Monthly Archives: June 2019

Review of film Jhuk Gaya Aasman

On Thu, 12/31/09, ali_rashid83 <ali_rashid83@> wrote:

From: ali_rashid83 <ali_rashid83@>


Shri Ali Rashid’s feature has been copied and pasted as it is. He is a staunch Shankar Jaikishan fan.

Film Review – Jhuk Gaya Aasman (1968)

To: shankarjaikishan@ yahoogroups. com

Date: Thursday, December 31, 2009, 7:02 AM

Jhuk Gaya Aasman (1968)

By: Ali Rashid

Producer: RD Bansal Productions

Director: Lekh Tandon

Brief Review of the Film:

Sanjay (Rajendra Kumar) is a tour guide in Darjeeling who shares a house with his best friend Hanuman Singh (Rajendranath) . A group of girl tourists have hired Sanjay to take them around Darjeeling. Their leader is Priya (Saira Banu), a wealthy girl from Calcutta, and Sanjay is has fallen head over heels for her at first sight. Sanjay and Priya fall in love while she is holidaying in Darjeeling, but a grim telegram hastens Priya back to Calcutta where she finds that her father has been jailed under false pretences by T. K’s brother Prem. They have framed him on charges of embezzlement. Sanjay takes Priya to the airport for her flight home. After Priya leaves Darjeeling, Sanjay, on his way back from leaving her at the airport, meets with a jeep accident. As he lies there bleeding, a dark figure appears over him. When Sanjay realizes that he has died, he protests loudly against the injustice. This draws the attention of a Bigwig Swami (David) who consults the Recordkeeper Swami. Sanjay is not supposed to be dead. Sanjay was meant only to be injured and not permanently killed. The Swami tells Sanjay that there’s another body he can have, which incidentally belongs to a man who looks just like him, and who was the person who should have died. This man is one of the brothers for whom Priya’s father worked. He is the elder brother, TK by name, and his younger brother Prem (Prem Chopra) wants to kill him and take over everything. Priya tells her jailed father that she will plead with TK, he doesn’t want her to have anything to do with them, and in fact has always kept her far away from them, but she’s insistent. She meets with Prem, who is struck by an idea. Sanjay’s soul breathes life in T.K.’s Body, but Priya hates him because T.K. was a hardened scoundrel who played ducks and drakes with women and ruthlessly crushed other men. Sanjay is trapped. Whatever he tries to do, Priya hates him. T.K. declares his unaccounted wealth, he distributes bonuses lavishly to his employees, makes peace with the grandmother he had cruelly thrown out of the house years before, slowly and steadily T.K’s notoriety is washed clean and the soul triumphs over the body. And thus it is that Priya and Sanjay are finally united. The soul has triumphed over the body, it has lifted the head of man righteously above the skies, and thus even the Gods marvel at Man. And so it came to pass that even the Heavens bowed in reverence.


Image result for poster of film Jhuk Gaya Aasman


Review of the Album:



S-J were in their prime years when they created this dazzling album, and they could absolutely do no wrong. At this point in time, circa 1967-68, S-J were firmly entrenched at the top, and continued to experiment with their compositions and orchestration. Everyone must have admired their unmatched abilities to come out with brilliant melodies and awesome music. Rajendra Kumar films by S-J always had awesome music right from his `Aas Ka Panchi’ days, and this album is no exception. I can only imagine the excitement this album must have created, as every song is an absolute delight, following the long-standing S-J tradition of albums having a multitude of memorable songs.

“Kahan chal diye idhar to aao” opens up this lovely album. Jaikishan was an expert at creating such hummable, catchy tunes. Strains of the electric guitar open up this song followed by Rafi’s spirited rendition. The electric guitar makes its presence felt through the various solo pieces, or playing bass lines throughout the song. S-J liked to decorate their compositions with a myriad of instruments that would play memorable pieces. In this case, what stays with the listener is not only the overall composition, but the electric guitar flourishes that are displayed. Rafi’s added spice and zest adds just the right punch to the song, and his voice is flirtatious and romantic at the same time. The way he plays around with words, adding emphasis when needed, was one of his specialties. The tabla is the prominent rhythm instrument here and what is interesting is the way it is used. If one dissects the main rhythm, one will see it is played in a pattern 1-1-2-1-1-2 which gives the song a certain edge. The side instruments support the tabla in the mukhda whereas in the antaras, the bongos take over and play a pacy rhythm until the end of the interludes. This is one of those songs where the hero is teasing the heroine, and Hasrat’s lyrics flow keeping in mind the theme and the intentions of the hero in mind:

Mere dil mein chale aao

Ke yeh ghar bhi tumhara hai

Tuhmara pyar hi ab mere

Jeene ke sahara hai

If the last composition was a typical Jaikishan gem, the next song is quintessential Shankar. “Sacha hai gar pyar mera sanam” is one of those many perfect romantic ballads composed by S-J for arguably the greatest male voice to have graced Indian Cinema. The song opens up with a lovely flute and guitar combo followed by a rush of violins signifying the romantic atmoshphere. S-J were masters at creating the perfect mood in their preludes, and keep us guessing as to what would follow. When Rafi takes over to Shailendra’s beautiful lyrics, one is transported to another world:

