Archive for February, 2009

The promised kiss by Nargis to Shammi,denied ! a blessing in disguise! ;

nargis-jiBy – SSMURTHY (

 

Abbas sab approached Mehboob initially with his story of Awara with Raj and Prithviraj in mind, but Mehboob opted for his blue eyed boy Dilip Kumar in place of Raj which was not to Abbas sab’s concept,  since he believed and was convinced of the conviction that Awara was a theme, centred around, a father son equation with the neeli neeli ankhen syndrome looming in the script and therefore thought Raj and Prithviraj would fit the bill perfectly.

 

It was however much later that Abbas approached Raj with the same script,  who didn’t bat an eyelid as he took on the arduos task of getting Papaji’s consent.

Papaji version was that Prithviraj does not play the role of the hero’s father, cleverly it was interpreted by Abbas sab,  No Raj plays the role of the hero’s son ! Outwitted,  Prithviraj delightfully gave in as Raj searched for the silver coin  to crystallise the venture. 

 

The romance of Raj Nargis was crackling hot in the aftermath of Aag and Barsaat causing strife in both families as  Nargis was already facing the storm in her domestic citadel and diffident as she was of her getting cast opp Raj Kapoor in Awara, couldnt hide her desperation on this score to Shammi who happened to be the hero’s brother, was then still in his knickers was trying to regale Nargis, aas he observed  her heart was not in the conversation. She seemed awfully preoccupied 

 

and suddenly she burst out “Shammi if I get to do Awara  I’ll give you a kiss”.

 

The casting of Awara was finalised and Nargis was in and by that time Shammi had grown

another 4 inches with a straggly moustache  as one day Shammi went to Nargis to collect his dues.  Nargis was scandalised as she shrieked “Shammi you are a big boy now how can I kiss you ! 

Shammi was denied the promised kiss by Nargis as she adoringly requested him for an exchange of anything else in lieu.

 

Shammi thought of a gramaphone, fully convinced it was an exacting demand difficult to concede, but was amazed at Nargis consenting and bought for him not only the gramaphone but also a complete set of twenty records   and thus his tryst with the musical destiny began, as music entered   him  that day. It was the best bit of buisness trading, a kiss for music,as he got intoxicated with music to synchronise his bodily expressions,  eventually rendering him the most phenomenal leading musical  hero of his time, as any new heroine would fancy opposite him and  vouchsafe guaranteed success to its producer.

 

The only other prerequisite being an MD who knew the bodily acrobatic nuances of Shammi. 

 

Enter OPN with Tumsa nahin dekha and Usha Khanna with Dil Dekhe Dekho  and the public imagination swung with Shammi’s shaved off pencil moustache, swept back hair,

a couple of jackets and dived “Tum sa nahin dekha” head first to surface with a hit, followed by another hit “Dil Deke Dekho”  with a few others to follow

 

and then came “Junglee”one of the biggest musical hits of its time celebrating a Silver Jubilee even in Chennai where the language was hardly understood, so much for the musical prowess of SJ . The “Yahoo” shook not only the Kashmir valley but a few of Shammi’s contemporaries and more than anything else it was a cry of victory and redemption from the days of despair.

 

 

I have been obseving Shammi’s interviews at varous times and two music director’s names he generally mentions, one is SJ and the other invariably OPN, eventhough as far as I remember OP has scored only for two film’s for Shammi as against SJ’s appx 22 films unless I missed out on a few..

 

Maybe his gratitude for an  initial sucess after a row of 19 flops,

Tumsa nahin dekha was musically an OP Rafi delight, to be followed again

only in Kashmir Ki Kali which was among Shammi’s all time best remembered outside the SJ umbrella.

 

Shammi recalls that OP composed all the films tunes in about two hours time over a full bottle of whisky !.Incredulous and amazing.!!

 

Strangely It is RD who takes pride to have scored for Teesri Manzil much as he was privileged to convince Shammi, that he could give music a-la SJ who were the initial choice of Shammi as he replaced Dev, the original choice of Nasir Hussain.

 

 It was natural for RDB to bask in the glory of appreciation he received on fine morning on the telephone by Jaikishan for the score rendered and for all die heard listeners of film music know for certain that RD’s score in Teesri Manzil was but an echo of SJ.

