Posts from the ‘SJ’s association’ Category

वैलेंटाइन के दौर में आज एक अनूठे प्यार की यादें !!! ‘दिल एक मन्दिर’

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लेखक

श्री शिव शंकर गहलोत

रुक जा रात ठहर जा रे चंदा 
बीते ना मिलन की बेला…

जिंदगी और मौत के बीच खतरनाक जंग जारी थी और मरणासन्न पड़े हुए राजकुमार की बीवी मीना कुमारी मौत को इतने करीब से देखकर बेहद घबड़ायी हुई थी । और उस पर थोड़ी बची जिंदगी मे पति की आखिरी बार दुल्हन के वेश मे देखने की ख्वाहिश । शायद वो अपने जीवन के बेहतरीन लमहे को मरने से पहले एक बार देखना चाहता था । एक तरफ मौत का मंज़र और दूसरी तरफ सुहागरात का दृश्य । इस सिचुएशन पर गाना बनाना कितना मुश्किल था। पर शंकर जयकिशन तो संगीत के जादूगर थे ही जो इस मुश्किल को आसान बना सकते थे । मेरा विचार है कि दोनो श्रीधर पर बेहद ही मेहरबान थे या कहूँ कि उसकी 30 दिन मे पूरी फिल्म बनाने की कयावद पर जी जान से फिदा थे तो गलत नही होगा । शैलेन्द्र ने गीत लिखा-

“रुक जा रात ठहर जा रे चंदा,
बीते ना मिलन की बेला,
आज चांदनी की नगरी में,
अरमानों का मेला”

“पहले मिलन की यादें लेकर,
आई है ये रात सुहानी,
दोहराते हैं फिर ये सितारे,
मेरी तुम्हारी प्रेम कहानी ।

कल का डरना,
काल की चिंता,
दो तन हैं मन एक हमारे,
जीवन सीमा से आगे भी,
आऊँगी मै संग तुम्हारे

शैलेन्द्र ने ये गीत लिखा जो सुहागरात के लिये उचित था और रात को भी सुहानी बताया गया था । अब जिम्मेदारी थी शंकर जयकिशन की मौत का मंजर गीत मे भरने की । तो जब लता ने शब्द “रुक जा रात ठहर जा रे चंदा” खिड़की से झांकते चांद को बोलती है तो लगता है मौत के मंज़र से खौफज़दा मीना कुमारी का कलेजा हलक के बाहर निकल जायेगा । बोल तो सुहागरात के थे पर स्वर मे खौफ था मौत के मंज़र का । शंकर जयकिशन ने लता को ग़ज़ब सुर दिया और लता ने बहुत बेहतरीन निभाया । शैलेन्द्र ने पत्नि के मुख से मरणासन्न पति को दिलासा भी दिलवाया ‘जीवन सीमा से आगे भी आऊँगी मै संग तुम्हारे’ । ये स्थापित हिन्दु मान्यता के अनुरूप ही था कि स्त्री पुरुष का संबंध जनम जनम का है और मृत्यु महज़ एक पड़ाव है ।
मरणासन्न पति पत्नि से वचन मांगता है कि वो उसकी मृत्यु के बाद अपने प्रेमी से शादी कर लेगी । पर एक भारतीय पत्नि के लिये तो ये सुनना भी पाप था । अब बारी थी हसरत जयपुरी साहब की जिन्होंने यहाँ जो गीत लिखा वो एक भारतीय पतिव्रता नारि की मन:स्थिति, मन की पीड़ा, उसके अन्तर्मन की आवाज़ और गुजरी घटनाओं की परिणति का खुलासा बयान कर दिया गया । ये गीत स्थापित हिन्दु मान्यताओं की स्थापित मर्यादाओं में ही बंधा था और हसरत जयपुरी मै समझता हूँ यहाँ बिल्कुल शैलेन्द्र के अवतार में नज़र आये ।

हम तेरे प्यार में सारा आलम खो बैठे हैं खो बैठे,
तुम कहते हो कि ऐसे प्यार को भूल जाओ,
भूल जाओ
हम तेरे प्यार में…..

