasaathi me udatya
chaalichi, paaschimaatya suravatichi, anandadaayi,
karunraspradhaan, raadaari ashi anek prakaarchi gaani
gaaun ghetli.
————-
Kishore’kee aawaaj’kee wiwidhataa, unamekee
flexibility inake kaaran woh koee’bhee geet badee
sahajataase gaa sakte hain aisaa meraa wishwaas
thaa. unake liye maine lively songs, western style,
happy songs, emotional, raagdaari (raag par aadhaarit) aisee bahut naye
prakaar’ke geet gava liye.
—-
Kishorechya gaayanatil harhunnari kasabamule me
chaanglaach prabhavit zhalo. Mhanunach me “Aath Din”
saathi tyaacha awaaz nirmatyachya virodhala na
jumaanta vaaparla. Kishore tyaveli prasiddhila aala
navhta. Pan tyaache gaayanache cheez karave ya hetune
me tyaala sandhi det rahilo. “Aath Din” nantar A.V.M.
chya “Bahaar” saathi me tyaala muddaam ghetle.
—-
kishore aawaaj me kee harahunnaree ko dekhkar main
bahut bahut prabhaaweet huwaa thaa. isiliye maine
“aath din” ke liye unakee aawaaj producer ke oppose me
jaakar istemaal kee thee. Kishore us wakt prasiddha
gaayak nahee tha. par unake gaaye huwe geeton ko ek
naam honaa chaahiye is hetoo se maine hameshaa unheeko
maukaa detaa thaa. “aath din” ke baad AVM kaa “bahaar”
ke liye jaan bujakar maine unheeko liyaa.
—–
Me dilelya sandhicha Kishorene manapaasun upayog karun
ghetla. To prarambhi Saigalchya awaazachi nakkal kari. Kaaran Saigal
tyaacha aadarsh gaayak hota. Pan me tyaala “nakkal”
chaalnaar nahi, swatahachya awaazache vegle vaishishtyach pudhe yenyaas
upayogi tharel asa salla dila, navhe bajaavlech. Tevha tyaane aaplya
veglya vaishishtyacha shodh ghenyaas
prarambh kela. Tathapi gambhir gaanyachya veli tyaachi
Saigalbhakti uphaalun aalyaavina rahat nahi !
———–
main ne Kishore ko jo maukaa diyaa usakaa unhone
badee nekee se upayog kiyaa. shurume woh Saigal inakee
aawaaj kee nakal utaaraa karataa thaa. kyonn kee
Saigal usake liye aadarsh the. par maine usako
“nakal” chalagee nahee, khudakee aapako aage aane ke
liye mahattwarpurna rahegee, aise kaha, balki chetaawanee dee.fir
unhone apni asli awaaz ko dhoodne ki koshish shuru kee. Phir bhee jab
woh gambheer geet gaayaa karte the to Saigal kee unakee bhaktee badee
upar uth tee thi.
—–
Paying Guest” madhil “Chhod Do Aanchal Zamaana Kya
Kahega”, “Maana Janaab Ne Pukaara Nahi”yansarkhya
gaanyaat Kinva “Teen Deviyaan” til “Khwaab Ho Tum”
yaansaarkhya gaanyaat Kishore ne Devsaathich manapasun
swar otun bahaar aanli. Kishorela Lata saarkhi
lajawaab gaayika barobar gaayla asel tevha vilakshan
mood yeyi. “Gaata Rahe Mera Dil” he ekach udaharan
tyaachi saaksha tharavi.
—–
Paying Guest me kaa “chhod do aanchal jamaanaa kyaa
kahegaa”, ‘maanaa janaab ne pukaaraa nahee” is jaise
geet aur “teen deviyaan” me kaa “khwaab ho tum” aise
geeton mein Kishore ne sachmuch sincerety se Dev ke liye apane
swar lagaaye the. jab Kishore aur Lata gaate the to
bahut hee wilakshan anubhaw aataa thaa. “gaataa rahe
meraa dil” yah ek hee geet udaaharan ne usakee saaksh
dee.