 

When you look at the list  

 

Amazing it is that Ravi with his brilliant score’s of China Town, Pyar kiya tho Darna kya 

KA with Bluff Master and Preet na jaane reet, and Usha Khanna with Dil Deke Dekho’

are hardly remembered as these films are identified more with Shammi and less with the the MD’s eventhough they are among the one’s  who have also contributed towards the star’s career and success.

 

A comprehensive list of Shammi’s films by and large by SJ and others are given as under

which will give an idea of the stars impact with SJ and the celluloid world then

 

  

 

SJ                                            Non SJ 

 

COLLEGE GIRL

BOYFRIEND                           MUJRIM

                                                 CHAR DIL CHAR RAHEN

                                                 RAAT KE RAAHI

                                                 BASANT

                                                 TUMSA NAHIN DEKHA          OPN

UJALA,                               

PROFESSOR

                                                  DIL DE KE DEKHO               UK

JUNGLEE

JANWAR

                                                  BLUFF MASTER                      KA

BUDTAMEEZ

LATT SAHEB

PRINCE

RAAJKUMAR

PAGLA KAHIN KA

DIL TERA DIWANA

JAWAN MOHABBAT

                                                 PYAR KIYA THO DARNA KYA     RAVI

                                                 PREET NA JAANE REET                 KA

                                                 CHINA TOWN                                   RAVI

SACCHAI

AN EVENING IN PARIS

                                                 TEESRI MANZIL                    RDB

BRAHMACHARI

CHOTE SARKAR                  

TUMSE ACHHA KAUN HAI

JAAANE ANJANE

PREETAM

                                                 KASHMIR KI KALI                  OP

SINGAPORE

ANDAZ

                                                 MANORANJAN                      RDB

 

 

 

Though Jaikishan is assosciated with Shammi’s flamboyance it is in films like Ujala in black and white and Professor  in colour that have an articulate rendering of some very melodious songs where Shankar has come out dazzling with numbers like

 

“Ab kahan jaayen hum…….”    and  “Khuli palak me jhootha gussa……. “..

 

can you put your hands on your heart and earnestly tell,

 

“is there a more soulful number than the former

      and a more melodious romantic number than the later.” 

 

 

rgds

ssmurthy

 

 

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Taken from 33rd episode of Tribute to Shankar-Jaikishan by Srigopal Shroti

 

RAGS TO RICHES v/s TALENT

 

 

 

OPN tuned ”ye hai Bombay, ye hai Bombay meri jaan”…..in CID….it gives enough opportunities to the struggler…and there are hundreds of examples when Bombay made them from rags to riches but not sans talent……i am writing about the great duo of Hindi Film Industry, who also went from rags to riches exploiting their inborn talent….and these facts are not known to the general public of that time and today also excepting their ardent followers….

 

”BAKAUL HASRAT SAAB, ”WE WERE AT THE BEGINNING OF OUR CAREERS AND NONE OF US (S-J, SHAILENDRA AND HASRAT),WAS RICH ENOUGH TO AFFORD TAXIES AND CARS. WE WUD ALL MEET AT CHOWPATTI AND WALK TO CHURCHGATE TO CATCH A TRAIN. AS WE WALKED WE WUD DECIDE WHERE TO EAT THAT DAY….ONE DAY IT WUD BE A THALI AT THE PUROHIT AT CHURCHGATE, THE NEXT DAY DEPENDING UPON OUR RESOURCES  IT CUD BE A MEAL AT WAYSIDE ‘DHABA’, AND WE WUD POOL IN TO MEET THE BILL. …..BUT IF SHANKAR HAD MONEY ON HIM, HE WUD WITHOUT A SECOND THOUGHT, PICK UP THE BILL AND PAY FOR ALL OF US. ….IT WAS SHANKAR’S GENEROUS NATURE.”

 

AGAIN HE NARRATED ABOUT SHANKARJI’S MAGNANIMITY…..”WHENEVER LATAJI SANG FOR S-J COMPOSITION TO HIS SATISFACTION, SHANKARJI WUD HABITUALLY PRESENT HER WITH A HUNDRED RUPEE NOTE.  ….AND LATAJI, AS I REMEMBER, WUD CONSIDER IT THE ULTIMATE COMPLIMENT TO HER ARTISTRY FROM ONE WHO KNEW MUSIC INSIDE OUT”’……THE MEMORIES GO ”SHANKAR WAS THE FIRST AMONGST US TO BUY A CAR. WE WUD ALL PILE INTO IT AND DRIVE AROUND TOWN, JUST FOR A LARK”….IN HASRAT’S OPINION SHANKARJI HAD LESS NEGATIVE POINTS…..BUT INDUSTRY AND OTHER PEOPLE’S EGO MAY HAVE MADE HIM A HARD NUT LATER, WHICH WAS NATURAL FOR A MAN LIKE HIM WHO WAS AGAINST COMPROMISES ALL THE TIME..