पंछी से छुड़ाकर उसका घर,
तुम अपने घर पर ले आए
ये प्यार का पिंजरा मन भाया,
हम जी भर-भर कर मुस्का ए
जब प्यार हुआ इस पिंजरे से,
तुम कहने लगे आजाद रहो
हम कैसे भुलाएं प्यार तेरा,
तुम अपनी जुबां से ये न कहो
अब तुम सा जहां में कोई नहीं है,
हम तो तुम्हारे हो बैठे
तुम कहते हो कि…..

इस तेरे चरण की धूल से हमने,
अपनी जीवन माँग भरी
जब ही तो सुहागन कहलाई,
दुनियां के नजर में प्यार बनीं
तुम प्यार की सुन्दर मूरत हो,
और प्यार हमारी पूजा है
अब इन चरणों में दम निकले,
बस इतनी और तमन्ना है
हम प्यार के गंगाजल से बलम जी,
तन मन अपना धो बैठे
तुम कहते हो कि…..

सपनों का दर्पण देखा था,
सपनों का दर्पण तोड़ दिया
ये प्यार का आँचल हमने तो,
दामन से तुम्हारे बाँध लिया
ये ऐसी गाँठ है उल्फत की,
जिसको न कोई भी खोल सका
तुम आन बसे जब इस दिल में,
दिल फिर तो कहीं ना डोल सका
ओ प्यार के सागर हम तेरी
लहरों में नाव डुबो बैठे
तुम कहते हो कि…

एक भारतीय पतिव्रता स्त्री कैसे शादी से पहले के प्यार को त्याग कर अपनी जीवन धारा को एक निश्चित राह पर मोड़कर अपनी मर्यादाओं का पालन करके प्रसन्न रहती है ये कितने खूबसूरत शब्दों में लिखा हसरत साहब ने कि देखते ही बनता है ।

पर कहानी दिल एक मंदिर की यहीं खतम नही होती । एक और गीत था जो बचपन की अठखेलियों के बीच मौत के मंज़र से दो चार होता है । पर इस बार शंकर जयकिशन ने अपना विश्वास सुमन कल्याणपुर पर जताया । गीत था “जूही की कली मेरी लाडली”। गीत तो शैलेन्द्र ने लिखा जो मां और बेटी के वात्सल्य को ही प्रदर्शित करता है। पर मौत का खौफ फजांओं में था और बच्ची पर मौत का साया मंडरा रहा था । इसी मौत के खौफ को व्यक्त किया गीत की एक लाइन ने “ओ आस किरन जुग जुग तू जिये” । जब सुमन कल्याणपुर ने स्वर को फर्श से उठाकर अर्श तक पहुँचाया तो उसमे प्रार्थना थी ऊपरवाले से जो स्पष्ट सुनी जा सकती थी । । ऐसा लगा वहाँ सुमन कल्याणपुर लता के समकक्ष जा खड़ी हुई । और इस तरह शंकर जयकिशन ने लता शैलेन्द्र सुमन के साथ मिलकर संगीत के स्वर्णिम काल के इतिहास में एक पन्ना स्वर्ण अक्षरों से लिखा ।

श्रीधर साहब के पास फिल्म दिल एक मन्दिर के प्रेम त्रिकोण का हल तो नही था इसलिये राजेन्द्र कुमार की मृत्यु दिखाकर अपना रास्ता आसान कर लिया । शैलेन्द्र और हसरत जयपुरी साहब ने अपने इन दो गीतों में इस प्रेम त्रिकोण से उपजी समस्याओं का न सिर्फ गहन अध्ययन गीतों में दिया बल्कि सही हल भी सुझाया। पति पत्नि के संबंधों को शादी से पूर्व के प्रेम से कहीं ऊँचा दर्जा दिया ।