—–
“Aye Meri Topi Palatke Aa”, “Denewaala Jab Bhi Deta
Poora Chhappar Phaadke Deta”, “Chaahe Koyi Khush Ho”
kinwa “Duniya Ke Bazaar Mein Apna Band Bajaaye Ja”
Yaansaarkhi Devsaathi khelkar, halkiphulki gaani
gaanaara Kishorach “Dukhi Man Mere” saarkha “Funtoosh”
madhle dardbhare gaana Devsaathi gaato tevha
rasikmanachya shrotyache dole bharun aalyavina rahaat
nahi.
—–
“aye meri topi palatke aa”, “denewaalaa jab bhi detaa
pooraa chhappar phaadake detaa”,”chaahe koyi khush ho”
yaa “duniyaa ke baazaar main apanaa band bajaaye jaa”
aise geet Dev’ke liye lively, light-mood geet gaanewaalaa
Kishore “dukhi man mere” jaise “funtoosh” main
dardbhare geet Dev’ke liye jab gaane lage tab
chahanewaalo logon kee aankhose aasoo bahane bagair nahin rehte.
—-
Khelkar – gambhir asha donhi prakaarchya gaanyaat
Kishore-Dev hi gaayak-nat jodi agadi ekroop zhalyasaarkhi vaatate. Ashi
ekroopata qwachitach nirmaan hou shakte. Devla
Kishorechya awaazache mahatva ani vaishishtya patlyaane to
Kishoreshivaay anya gaayakancha vichaarach karenasa zhaala. Yaat
tyaachi kaahi chook nahi.
———-
lively-serious aise donon prakaar ke geet gaanon mein
Kishore-Dev yah jodi ek doosre ke liye banee hain
aisaa lagataa thaa. aur aisee ek-roopataa rarely
banayee jaatee hain. Dev’ko Kishore inakee aawaaj kaa
mahatwaa maaloom thaa isiliye unhone kabhee dusare
gaayak ke baare me jaadaa sochaa nahee. isame unakee
koi galatee nahi.
————
Me Kishorela Devsaathi vaaparlach pan tyaacha motha
bhau Ashok Kumar yaachyasathihi tyaacha awaaz “Khilaadi, “Kaafila”
yaansaarkhya chitrapataat vaaparla. Raaj Kapoor saathihi me “Pyaar”
madhye Kishorecha awaaz ghetla. Pan gaani gaazli ti phakta Kishore-
Dev ya gaayak-nat jodichich !
———
Maine Kishoreko Dev ke liye to istemaal kiya hi, lekin uske bade bhai
Ashok Kumar ke liye bhi uska awaaz “Khilaadi”, “Kaafila” jaise films
mein istemaal kiya. Raaj Kapoor ke liye bhi maine “Pyaar” mein Kishore
ka awaaz liya. Lekin gaane hit hue woh sirf Kishore-Dev is
“singer-actor” jodi ki hi !
———
Kishorecha ek atyant changla gun mhanje tyaachi
gaanyaachi samaj. Mala nemka kay havay he keval don-chaar oleet
saangitle ki to mala have tase gaaun denaar ! Pan hyaach guni
Kishorecha ek avagun mhanje laharipana. Tya paayi tyaana swatahacha ani
paryayana chitrapatsangeetacha phaar nuksaan kelay. Tyaachya laharicha
kaahi bharavsa naslyaane anek nirmaate, sangeetkaar tyaala taalu
laagle. Kishore mage padat gela. Spardheche mahatva olakhlech nahi.
Tyaachya laharipanacha malahi changlaach anubhav aala. Me
tyaala raagavunhi kaahi upayog zhala nahi. Devsaathi maatra tyaachi
lahar to kaabut thevat dhaavat gaayla yenaar ! Kishorene madhyantari
gaaychach nahi asa ved dharle hote…”Teen Deviyaan” tyaveli maajhya
haati hota. Ani hi lahari swaari eke divshi achanak maajhya ghari hazar
jhaali.