 

AND WHAT I HAD GONE THRO’ A LONG BACK THAT DURING THIS CAR DRIVE, JAIKISHAN SAW SOME BEAUTIFUL GIRLS PASSING BY, AND HE SAW THEM TURNING AROUND….AND SHAILENDRA DID HIS IMAGINATION FLOAT TO ”MUD MUD KE NA DEKH, MUD MUD KE”, WHICH WAS A SUPER -DUPER HIT FROM ”SHRI 420” TUNED BY JAIKISHAN…AND MANNADA AND ASHAJI GAVE VOICE TO IT ALONGWITH AN ELEGANT CHORUS…..AND UNMATCHABLE TRUMPETS

gshroti@in.com……….

 

Ragaaz in Jazz Style (Rare album from Shankar-Jaikishan duo)

Raaga in Jazz (BHAIRAV)

Raga Malkauns

Raaga in Jazz (Todi)

Raaga in Jazz (Bhairavi)

Raaga in Jazz (Kalavati)

Raaga in Jazz (Tilak Kaamod)

Raaga in Jazz (Mian Ki Malhar)

Raaga in Jazz (Raga Bairagi)

Raaga in Jazz (Raga Jaijaiwanti)

Raaga in Jazz (Mishra Piloo)

Raaga in Jazz (Raga Shivranjani)

Raaga in Jazz (BHAIRAVI) Original file

from the ARCHIVES of http://launch.groups.yahoo.com/group/shankarjaikishan

“the only Music Director to whom I bow-down and respect was C. Ramchandra.”    SHANKER

 

 

Once while having a chat with Shankerji, long after Jai’s death, I asked him who do you think is the great Music Director? And his reply was “naturally Shanker-Jaikishan” but I continued probing, questioning and teasing him and then came his answer which I shall never forget. He mentioned: “the only Music Director to whom I bow-down and respect was C. Ramchandra.”

 

During 60s 2 similar tune-songs came: Ye mera diwanapan hai…(Yahudi) and the other: Dekh hame awaz na dena…(Amardeep).The first is of SJ and the second is of CR, but I am happy as well as proud to mention that none of them ever created a controversy about the similarity of the tunes and the media also did not comment on it.

Regards. Padmanabh K. Joshi

 

[Thread No.157, January 27, 2003]

http://launch.groups.yahoo.com/group/shankarjaikishan/

 

JWALA

 

Like film Teesri Kasam, film Jwala also took almost a decade to complete due to many problems faced by the producer. While the film production was in its final stage, the great heroin Madhubala passed away. The last shots of Madhubala’s character was taken by having long shots of both Asha Parekh and one more actress but just now I don’t remember her name.During the same period Shailendraji also passed away, and Shankerji had a terrible time. And they chose to go to Rajendra Krishna. Shailendraji had already two songs in the movie. But musically I liked almost all the songs, especially ‘Dekhoji..” and an excellent classical raag based song. In this movie both S & J had worked together.  

Regards. Padmanabh K. Joshi

 

[Thread no.178 dt February3, 2003]

http://launch.groups.yahoo.com/group/shankarjaikishan/

 

 

SJ and Rafi Saheb

 