शंकर जयकिशन के संगीत ने फिल्म को पूर्णता प्रदान की । दिलों में उठ रहे भावनाओं के तूफानों को पार्श्व संगीत और गानों के प्रील्यूड और इन्टरल्यूड संगीत के द्वारा पूरी फिल्म में स्पष्ट रूप से व्यक्त किया । जिस हिन्दु दर्शन को फिल्म में अधूरा छोड़ दिया गया था उसे हसरत शैलेन्द्र ने अपने गीतों में पूरा किया ।

फिल्म दिल एक मन्दिर और उसका संगीत हमारे मानस पटल पर आज पांच दशकों के बाद भी छपा हुआ है ।

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A film which was inspired by Jaiprakash Narayan’s continuation of the ‘Sarvodaya’ movement.

by

Dinesh Shankar Shailendra

I am re-posting this piece…

Whenever I listen to this song, it always makes me wonder…. Why on earth did Shailendra and Jaikishen have to go into self-destructive mode…
The world of Music and Poetry would have been richer for a longer period of time…

But on second thought, Will this magic ever die ???

DIRECTOR’S CUT

Radhu Karmakar ( Jis desh mein Ganga behti hai )

Raj Kapoor had called Shanker, Jaikishen, Hasrat, Shailendra and Mukeshji to his ‘cottage’ in R K Studios…. He narrated a script to all of them….. As he finished, there was silence…. Suddenly, Shanker banged his cup of tea on the table, shouted out an expletive, ( referring to somebody’s sister ) and stormed out of the cold, smoke-filled room !

Everybody was stunned…. then Raj Kapoor asked Shailendra…. ” Pehelwaan ko kya ho gaya ? Story pasand nahin aayi “? Shailendra followed Shanker out of the cottage…. When he asked Shanker what the matter was, Shanker again let out a volley of ‘gaalis’…… He said….
” Daakuon ki film mein, music ka kya kaam hai ? Banaa lein binaa gaanon ki film…. Humein yahan kyon bulaaya hai…..” ?

Shailendra managed to pacify him and convinced him that there would be songs and music in the film….. Shanker returned and all of them discussed the appropriate situations for songs in the film…. The film, finally had nine songs…. Incidentally, eight were written by Shailendra….

Radhu Karmakar was to direct the film which was inspired by Jaiprakash Narayan’s continuation of the ‘Sarvodaya’ movement….. Getting the hardened dacoits of the ‘Chambal’ ravines to surrender…… join the mainstream and lead a normal life…..

The film was a stupendous success all over India…. Shanker-Jaikishen, Shailendra and Hasrat Jaipuri scored a perfect ” Nine”….. all the nine songs were hits….. Shailendra’s ” Hothon pe sachchai rehti hai ” was nominated for the Filmfare awards, but lost out to Shakeel Badayuni’s ” Husn waaley, teraa jawab nahin ”

The climax of the film is about the simple villager, Raju, finally convincing the gang of dacoits to surrender…. The director uses a song to end his story ….. On one side is Raju walking along with the dacoits, on the other side is Padmini, who has come with the whole Police force…. armed fully…. there is always a chance that they are being led into a trap…
The song itself is BIG….. and the director matches it with great shots….. Raj Kapoor, the producer, gives his director everything he wants to make this song as spectacular as possible….

Undoubtedly, one of the biggest songs recorded around that time, as far as music goes….. Probably a 100 violins…. a big chorus and two main singers…. There were so many musicians that some of them had to be seated on the pavement outside Famous Tardeo Recording Studio….. The studio where Shanker Jaikishen recorded almost all their songs….

The song starts with violins and the brass section creating suspense and drama…. The shots are perfectly in sync with the music….. truckloads of men in uniform….they alight and march…. The loud music suddenly makes way for the soft sound of ‘pizzicato’ ….. the musical term for plucking of strings of instruments like violin, cellos and double bass…… A guitar joins in and the song starts….