———
Kishore ka ek bahot hi achcha gun hai, woh hai uske gaane ki samajh.
Mukhe kya chahiye ye sirf 2-4 lines mein use samjhaate hi woh mujhe
jaisa chahiye bilkul waisa hi gaa ke sunaayega. Lekin yehi guni
Kishoreka ek avgun matlab uske swabhaav – jo jee mein aaye wohi karna.
Usi swabhaav ke kaaran usne apna aur uske zariye poore film sangeet ka
bada nuksaan kiya hai. Woh kya karega iska bilkul andaaz na hone se
bahot saare producers, aur music directors use taalne lage. Kishore
peechhe reh gaya. “Race” ka mahatva usne nahin pehchaana. Uske isi
swabhaav ka mujhe bhe achha khaasa anubhav aaya hai. Main use daantne
se bhi kuchh faraq nahin pada. Dev ke liye lekin uska yeh swabhav woh
kaabu mein rakh kar uske gaane gaaneke
liye bhaagkar aata ! Kishore ne beech mein bilkul na gaane ka fazool
nirnay liya tha…”Teen Deviyaan” us samay mere haath mein tha. Aur ye
swabhaav waale mahashay ek din mere ghar par aa pahonche.
———
Kishore mhanala “Dada, Devsaathi meech gaanaar ahe”
Me mhatle ” Tu tar gaana sodlay mhantaat. Ani tuzha bharavsa kay?”
Tevha paay dharun mhanala, “Dada, attachya atta gaau ka bola?”
Kishoremadhla te baalman paahun maajhya dolyaatun ashru vaahu laagle…
———
Kishore ne kaha “Dada, Dev ke liye main hi gaane waala hoon”
Maine kaha “Lekin maine suna hai ke tumne gaana chhod diya hai. Aur
tumhara bharosa kaise rakhun main?” Tab Kishore mere paanv pakadkar
bola “Dada, abhi ke abhi gaana gaa loon kya?”
Kishore mein ye bachhe ka man dekhkar meri aankhein aansuon se behne
lagi…
———
( Diwali Ank 66 madhun saaraansh )
———
Diwali Ank 66 se saaraansh
Thanks for the trip to 9-2-11… Well anything and everything connected/related to the music of the golden era can be considered Outstanding in today’s comparison, but still 9-2-11 was a significant score than (and now) for some specific reasons.. It was significant for two debutants… Goldie, the man with golden touch as a Director and the MD-Lyricist duo of SD Burman and Majrooh Sultanpuri coming together for the first time..
Goldie (Vijay Anand) handled the script like an expert even in his first attempt at Direction and as we later found his obsession with Crime based themes (Barring a few “Tere” genre films like TGKS and TMS), he changed the genre of the film completely by incorporating crime and investigation theme in the script, deviating from the original It happened one night (and all other remakes based on that)…
The coming together of SDB-Majrooh for the first time was like a breeze of fresh air specially in Romantic Genre and it laid the foundation of a great team… I consider the pair to be one of the all time best MD-Lyricist team in Hindi Film Music..
Aankhon me kya ji got in to a controversy for some suggestive words as Censor( or was it Akashvani?) found a few words vulgar and the team had to change a few words but it was a grand hit and even as popular today as those days.. Even Goldie had a few problems with words as Majrooh saab originally penned “Sunehra Badal” but Goldie wanted to shoot the song at night only.. so he told Majrooh saab that he is unable to visualize Sunehra badal.. so they came up with the change “Rupehla Badal” in the final version..
The music of 9-2-11 is forever and am not will never run away (9-2-11) from our memories and music libraries/playlists..
Thanks for posting…
I am sure that Goldie wrote the script, keeping the current trend in the mind ( Girls/boys running away from the house ). Goldie never used to see Hollywood movies, especially to getting inspired. He was strictly against it ( Ahh we miss those kind of people ). Dev used to advise him to follow Directors like S Mukherji / Guru Dutt, etc who got such inspirations. But Goldie never gave up. In fact it is on record that during the making of NDG, Goldie made a promise to himself that he will not see a single foreign movie.