During the time of Barsat, for the first time SJ composed a song and they told Raj Kapoor that the song had been composed for Mohmad Rafi, Raj immediately agreed and invited Rafi Saheb for a rehersal of the song. I have an audio of this incident in Shankerji’s voice where he explains exactly what happend. When Rafi Saheb arrived, according to Shankerji” main aur Jaikishan bahut razi ho gaye aur Rafi Miyan ko bola ke Rafi Miyan hum aapko kya rehersal karvayenge, hum aapko sirf ek he vinanti karte hai ke aap hamara ye gana hit kar do. Jab Rafi Miyan ne hamara gana suna to woh bahot razi huve aur jis tarah se usne ye gana gaya ke hum dono jaise pagal ho gaye. Bus us dinse hamara Rafi Miyan se rishta shuru huva jo unke ant tak chala. Kabhi kabhi mere aur Jaikishanke bich me koi matbhed ho jate aur Rafi Miyan ko malum hota to woh apni aur se aaker hum ko premse samjate….” I have tried to write in Hindi with a hope that you all will understand it. Rafi and SJ had a special kind of relationship. One more incident: in film Professor song Ai Gulbadan… its stanza was modified by SJ due to Rafi Saheb’s suggestion and recorded accordingly. In his best songs list Rafi selected film Seema’s Kanha ja raha hai…as number 2. I had seen both Shankerji and Jaikishanji recording with Rafi Saheb in a very informal way, without any formality. Many times Rafi Saheb suggested and it was appreciated and accepted by SJ.

 

Regards. Padmanabh K. Joshi

 

[Thread no.182, dt Feb 4, 2003]

http://launch.groups.yahoo.com/group/shankarjaikishan/

 

 

RAFI’S GENEROCITY

 

I was not a friend of Rafi Saheb but due to my presence in a number of song recordings and song rehersals, Rafi Saheb knew me as a lover of music and therefore, we sometimes used to chat. But my experience with him was that he was the greatest human being that the Hindi Film Industry had seen. I believe that such individuals are born once in a million years…. I can say that no Music Director remembers that due to financial reasons Rafi Saheb refused to sing for him or her. He was always particular that the lyricist clearly pronounced his song so that without any mistake Rafi Saheb would write in his Diary in Urdu. He also suggested that the lyricist remained during the recording so that no mistake in pronouncing/singing was committed. Once I remember there were 4 recordings in a day with Laxmikant-Pyarelal at Famous-Tardeo. The last was okeyed at 11:30pm, the film was Pyasi Sham, the song was Awara Maji….Next day Rafi Saheb was to leave for abroad for shows. After the recording I was to go to Vile Parla by local train from Mumbai Central. We came out of the recording room together, I said good bye to Rafi Saheb and he acknowledged, and asked me where I was going? So I replied: Vile Parla. He asked me how I was going? I said by local train. He said OK. He went to his car and I started walking and suddenly he called me and told me to come inside the car. I said Rafi Saheb please don’t bother. He said don’t worry. He took me to Bandra and he along with his brother-in-law got down from the car at his house and he instructed his driver to drop me at Parla. I don’t remember, except Shanker, Jaikishan and Shailendraji, anybody ever asked me or favoured me like Rafi Saheb. Once I was in his recording which he was to sing his first song with the new Bangladesh singer Runa Laila. Music Director was Bappi Laheri. It was a humourous song. Final rehersal was going on, but Rafi Saheb could not sing an aalap. After trying quite a few times he told Bappi Lahiri to call other singer. And the recording was ok. But he never felt that what the MD or the new singer would think of him. There are a number of incidents which I shall narrate in future. Rafi Saheb was the greatest singer among the singers.

 

Regards. Padmanabh K. Joshi

 

[Thread no.185, dt. Feb 5, 2003]

http://launch.groups.yahoo.com/group/shankarjaikishan/

 

 

it was very much SJ who helped RD to become a MD

 

It was during the mid 60s when Pancham was seriously trying to come out as a successful Music Director. When Teesri Manzil was being planned some friends of Pancham heard the story of the film and told Pancham about it. Pancham had composed few tunes. Now the point was how to convince the Producer Nasir Hussain about giving a chance to Pancham. Finally few friends went to C. Ramchandra, a great Music Maestro, and informed him to help Pancham to get the film. As we know Shammi Kapoor always asked for SJ in his films. C. Ramchandra went to meet Jaikishan and told him to help Pancham by recommending him for Teesri Manzil. And it was Jaikishanji who not only convinced the Producer but also Shammi Kapoor about Pancham and finally, Pancham signed the contract. Pancham had publicly mentioned that SJ always inspired him for creating melodious music. So it was very much SJ who helped RD to become a MD. Still I have a very interesting anecdot about SJ and RD but that I shall narrate after sometime.

 

Regards.

Padmanabh K. Joshi

[Thread no.207, dt 17 Feb 2003]

http://launch.groups.yahoo.com/group/shankarjaikishan/

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