“Aa ab lau chalein,
nain bichhaye, baahein pasaarey,
tujhko pukaarey, desh tera….. ”

A beautiful violin run….
The ‘mukhdaa is repeated…. The gang of dacoits starts moving….
The director cuts to a shot of the marching troops…. as they separate, we hear Lata Mangeshkar’s piercing voice…

” Aa jaa re,
aa jaa re, aa jaa…..”

This by itself is one of the most amazing bits of singing in the history of Hindi Film Music…. I have yet to hear someone else do it so perfectly….
We see Padmini running towards the camera…. The men march past her…. another mind-blowing, earth shattering ‘aalaap’ from the great lady…. and she holds the notes perfectly !

Cut to Raj Kapoor…. he sings the verse…

” Sehej hai seedhi,raah pe chalnaa,
dekh ke uljhan, bach ke nikalnaa,
koyi yeh chaahey, maaney na maaney,
bahut hai mushkil, girr ke sambhalnaa…”

The ‘mukhdaa’ is repeated….

We see a frantic Padmini searching for him…. She sings

” Aa jaa re….
aa jaa re, aa jaa…”

The chorus joins in….mandolins end the interlude…
The next verse…

” Aankh hamari, manzil parr hai,
dil mein khushi ki, masst leher hai,
laakh lubhaayein, mahal paraaye,
apna ghar, phir, apna ghar hai…… ”

The ‘mukhdaa’ is repeated….

The director intercuts between Padmini and Raj Kapoor…. she finally spots him and the dacoits… The Police see that the dacoits are unarmed …. The song ends….

The music is just what only Shanker Jaikishen could have done….. The singing….. Mukesh is great and he keeps it simple…. Lata Mangeshkar does wonders….Shailendra writes simple words that bring home the message…. ” Sehej hai seedhi, raah pe chalnaa….. bahut hai mushkil, girr ke sambhalnaa….” He takes it right to your heart with ” Apna ghar, phir, apna ghar hai….”

Radhu Karmakar has the gang of dacoits on one side and the Police on the other…. The location….. the bare ravines….. But see the drama he creates with the deft camera placing and movements ( Cinematographer : Taru Dutt )
He does full justice to match the music, the words and the singing….

Raj Kapoor and Padmini play their parts to perfection…. But the others match up too ! Nana Palsikar smoking a ‘chillum’…. unaffected…. Pran…lagging behind…. he is unsure…. apprehensive….

I can only think of how Shanker would have reacted after seeing this song on the screen…. Probably banged a tea-cup on the table and uttered an expletive ( referring to somebody’s sister ) !!!!!!

The Glorious Shanker-Jaikishen

Sharda Rajan recounts the glorious past

God said . let there be a revolution in the music of India , let there be new abundant variety of melodies & tunes , let there be rich modern , magnificent orchestra of high grade……..and He created Shanker Jaikishen..

They were not siblings, cousins or relatives . They were not classmates , boyhood friends or any sort of associates….

How they could have met & joined in a most wonderful harmonious union which lasted a lifetime & beyond unless God had wished so .

Their association , their friendship & their style of work were so unique , pure & sincere & divine.

Shankerji used to arrive in the music hall every afternoon & sit there late till night , playing harmonium , making songs & pieces for orchestra.. Jai sab used to come off & on . When they were together sitting with their bajas ,playing & comparing notes it would seem that the Gods & Goddesses of music were present there alive in their melodious musical notes.

Most of the time the hall would be crowded with people. On some rare occasions Shankerji would be sitting there alone playing his harmonium , drowning himself in the flow of music pieces.

On one occasion a song is fixed for recording . And Shankerji goes on & on playing the song .

I ask him . ‘ why are you playing this song over & over again ? The composition is complete & the recording is fixed.

Says he, ‘ you have to go on playing it over & over , that is how you get new ideas & innovations.’