Coming back to the script, Goldie had written it as soon as Taxi Driver was released and became a hit. He did not want to give the script to Navketan because he felt that people will say that the script would be of Chetan Anand, since Goldie was too small to write it.
He shared the script with only one person, the manager of Navketan, Mr Parashar. Parashar told Shahid Latif that Goldie had written a script. Shahid wanted to make a movie and when he heard the script, he was thrilled. He gave a signing amount of Rs 500 immediately on the spot. But Shahid’s wife IsmatChugtai was angry since she used to write scripts for his films. So Shahid was delaying the matter. Goldie asked back the script.
Dev was making “Khaali Botal” with Raj Khosla, but Raj Khosla was delaying the start of the film and so Parashar told Dev to hear Goldie’s script. Goldie made a condition to Dev that Goldie himself will direct the film. Dev was surprised and said that he was a kid and Raj Khosla would direct. Goldie refused.
In the meantime Sharma ( producer of Kinare Kinare ) heard Goldie’s script and gave him another signing amount of Rs 500 ! But Kinaare Kinaare released and flopped. So the equations changed and Goldie earned yet another 500 for nothing !!
Seeing the fate of “Khaali Botal” , the cameraman of Navketan, Ratra, suggested to Dev that he should listen to the script. Dev heard the script in the car, on his way to the regular weekend off, to Matheran. As soon as he heard the “detailed” script ( scene by scene, camera angles, indoor/outdoor, etc) he reached the hotel and phoned to Navketan office to keep aside Khaali Botal & book Kardar Studios for NDG.
SDB was the natural choice for music. Goldie had strict visuals in his mind as to how the songs would be done for “his” movie. He told Dada quite clearly the intention of songs in that film. He said that he wanted all the songs in a form of dialogues. He wanted each song to be tightly bound with the script. So Majrooh was chosen who could penn the dialogues (songs) quite effectively.
Majrooh was surprised to see the talent of Goldie when Goldie suggested the word “Pupehla” instead of “Sunehra Baadal” – he said that he wanted to picturize the soing in moonlight and “Rupehla” would be the right word.
Dev asked Goldie, what would you like to shoot first. Goldie said “Climax” !! Dev was stunned. He could not believe his ears. But Goldie said that he was adamant on that !!
Goldie was like a storm on the sets. He told all the so called experts to make the film in his way. He told to break the sets if the camera could not move in a particular fashion.
For the picturization of the antara “Raah Mein Pade Hai Hum” of the title song, the playback machine was malfunctioning. Goldie was so much involved in the song-making that the beats were in his head perfectly. He told Dev to lip on 1-2-3-4 – by giving beats verbally.
The climax scene picturization and its editing has a very big/fantastic story attached to it and would explain in details, if anybody has gone this far in my post, and is interested :P
Lalita Pawar and Jeevan said that they have seldom seen such talented “Directors” in Hindi Films.
Goldie was in college on the first day of the release, as if he did nothing !! He was greeted in the evening by everybody with hugs and words of congrats ! The film was a hit !!
kcp: what’s the story of climax scene picturization. Pls share
Subrat a captivating review of a very entertaining movie from 50s. IMO, anyone who is not necessarily allergic to Dev Saab would surely love this movie. And what a debut from 23-24 years old director- shows the stuff he was made up of. The only downside was the selection of heroine. A Madhubala or Geeta Baali would have electrified the screen with their presence but perhaps Kalpana was also part of Dev Saab’s package deal with Goldie
Kaustubh not doubting a wee bit on what you wrote but just for everyone’s curiosity what has been the source of this information?
Naresh Khattar
i am interested to know the story as well!!
kcp,
Thanks for a detailed account.. Even your last comment deserved to be a post… how about a followup post on the climax story?