Yeh ajab sa raaz hai

Yeh ajeeb baat hai

Apna pyar tab se hai

Jab se qayinat hai

I am particularly fond of the way Rafi utters the words “priya priya” at the end of each antara. His voice glides through the ups and downs of the composition with utmost ease. The antara tune reminds of a similar melody in the antara of “Panchi re o panchi” (Hare Kanch Ki Chudiyan), a Rafi-Asha duet also composed by Shankar. It is amazing how the composer could fashion two songs with a similar antara melody, yet in the end, make them unique from eachother. The violin ensemble creates a magnificent aura of counter-melody throughout the composition and is supported by the nice drums that constitute the main rhythm. Love songs do not get better than this. There is a sad version of this gem sung by Rafi to a piano accompaniment, which is also excellent. Rafi yet again shows his mastery with an awesome heartbreaking rendition in this version.

Hindi films have had many memorable rain songs that have stood the test of time and remained in the public memory. The next composition fits that bill, an amazing gem sung by the Nightingale. Looking at it from a technical point of view, melody, voice and music all seem to gel so beautifully together to create a stunning piece de resistance. “Mere tumhare beech mein ab to” composed by Shankar is among the most glorious songs S-J composed for Lata. The song starts off on a soft note, but as soon as Lata’s magnificent throw hits “ab aan milo sajna”, one knows that the ride is going to be an enjoyable one. The saxophone combined with the violins in the first and last interludes is master arranging. Many composers such as Rajesh Roshan aped this facet of S-J’s orchestration, showing that S-J were always the leaders and never the followers. Credit to S-J, Sebastien and the whole team for thinking outside of the box. The melody is very serene and breezy and the rhythm on the tabla/dholak compliments the rest of the music, as well as the rendition nicely. The rhythm in the interludes are not on the tabla/dholak but in fact bongo’s accompanied by side rhythms which adds a different edge to the composition. The shehnai which accompanies Lata’s rendition in the anatara’s is a cooladdition to an already excellent song. The lyrics by Shailendra are great:

Aaya madmata saawan

Phir rimjhim ki rut aayi

Phir man mein basi shehnai

Phir preet li angarayi

The next song is an excellent Lata-Rafi duet from the house of Shankar Jaikishan. “Meri aankhon ki nindiya” is a nice romantic love ballad fashioned by Jaikishan along the lines of his past hit “Tujhe jeevan ki dor se” (Asli Naqli). The song has a nice melody with upbeat rhythm and wonderful renditions by the two maestros. This song unfortunately was not included in the DVD of this film which I happened to see. It’s a shame because it could have made for some nice viewing of Rajendra Kumar and Saira Banu singing this song on screen. For this composition, Jaikishan basicially used the “tried and tested” formula. I would have liked it if he had come up with a totally unique composition, however that does not take away from this song, even though it may remind us of the earlier wonderful Lata-Rafi duet from Asli Naqli. Hasrat’s lyrics here suit the situation nicely:

Aisa bandhan bandha hai kabhi na khule

Khatm hote nahin pyar ke silsile

Zindagi bhar ko apna bana le gaya

Tumhare siva kaun



“Unse mili nazar” by Lata is a nice trendy upbeat composition composed by Jaikishan. The melody is breezy and so is Lata’s effortless rendition. The pace and the way the instruments have been used is a fascinating feature about this composition. The rhythm compromises of a combination of the bongo’s/congo’ s supported by side rhythm instruments. The accordion, guitar, and violins have all been used sparingly but nicely to compliment the main rhythm. However the standout instrument in this song is none other than the harmonica (mouth organ) that has been showcased brilliantly in the first and third interludes. The harmonica is not a common instrument in HFM songs, and one has to find a situation where one can use it, and here S-J received the opportunity to showcase their flair wit yet another instrument. Hasrat’s lyrics are again apt for the situation where the heroine is thinking about the hero:

Jab woh mile mujhe pehli baar

Unse ho gayi aankhen chaar

Paap na bete pal bhar woh

Phir bhi ho gaya unse pyar

If the heroine is thinking about the hero in the previous song, the next song shows the reverse case. “Kaun hai jo sapnon mein aaya” is my favourite song from this wonderful album. Although the song was inspired by Margarita from Elvis, S-J created a totally new and fresh composition. Time and time again S-J kept on setting trends and this song was no exception. The beautiful rhythm is not only trendy, but also sophisticated, especially the use of the drums. The violins are magnificent and just add the right pinch of salt to this tasty S-J dish. Another great feature about this song are the excellent piano flourishes which accompany the rhythm and composition in the mukhda and interlude music, as well as the nice use of the stringed-guitar. The image of Rajendra Kumar singing this song in his car to Rafi’s magnificent voice is an image I will never forget. Rafi’s rendition of this western-based masterpiece by Jaikishan is nothing short of brilliant (as usual), and he conveys just the right amount of emotions required for such a song. When Rafi’s voice soars in “O Priya”, one is reminded yet again that such a singer, and such composers as S-J, are once in a lifetime miracles. Hasrat’s lyrics in this song are fantastic:

Zindagi ke har ik mod pe mein

Geet gaata chala jaa raha hoon

Bekhudi ka yeh aalam na poocho

Manzilon se badha jaa raha hoon

As with most films of those days, the final song belongs to the cabaret genre, and who better than Asha Bhosle, the specialist in this genre to sing another S-J winner, “Kisi ki jaan lete hain”. The composition has some nice orchestral flourishes by S-J, along the lines of one would expect in a cabaret number. The upbeat rhythm along with nice use of the brass section, violins, and guitar all create a fun atmosphere. Asha’s rendition is first-rate, and the situational lyrics by S.H. Bihari (a rare appearance) are also cool:

Kisi par jaan dete hain

Kisi ki jaan lete hain

Wahin karte hain dilwale

Jo dil mein kaan lete hain

Sambhalo jaan jaan jaan jaan

Jhuk Gaya Aasman was another winner in the already sparkling S-J resume. 1968 was another good year for S-J, where apart from this film, S-J showcased their versatility with albums as varied as Mere Huzoor, Brahmachari, Kanyadaan, Sapnon Ka Saudagar, Shikhar and Duniya.”

Suraj, the Sensational Super Hit of Shanker Jaikishen

This feature by

Lakshmi K. Tummala

It was one Sunday afternoon, during my school days, that the telephone rang. It was Mr. T. Prakasa Rao, our neighbor in Chennai, my father’s contemporary in the movie industry and a family friend, asking to speak to my father. I told him that he was on location at a hill station, shooting a couple of songs for his upcoming movie. Prakasa Rao uncle, as I called him, told me that we were invited to a private screening of his new movie that evening. I ran to my mother to tell her of the exciting news. But, immediately, I fell into a big dilemma since I had promised to help my friend, Rekha, with a project which was due the next day.

Image result for film Suraj

I called Rekha and told her about the invitation to the movie. She immediately had a solution to my problem which at that time seemed major. She suggested coming over to my home after I returned from the movie. We could then work on the project as long as we can and that she would then take it home and complete it. What a great idea, I thought. But then, I felt very guilty to have her work late into the night to finish the assignment. I told her that and Rekha, being an angel that she is, told me not to worry about it, but to go and enjoy the movie. She knew how much I liked Vyjayanthimala and SJ music. We had already heard the songs of the movie before and loved them a lot. I couldn’t wait to see them in the movie.

We reached the preview theater and were warmly greeted by Prakasa Rao uncle. A few more friends of his had also arrived. Soon the lights were turned off and the movie began. Personally, I never cared much for non-social movies, but then this is not one of them. It had lots of twists and turns which didn’t bother me at all. I only had eyes for my favorite Vyjayanthimala and ears for SJ songs.

I must say that the music in this movie is outstanding. SJ composed a great album. There are seven songs in all with each one being a gem. The two by new singer, Sharda, are by Shailendra and the other five, by Hasrat. SJ covered a wide range of composition styles and achieved great success. Although I heard them before, the songs sounded much better in the preview theater with great acoustics. I thought Vyju looked fabulous, especially in the songs. “Baharon phool barsao…” sounded so very romantic. “Titli udi..” had already taken the country by storm, but I personally liked “Dekho mera dil machal gaya..” better. “Kaise samjhawoon…” in a semi-classical style, by Rafi and Asha, was superb! “Itna hai tumse…” by Rafi and Suman Kalyanpur was also very good. Rafi sounds too good in the frolicsome number, “Chehre pe giri zulphein..” and last, but not the least, ” Ek baar ati hai…” with Rafi, Asha and chorus is a very delightful song.

Suraj was a musical treat for me. At the end of the movie, Prakasa Rao uncle asked me how it was. “Uncle, you have a winner” I said. He raised his eyebrows. I told him the movie was very entertaining and the music was sure to win a FF Award for Best Music Director. I went home humming one song after another. Rekha came over. We sat through the night and completed the project. She spent the night with me and we went to school the next morning. Believe it or not, I later saw this movie two more times in the theater which tells something about it. When the FF awards were announced, Prakasa Rao uncle was so happy that he sent a big box of chocolates for me with a note saying, “You were right Papa, we won!” I was very happy to know that the movie won SJ, Hasrat and Rafi, Filmfare Awards for Best Music Director, Lyricist and Singer, respectively. As for me, I had already voted for the music in the affirmative. You go, SJ!

This image has an empty alt attribute; its file name is 61454705_10157661258980798_4250075073756528640_n.jpg
Lakshmi K. Tummala, author of this feature