Sure , they brought countless new turns , variations & novelties in their compositions.
The bend in ‘Tera mera pyar amar,’ the hum in ‘Tu pyarka sagar hai,’
The voice over back up in ‘Jabbhi e dil udas hota hai’, the extended TUM in ‘ Tum..m…hi tum..m ,, ho mere jiwanme,’ & the zig zag swishes in the last part of ‘Asmanme tare hai beshuma..a…a…a..a…aaar …
And the up down up down swings in the antara of song ‘Jiya ho jiya kuch boldo ‘ and like these many more.

And the tunes , they would start the song from any new venues like in the notes above the highest note of the middle octave, which noone had ever done before….
Like in ‘Dil tera diwana ‘& ‘Rukja raat ‘
And the jumping in the tunes to unimaginable far away notes like
‘ Dheere dheere …..[sudden jumping]….chal…..
Any one would have thought that after ‘Dheere dheere , the next part would come in the next notes.
Not S J ..their notes would go anywhere to anywhere taking all of us in a melodious high jump ride..
In ‘Akele akele . the song is going softly & suddenly the high jump comes & we are all taken to dizzy heights.

And the various audiations like ‘uf umma ‘ ‘ayayaya’ ‘Yahoo ‘ ‘Takdhindhin, ‘vaivaivai” ‘ullalla ‘ and as such …..

And the mind blowing orchestra , the like of which no one have seen anywhere in the world…. The jerking rhythm pattern in song ‘Tera jana .. & the high energy emotional overtures in ‘Chahe koi mujhe junglee kahe’….the hummable evergreen pieces in ‘mere jhoota hai japani’. The heart pulling cuts & breaks in the music of song ‘Dost dost na raha’ And the sheer brilliance in the music of ‘Ajeeb dastaan ‘ which does not have any match to date in the whole world ..I can mention only few songs ..because I will not be able to analyse so many of them

And the background score of Joker ..an all time classic creation .

Shankerji worked day and night during the background recording holed up in the studio

He was nowhere to be seen , in his regular joints , music hall , nor in CCI club or anywhere for nearly over a month. He just disappeared from the scene.

Because in background music , you have to see the movie , take the timing of the scene & compose the music piece to fit in that time.It has to be composed on the spot , you cannot remember the timing of the scene , compose it at home & bring . So like this ,scene after scene has to be seen & the music has to be composed & recorded.

The recording studio was booked for a month or so & Shankerji stayed there day & night . I do not know how many days Jaikishenji was there.I am sure he must have been there most of the time. But I know Shankerji was there all the time. because I used to go to the studio for my regular sittings & Shankerji was nowhere to be seen there. like all the other time sitting in the music hall every evening.

When I entered film industry, it was their high ascent time & they were zooming & zooming higher & higher Their fans growing day by day & the awards & trophies pouring in .. I heard there were complains from their households that there is no more place in their huge flats to keep any more trophies.

Time for mischief mongers to make entry..Some sly foxes would come to Shankerji , & try to put a wee little poison in his mind , about Jaikishenji…. No need to say Shankerji would flare up & throw this guy out of the music hall in just one moment ,,
The same thing Jaikishenji would do ,, but in his own way

Shankerji told me , that when some such people went to them separately , he said with awe that Jaikisenji also had given the same reply as Shankerji had given to these people.

Thus was their inner tuning , they thought & worked in the same wave length whether they were near or far……………..

Many trophies many movies many jubilees many awards & many shows & then the time comes for government appreciation.

Information comes that Shankerji’s name has come on the Padmabhushan title list..

Cheers but no cheers.

Some thing wrong has happened …..As Shankerji had told me …….

Some dumbos in the government had entered the name Shanker Jaikishen as one name belonging to one person.So one award had been allotted..

Phone calls fly up & down from Delhi & Bombay Officials are contacted in Bombay.. They all understand the mistake & feel sorry.

But they cannot do anything now…. no time for rectifying the mistake .. If S J can take Padmashree , then two Padmashrees can be given . But no two Padmabhushans can be given now..

Shankerji opts for two Padmashrees instead of waiting one more year to get two Padmabhushans.