Naresh, its from Goldie’s own re-collections to Ms Anita Padhye ( she has huge material on Goldie, all recorded )
Pavan, I would recommend everybody who can read Marathi, the excellent book by Anita. All thanks to her that I could write the saaraansh. Her detailed writing skills are to be read to believe !
Here is what I noted down earlier about the climax :
9 months and 5 lakh rupees. The movie was shot and ready for editing.
Dev had given his best editor, Dharmaveer, to help Goldie, because he thought that Goldie knew nothing about editing. Goldie, being ever enthusiastic to learn, learnt the tricks quickly ( holding the scissors, marking on the films, etc ). Actually the picturization and direction of the film was so simple and to the mark, that Goldie did not need much to edit.
Editing took place at Famous studio for 11 consecutive days. Goldie used to sleep in between the reel-ka-dibba’s. He did not go home for 11 days.
But during the editing of the climax scene, Goldie had some differences with Dharmaveer. In those days most of the Hindi movies had the Hero and the villain fighting, running behind each other, fast cars, gunshots, etc. Goldie thought of something different. The villain tells the hero that if you do not do a certain thing in 5 minutes, he will kill the hero. Goldie decided that he will make these 5 minutes so engrossing that the audience should feel like they were 5 hours. He showed one big clock and other small 5 or 6 clocks in the picturization. the character who wore a watch were always looking at the watch because after 5 minutes the villain is going to kill the hero ! Every 10 to 15 seconds, one watch/clock was shown.
But the climax turned out to be 8.5 minutes, because Goldie wanted to show each character’s reactions on screen. Dharmaveer told Goldie that the audience would get bored, walk out for a cigarette puff/toilet, etc. But Goldie was not going to listen to anybody. Dharmaveer told Dev to make him understand. But even then Goldie did not give up.
The film was sent to sound recordist B N Sharma. B N Sharma also suggested a cut.Then Goldie gave an idea to B N Sharma that he should re-record the climax and make a copy of the same and send it to Dharmaveer for editing.
Goldie had shot and edited the climax so that every second of the climax matched with the background music. So any cut would make the b/g music jump and there would be no proper flow. After Dharmaveer edited the climax, Goldie saw it and felt that the climax ends very fast and abruptly. In fact “then”the audience would “feel” that there should have been some fighting/gunshots.
So as a final resolution, Goldie told everybody that they should show Goldie’s editing part for the first show of the film. If the audience go out, then in the next show at 6.30 pm, they would present Dharmaveer’s part !
Goldie went to college as usual on the release day (M.A. exams ) and was not bothered about the result. After college, when he went near the theatre, Navketan’s production manager, Ahamed Jaffery and Parashar hugged him and congratulated him. They said that the audience were simply amazed with the climax !
Then Goldie made it a habit to go to the theatre shows and watch public’s reactions ( who were also giving sighs and looking at their watches !! ) Goldie thanked his own instincts.
Lateron just before his death, while watching the film on DVD, Goldie felt that he should have listened to a few people and should have cut a couple of minutes.
@kcp: thanks for recounting the tale, it was so insightful.
goldie’s obsession with film-making is legendary. while guide was being made, dev anand came up with an idea tat guide should be remade in english for the western audience. to suit western taste he altered the script/screenplay and goldie was not comfortable with it. he was adamant tat they retain the same script and screenplay, else he would not direct the movie. tats wat finally happened, dev insisted on the change and goldie walked out on the english remake. i believe, dev anand will re-release the english version called ’survival’ pretty soon. anyways, goldie was a genius and he should have made more movies.
Wow!
thanks for the account KCP
Arey! only yesterday I was thiking about that scene from DHKMN. One of my fav. romantic scenes
Never liked ‘aaja panchhi akela hai’ for some reason. Something to do with its tune.
Rest of the songs are superb. Remember listening to Nau Do Gyarah (with Hum Dono on the other side of the cassette, I think) non-stop when I was in XII.
Neerja, Aaja Panchhi Akela Hai – the tune was given by Meera Dev Burman. This was confirmed by S D Burman in 1964, Diwali Issue of Rasrang Magazine. This was also independently confirmed by Vijay Anand in his biography of Anita Padhye.
