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‘Chup chup kharey ho jaroor koyee baat hei, pehli mulaqaat hei jee pehli mulaqaat hei’ sung by Lata Mangeshkar & Premlata for film ‘Bari Behan’ in the year 1949 was certainly one of the most popular melodies of its time.
I still remember, during my childhood days, open air evening theatre and ‘Ramlila’ were the most conventional media of entertainment for practically all sections and class of society. Before the start of the show; there used to be musicians, who kept the waiting audience occupied with some popular melodies from films or otherwise. And, invariably every day there used to be one song- ‘Chup chup kharey ho____’.
More than fifty years have passed. Lata Mangeshkar sang thousands of her songs and made a number of records; the name of co-singer Premlata can merely be found in a few nostalgic gramophone records, those even if available cannot be played as the desired pins for 78 rpm record players are not in use. The music listening systems have been replaced by totally different concepts.
But, the fact remains; as and when the melody is being played; the young listening young lad cannot resist by asking her or his grand parent, as to who composed such a fascinating melody and is it the same Lata Mangeshkar who sang ‘Didi tera dewar diwana’; the popular song of much later years, but has fast faded away and is no where in listening. Why there is no good music of fifties and sixties in the air. The reasons are many!
Amongst a large number of initial music composers, who shaped the destiny of Lata Mangeshkar, one of the foremost composers were duo- Husnalal Bhgatram. The duet ‘Chup chup kharey ho’ was certainly one such song, which was composed by Husnalal Bhagatram, who commenced their music journey with film ‘Chand’ in the year 1944 starring Begum Para & Prem Adib. Its song- ‘Do dilon ko ye duniyan, milnein nahin deti’ (sung by unknown Manju) became an instant success.
The other notable venture followed was ‘Pyar ki Jeet’ (1948) starring Suraiya & Rehman was a musical super-hit. Some of the songs of singing-star Suraiya- ‘Tere nainon ne chori kiya, mera chhota sa jia, o pardesia’, ‘O door jaane waley’ & ‘Koyee dunian mein hamaari tarah’ are still considered as her favorites. The beauty of virgin tonal quality of voice of the singer- explored by the composers- in these melodies is indeed superb. Then there was an all time popular song of Mohd Rafi in this film- ‘Ik dil key tukre hazaar hue koi yahan gira’. Also, there were, of course some fascinating duets sung by Surinder Kaur, the melody queen of Punjab; Meena Kapoor and Ram Kamlani.
The film- ‘Badi Behan’ released in the year 1949 was a class in the history of Indian cine music. Besides the most popular song- ‘Chup chup kharey ho____’ just have a glance at other seven numbers- ‘Wo pass rahein ya door rahein’, ‘Tum mujhko bhool jaao ab hum naa mil sakeinge’, ‘Likhnein waley ney, likh dee meri taqdeer mein barbaadi likhnein waley ney’ & ‘Bigree bananey waley, bigree banaa dey’ (Suraiya) and ‘Muhabbat ke dokhe mein koyee naa akey’ (Mohd Rafi). And; the virgin and simply heart throbbing Lata numbers are simply great. In ‘Chaley janaa nahin’ and ‘Jo dil mein khushi ban kar ayey’ Lata was perhaps at her best and there could not have been a better return gift to the composer- Husnalal on her twentieth birth day (Lata was born in 1929). The utterance coming straight from the singer’s heart, at times makes the listener cry, as an outcome of eternal pleasure. The quality of a diamond-cutter in master violinist Husnalal in particular can be visualized through these two everlasting melodies of Lata Mangeshkar. The Punjabi style dholak played by the musician, Shanker (of Shanker Jaikishan duo) was again a notable landmark.
In view of the grand success of music of ‘Bari Behan’; immediately there after Shanker Jaikishan formed the team for Raj Kapoor’s all time great film- ‘Barsaat’, replacing Ram Gangoli. Thus, another music chapter in the history of Indian cinema was launched.
Husnalal Bhagatram composed music for a good number of films and created some soul throbbing melodies. A few of their memorable numbers include- ‘Teri is do rangee duniyan mein’ (Lata)- film ‘Sawan Bhadhon’- 1949; ‘Lut gayee ummidon ki dulian’ (Lata) and ’Hei kaam mohabbat ka fariyaad kiyey janaa (Rafi)- film ‘Jaltarang’- 1949; ’Dil hi to hei jo tarap gayaa’ (Lata) –film ‘Aadhi Raat’-1950; ‘Chhota sa fasanaa hei terey merey pyar ka’ (Lata & Rafi)-film ‘Birha ki Raat’-1950; ‘Mujhse ye keh rahee hei taqdeer ki lakirein’ (Geeta Roy & Shamshad), ‘Tootey huey dil se morey awaaz ye aayee’ (Rafi), ‘Agar dil kisi se lagaya na hotaa’ (Lata)- film ‘Gauna’-1950; ’Dil le ke dil diya hei, ehsaan kya kiya hei’ (Lata & Rafi)- film ‘Stage’-1951; ‘Mohabbat ki hum chot khhayey huey hein’ (Talat Mehmood)- film ‘Farmaish’-1953; ‘Wo paas bhi rehkar paas nahin, hum door bhi rehkar door nahin’ (Lata)- film ‘Afsanaa’- 1951; ‘O parwaney, shamma ko apni ruswa na karna’ (Suraiya)- film –‘Shamma Parwana’-1954; ’Aye meri zindagi tujhey dhundhun kahan’ (Talat Mahmood)- film ‘Adal-e-Jahangir’- 1955 ‘Manwa mein pyar doley’ (Mukesh & Zohra) –film ‘Sartaj’-1950; ‘Yaad aa rahaa hei dilko bhoola hua fasanaa’ (Suraiya)-film ‘Amar Kahani’- 1949. .