What is a Padmabhushan or Padmashree ? Can it match their work & their genius? Their value is much much higher than the value of a Padma bhushan or Padmashree..

Even calling them emperors is not giving them their worth . Because many emperors have come & gone with no naamo nishan .

Shanker Jaikishen’s greatness will live for ever like a lighthouse guiding all generations to come. Their music will be alive youthful & fresh matching to any new generation for all time to come.

More snaps relating to film Pyar Hi Pyar produced by Rajaram-Satish Wagle

At the launching of film Pyar Hi Pyar Photo courtesy : Satish Wagle, Jatin Wagle

At the launching of film Pyar Hi Pyar
Photo courtesy : Satish Wagle, Jatin Wagle

Music Director Jaikishan of Shankar-Jaikishan  giving clap to the Muhurat shot of film Pyar Hi Pyar Photo courtesy : Jatin Wagle-Satish Wagle

Music Director Jaikishan of Shankar-Jaikishan giving clap to the Muhurat shot of film YAAR MERA
Photo courtesy : Jatin Wagle-Satish Wagle

Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (ALL EPISODES)

CourtesyShrikant Deshpande

SHRIKANT DESHPANDE

 

1st Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri

1st Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri

2nd Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri

2nd Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri

3rd Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (2ND EPISODE)

3rd Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (2ND EPISODE)

4TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (2ND EPISODE)

4TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (2ND EPISODE)

5TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (3RD EPISODE)

5TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (3RD EPISODE)

6TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (3RD EPISODE)

6TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (3RD EPISODE)

7TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (4TH EPISODE)

7TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (4TH EPISODE)

8TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (4TH EPISODE)

8TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (4TH EPISODE)

9TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (5TH EPISODE)

9TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (5TH EPISODE)

10TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (5TH EPISODE)

10TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (5TH EPISODE)

11TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (6TH EPISODE)

11TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (6TH EPISODE)

12TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (6TH EPISODE)

12TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (6TH EPISODE)

13TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (7TH EPISODE)

13TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (7TH EPISODE)

14TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (7TH EPISODE)

14TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (7TH EPISODE)

15TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (8TH EPISODE)

15TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (8TH EPISODE)

16TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (8TH EPISODE)

16TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (8TH EPISODE)

17TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (9TH & LAST EPISODE)

17TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (9TH & LAST EPISODE)

18TH & FINAL  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (FINAL  & LAST EPISODE)

18TH & FINAL Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (FINAL & LAST EPISODE)

Films which were announced with music by SJ, but could not make it

Here is an interesting article or trivia about SJ films, completely compiled by  Abhay V. Acharekar ji in our Yahoo group

Photo taken at Chandu Kale's residence in Pune on 9th December'2013 during get-together of SJ Fans. Shankerji used to visit this place. The music instrument is played by Shri Chandu Kale ji.

Photo taken at Chandu Kale’s residence in Pune on 9th December’2013 during get-together of SJ Fans. Shankerji used to visit this place. The music instrument is played by Shri Chandu Kale ji.

Here’s a list.

Films that were signed before Sep 1971 but were not released by then:

1. Seema (Simi-Kabir-Rakesh-Bharati)
2. Albela (Mehmood-Namrata)
3. Chori Chori (new) (Sanjay-Radha-Jeetendra)
4. Beimaan (Manoj-Raakhee)
5. Love in Bombay (Joy-Waheeda-Kishore. produced by Shubir Mukerji)
6. Yaar Mera (Jeetendra-Raakhee)
7. Lal Patthar (Raaj Kumar-Hema Malini-Raakhee-Vinod Mehra)
8. Ankhon Ankhon Mein (Rakesh-Raakhee)
9. Daman Aur Aag (Sanjay-Saira)
10. Ankh Michouli (Rakesh-Bharati)
11. Mera Vachan Geeta Ki Qasam (Sanjay-Saira)
12. Nagina (Sanjay-Leena)
13. Dhoop Chhaon (Sanjeev-Hema. Yogita added much later due to problems between Sanjeev and Hema)
14. Bandagi (Vinod Mehra-Sandhya Roy)
15. The Gold Medal (started with Rajendra Kumar-Saira and later changed to Jeetendra-Raakhee)
16. Mehfil (Jeetendra-Sadhana , later replaced by Anil Dhawan)
17. Naina (Shashi-Rajashree. Moushumi added later)
18. Aan Baan (Rajendra-Raakhee)
19. Resham Ki Dori (Rajesh Khanna-Saira. Rajesh Khanna was later replaced by Dharmendra who was closed to Atmaram)
20. International Crook (Dharmendra-Saira)
21. Archana (Directed by Satpal, Bhappi Sonie’s assistant.
21. Pyar Ka Rishta (Sameer-Mumtaz-Shatrughan-Vinod Khanna)
23. Rivaaj (First production of KC Bokadia. Sanjeev-Mala)
24. Dur Nahin Manzil (Started with Roshan who composed the titled song that was retained. Also, initially this one had Sanjeev-Nutan but Nutan was replaced by Reshma, Bindu’s sister)
25. Insaniyat (Shashi-Madhu)
26. Dil daulat Duniya (Rajesh Khanna-Sadhana)

Films that never saw completion but were on hand in 1971:
1. Hero (launched by Sham Behl, of Gold Medal/Duniya with Sunil Dutt)
2. Kabhi Daman Kabhi Phool (Vinod Khanna-Anupama)
3. Kora Kagaz (Rajesh Khanna-Hema Malini; not the same one that was released later in 1973)
4. Sindoor (Produced by Sant Singh; directed by Kishore Sahu. Jeetendra-Saira)
5. Sadiyonse Hai Pyar (Produced by RK’s cousin Vijay Kapoor. Shashi Kapoor- Saira Banu)
6. Tu Payal Main Geet (Directed by Kanak Mishra. Shashi Kapoor- Saira Banu)
7. Mahaan (Directed by Sultan Ahmad. Sanjeev Kumar-Mumtaz. Not the same as AB’s Mahaan)
8. Aar Paar (Tanuja-Romesh Sharma)
9. Untitled film (Directed by T. Prakash Rao. Dilip Kumar-Saira with one song recorded by Jaikishan in Asha’s voice)
10. Ganga Ki Kasam (Produced by Pachhi)
11. Karishma (Randhir Kapoor in the lead)
12. Nain Mile Chain Kahan
13. Paani
14. Sun re Balam
—–
Announced before Sep 1971 but vanished from the radar after sep 1971
1. Seeta Aur Geeta
2, Kailash/Prem Chopra’s untitled (later named Nafrat)

Announced after Jaikishan’s demise but never released or completed:
1) Wattan (Sunil Dutt, Sanjay Khan, Rekha, Premnath; Director Kanak Misra)
2) Azmaaish (Sanjay Khan, Director: Kanak Misra)
3) Baby Hindustan (Director: Basu Chaterji)
4) Gunahgaar (RaajKumar. Producer/Director: Govind Saraiyya. Had a Lata-Manna Duet)
5) Mere Desh ki Dharti (Producer: Kewal P. Kashyap)
6) Talaaq (Parikshit Sahni)
7) Apmaan (Navin Nischal, Rakesh Roshan)
8) Jugal Jodi (Asrani-Deven Verma)
9) Pehla Pehla Pyar (Mumtaz International. Saira-Shashi Kapoor)
10) Airport
11) Gulzar Singh’s untitled (Shashi Kapoor)

Note that Jungle Mein Mangal was a quickie that started after the producer Rajendra Bhatia released Paraya Dhan and was not signed before Sep 1971.

Jaikishen ji directing singer Sharda at a stage programme. Ace accordionist Sumit Mitra is seen with accordion

Jaikishen ji directing singer Sharda at a stage programme

Photo Courtesy : Singer Sharda

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