KCP,thanks so much for the translation of Anita Padhya’s article. I was always fascinated with the climax scene too and it is fascinating to know the thought behind it. I wish the book was in Hindi or English. :(
one correction Ritu : it is not a translation. not an iota close to the fascinating, gripping and “detailed” narrative by Anita.
KCP, beggars cannot be choosers. This is much much more than we could have got
.
Incidentally, I would like to dispute Goldie’s contention that he was never inspired by foreign films. Firstly because all accounts of his growing up days in 41 Pali Hill with Chetan Anand and his wife point to an atmosphere where world cinema was discussed day in and day out. Goldie participated in all that happened those days. I find it difficult to believe a person of Vijay Anand’s background watched no foreign films.
Over and above that if one looks at his repertoire, Tere Mere Sapne is a direct adaptation from AJ Cronin’s Citadel and both Nau Do Gyarah and Jewel Thief show an influence of Frank Capra and Alfred Hitchcock respectively.
@KCP, Pavan, Subrat,
I guess OP, used first time Rafi’s voice on Dev saab in CID. Is not it? Or he had already sung some song for Devsaab in any of his early film?
@Crazyrals,
“while guide was being made, dev anand came up with an idea tat guide should be remade in english for the western audience. to suit western taste he altered the script/screenplay and goldie was not comfortable with it.”
—–
From where you get this information?
As far as people have been knowing and history also supports it, English version was conceptualized first, made first and released first and while its possible that shooting for some scenes of Hindi version was also done while shooting for English version was also undergoing but Hindi version was released much later than international version.
Zhakaaas article and kickass comments…thanks a ton kcp…
By the way i didnt know that Kishore Kumar had sung maximum number of times for Dev saab and not Rajesh Khanna…not sure if it is true…?
Never heard the other songs from Nau Do Gyaarah..now am eager to listen to them all
Ritu@23 – you urgently need to learn Marathi :-)
There is an interesting story on the idea of Jewel Thief. K A Narayan became Goldie’s friend. K A Narayan used to write stories for Dev Anand. While narrating many stories to Goldie, KAN said one day “Once police were searching a criminal. That criminal was fighting a case in a court. But when the court-case started, everybody came to know that man did not exist at all” . This was the germ of the story and Goldie developed the story independently. No foreign influence absolutely.
Regarding Tere Mere Sapne, its another kissa. Writer Kaushal Bharati once narrated the current wrong doings in the Medical field ( corrupt people ). Goldie himself had an experience during his kidney operation. Also he had some bad experiences during the operations of one or two of his relatives. Goldie then decided to make a film on this theme. In fact he wanted to make something which was very original and so he wrote the screenplay and dialoges too.
@Rk: i m partly right, and u r partly right.
both movies released in 1965, but the english version ’survival’ released first. it was co-produced by pearl s.buck and directed by tad danielweski. it did not get good opening.
then dev approached goldie to remake in hindi which he refused to unless he was allowed to re-script it. goldie re-wrote it, removed the adult content, watered it down to indian sensibility and ‘guide’ was made.
.
i thought it was the other way round, tat he refused to westernise it. so, i was wrong on tat account. thanx for pointing it out.
Right RK. CID’s song was released a few months prior to NDG
RK – what I wrote was for SDB’s music – first Rafi-Dev song was in NDG
For other MD’s – in Sanam (1951) we had Rafi singing for Dev.
@KCP,
Yes SDB+Dev+Rafi = NDG,
Thanks for telling the first ever film that used Rafi’s voice for Dev saab. Sanam. have not seen the film but If I recall correctly I used to have a Suraiya collection where 2-3 songs were taken from this film. One was a duet with Lata. One was with Shamshad beghum and some other female singer. But none with Rafi, hence had no idea.
Should watch the film now.
Brilliant post and the subsequent comments. This is what makes me come back to this site again and again.