A glance at the profile of duo younger bothers of Pt Amarnath (who himself was a musician of eminence and died young and was associated with the music of film ‘Mirza Saheban’ –1947 starring Noorjehan & Trilok Kapoor). Both the bothers -Husnalal (born- 1920) and Bhagatram (born-1914) -had their initial music training under the guidance of their elder brother Pt Amarnath and thereafter from Pt Dilip Chand Vedi, who was a highly respected personality in the field of classical music of his time.
Husnalal’s zest for learning of violin took him to Ustad Bashir Khan. The beauty of command over violin can be seen in different compositions of duo’s songs in various films. In his personal life as well, the first passion of Husnalal was classical playing of violin. More than a composer, he was known as a devoted and a committed violist. In giving shape to Lata’s tonal cord for a song, Husnalal used to play the tune on violin.
Years after his demise, I was given to understand by Nirlmalaji, his beloved wife that before going to sleep, he used to invariably play violin, what ever may be the time. His favorite raag was Malkauns.
As stated, the duo (along with their elder brother, Pt Amarnath) composed some admirable melodies for Noorjehan for the film ‘Mirza Saheban’ (1947)- ‘Kya ye tera pyar thaa’, ‘Aa jaa tujhe afsanaa judai ka sunayein’ (solo); ‘Haath seeney pe jo rakh do, to karaar aa jayey’, ‘Tum aankhon se door huyee neend aakhon se door’ (with G.M. Durrani). The list of memorable songs of Noorjehan- whether sung in undivided India or later in Pakistan- is certainly incomplete without these numbers of film ‘Mirza Saheban’ released in the year-1947.
If a collection of all time great film duets (sung in male & female voices) is prepared, it will be predominantly incomplete without incredible- ‘Sun merey sajnaa, dekhoji mujhey bhool na janaa’- based on raag Pahari and sung by Lata Mangeshkar & Mohd Rafi for film-‘Aansoo’ (1952). Due to length of the song, it was recorded on both sides of the 78 rpm record. Listen to the opening notes, sung by Lata Mangeshkar –the taan in singing word ‘Saajnaa’. The quality of flute and drum playing. The pauses in the vocal articulations, the delivery of lyrical dialogues mixed with deep feelings, in-between remarkable touches of shehnai, fascinating style of rendering of words bhool and rooth by Lata; creating a unique soul stirring impact on the listeners’ head and heart.
Kishore Kumar sang just two songs for Husnalal Bhagatram for the film ‘Kafila’ (1952). Just listen to his fascinating number, when he sings -‘Wo meri taraf yun chale aa rahein hein’ and also ‘Dil lekey dil diya hei’ (with Lata).
In B.R. Chopra’s maiden film ‘Afsana’ (1950) music was composed by the duo. In this film Lata sang ‘Abhee to mein jawan hoon’ which is considered a better than the earlier version of Mallka Pukhraj.
The chapter on Husnalal Bhagatram will be entirely incomplete, if a mention is not made to -‘Suno suno aye duniyan walo, Bapu ki ye amar kahani’. The singer-in- making, 24 years old, Mohd Rafi became a celebrity overnight with this recording. The lyrics were written by Rajinder Krishan and composed by the duo within a record time of just 24 hours, soon after the sad demise of Mahatma Gandhi, the father of Nation. More than a million copies of a set of two 78 rpm discs of this recording were sold within one month. In a way, during those days, who so ever owned a gramophone, supposed to have bought these two records.
What better popularity in the annals of music history- film or otherwise- one can expect. However, the destiny unfolded another event. The complexities of relationships and subsequent discard by the industry, compelled Husnalal to leave Bombay and settle in a large disputed compound in commercial Paharganj area of Delhi for his remaining short span of life. In Delhi, he taught music to his disciples; and at times offering them meals and tea, instead of charging any fee. He, also gave violin performances through All India Radio.
On the chilly morning of 28 December, 1968 he went out for his routine morning walk and had a cardiac arrest on the way. He fell down at nearby Gole Market vicinity and was taken to the then Willington Hospital (presently RML) where he was declared as –“an unknown body found brought dead.”
The fate of his elder brother Bhagatram was no better. For his survival, he worked as a mere musician with different composers. He too died unsung in the year- 1973.
-Satish Chopra, BA/26B Ashok Vihar-I, Delhi-110052 # 27134229/27450869 Email: satishchopra@rediffmail.com
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