RK – some scenes were planned and shot while the English version was thought-of first and Hindi version was to be shot simultaneously (one shot English and immediately the next one with Hindi dialogues ) but Goldie was totally opposing them. Dev was furious. He appointed Raj Khosla as assistant to Tad D (director of Guide). But Waheeda had problems with Raj Khosla. So RK withdrew. Then everybody thought of Chetan Anand. But after a while Chetan got a call from Army that Haqeet’s permissions were on and he had to move. Chetan backed off and then Dev convinced Goldie again. Goldie could not work according to Tad ( who had made small serials and one or two films in the USA ). Goldie gave an idea to Goldie that they had planned 120 days for both the versions, so why not let TAD make the film in 60 days and Goldie make the Hindi one, “after” Tad is done. Dev liked the suggestion, poured lots of money and the English one was completed in 6 weeks.
Tad went back to the USA and in the meantime Goldie went to Khandala to write the script. He wrote a detailed script in 18 days and came back to start afresh. Every shot was taken as per Goldie’s strict instructions ( at times pissing off Dev to no ends )
Tens of anecdotes with respect to Guide !! will share when we discuss Guide ( will have to find the old posts :P )
@kcp,
Re: Guide, true many anecdotes are there from the three sources Dev Saab, Goldie and Waheeda Rahman.
sorry read above “Goldie gave an idea to *Dev*…120 days”
@kcp: wow…tat was nice piece of info and thanx for clarifying it.
plz do write abt ‘guide’ as a new topic altogether, will be waiting for tat
I need to get back and finish “Romancing With Life”…this discussion has energized me a lot
Well I’m late to enter the discussion, but been enjoying it a lot.
kcp- thanks for all the info.
You know all this is making me remember a sunday spent sometime in the middle of last year when I happened to actually meet Dev Saab in person when he had come down to Chennai for the promotion of his ” Romancing with life”.There was a wonderful one hour talk by Dev Saab followed by an interactive session,lunch& autograph/photograph session.I have a proud copy of ” Romancing with life” autographed by Dev Saab & in fact finished reading the book at a stretch with great gusto
Romancing with Life is one of the biggest disasters to happen to mankind. An institution, a film personality called Dev Anand is completely wasted.
@kcp,
You know it very well that you would judge Dev Anand with different eyes than with which you would judge works of Kishore Kumar
so there can be a bias in your approach.
If some publisher publishes KK’s diary (if he ever maintained any) would you read it as great piece of literature or for knowing something more about his thinking on certain days?
Dev Anand is not basically a writer creating great literature. Book can be ordinary but biggest disaster to mankind?
what are you reading these days which has made every other thing looking disaster:)
so many things are for references. they are not to be evaluated in general terms. Like you had written a post on KK’s last film. Its for reference. he will not be compared there with likes of Raj Kapoor, Guru Dutt or Ray’s films. We will receive it with a feeling that its last film made by KK. It has to be accepted in its reality, totality.
Yes RK, apart from these 3 we have anecdotes from scores of other sources ( The Burmans, MarutiraoKeer, hundreds of film-magazines of that period, etc….simply mindboggling film and the things that went into the making of it )
@kcp,
re: Guide, yes some day we shall meet on some post on Guide and it will be a pleasure to read more and more about Guide, one of best films of Indian cinema.
O badshaho, haath laga ke vekhyo type light moments to extremely intense and sad moments are there.
some day one day it should be thoroughly discussed.
what do you mean kcp by ” An institution, a film personality called Dev Anand is completely wasted”
well yes the writing and all was very boring…not too informative etc..
Yes kcp- please explain what you’ve mentioned about “Romancing with life”-even I am not enamoured by the book, but still treasure it only because its autographed by Dev Saab himself.the book was quite amateurishly written no doubt- but atleast consider the age @ which the output has come out- he didnt write it when young.
Its not only thinking on certain days, RK. Its all about an institution, a person who has seen this great industry from close quarters. A person who has experiences, which have the power to make time stand still. A person who has interacted with every major personality – and what we get in return ?
I mean if this is what a new generation kid reads on Dev Anand, then I am sorry to say that he would have some different Dev, that we are not aware of.
I agree with KCP, I was quite disappointed out of Dev Saab’s biography despite being a one time fan. His lurid details of his romantic escapades (all with unnamed women mind you!) seem more like the wishful thinking of a dirty old man than anything else and certainly did not hold my attention.
The first part of the book is still nice, because to me it gives a glimpse into the living and ethos of an era long gone and there are some nice and warm moments (like Geeta Bali’s comment after Dev crashed a car he was driving her in). But the second half of the book is a biiiig yawn.
RK – I missed the response to your KK-diary part ! I got the “original” diary pages of Kishore Kumar, which were published in Filmfare in 1957. I do not know how to reproduce them. I mean is it allowed in PFC in a form of a new topic ( I type it out ) ? If it is allowed, then you guys can see how “ineresting” it can get !
@kcp,
re:kk’s diary,
Neki aur pooch ?
please neki kar aur PFC mein daalo.
Pages of his diary published in 1957!!!!
people reproduce things published in 2007, so you will be doing a favour to the world because hardly anyone might have heard about it leave alone reading.
Please do it ASAP.
I guess it can be reproduced for academic purpose, it’s so old material.
bhej diya iView…dekhte hain
RK@43 – one of the books that I read only recently was Daastaan-e-Naushad. Unfortunately the book is in Marathi – but is an autobiography of Naushad ( compiled by Shashikant Kinikar ). Though I can see “me me me me” everywhere ( ofcourse Naushad saab’s monumental works deserve all accolades ) this is the way I want all the film/music personalities books to be. So much details. So much associations discussed so intimately. Ofcourse Goldie’s book by Anita Padhye , I have already mentioned, but she also compiled the autobiography on the Marathi Legend “Dada Kondke”. it is simply fabulous ( not recommended for Mangeshkar “fanatics” though :P )
@kcp,
Have not seen any of Dada Kondke’s film but have seen his photos. Have they published his typical photo, taken from his films?
Was he opposed to Mangeshkars? He might have said good vachans for Usha Chanwan though. I think she was his heroine in 2-3 of the hindi films he made with Amjad Khan.
Naushad Saab used to write for some hindi magazines, as I got to know. especially his experiences in Industry. One person who had read those memoirs told that NS had mentioned once that he used to live on footpath opposite to a famous film studio and it took him more than 10 years to cross the road.
Dada Kondke did write briefly about UshaC, Lataji and Ashaji. But kya likha tha , woh kisi aur din ;)
Yes Shashikant Kinikar, did compile NS articles ( Naushad ki kahaani Naushad ki zubaani ) from Hindi magazine “Sushma”. But then he expanded them by meeting NS and writing in details and also about his “ater career period ( after Sushma’s articles)
Naushad saab living on Footpath is pure bakwas. After coming from Lucknow to Bombay, he was staying with his friend’s (ahmedabad’s Mr Aadil) contact in Mumbai, by the name Mr Naami. But after Naushad got his first job in 1937, under Ustad Zhande Khan, with a monthly salary of Rs 40 – he took a place in Dadar’s Shivaji Bhavan.but in summer, when he could not sleep in his kholi, he used to bring his charpai in the open air. if it was raining by chance, he used to sleep under the staircase. Then when the opposite side of the footpath, the show at Broadway Cinema was over, the theatre used to glow in lights. That time Naushad saab used to pray to Allah to bring light in his life.
I like the song See Le Zubaan sung by Geeta as well. It was a situational song which played during the climax and lyrics are quite apt (See Le Zubaan, Aisa Na Ho Sab Kuch Khona Pade Nadaan). I feel geeta ji extracted maximum possible from the song and was one of the reasons for the gripping climax. The fear of the characters is also something to be watched. The song needs to be seen from the perspective of the movie here.
Thanks Kcp for all the info. and the wonderful Kishore Kumar post.