The clip sung by Rafi is in fact as everyone can see in the clip itself a four line verse written on a piece of paper which is hidden in a lotus flower and sent by Sadavriksh to Saranga to call her to their meeting place, which is described in the verse itself. This verse is in a very different tune than the song of Mukesh, this tune being happy and hopeful and the Mukesh song is a sad one sung when Saranga is taken for marriage with someone else.
At least Ameen Sayani mentioned his source, which for him was obviously a hearsay. Raju Bharatan is on a different plane. Nothing happened in Bombay film and music world — no recording, no romance, no break-up, no patch-up — without him being present at the scene. In many cases he was an active participant, giving advice, resolving conflicts etc.
Now it is up to the readers to believe him or not. My issue with him is different. I wish he could write plain English. Between the beginning and end of his sentences we have to spend half the time in deciphering what he wants to say. He goes on and on in even more intimate style than Raju Bharatan as if he was present at the scene — which took place before he was born. He finds no need for giving its source. There is no question of getting worked up, but I cant keep quiet where legends are being abused.
This Indian habit of enjoying anecdotes without thinking about even verifying their veracity has led to spreading of so many false stories, which eventually encourages such people. In my view, Ameen Sayani is the bigger culprit because he does not put his statements to print and can go scot free by denying all that has been said by him. His mentioning source does not mean anything if he is just giving false stories, in my view without even talking to the source he mentions.
His source may not even come to know of his statement and Sayani has done the damage to the legend. Raju Bharatan is on print and that is the reason many people know about his lies, though many of his lies are circulating like eternal truths.
One such lie is the Aradhana story. Anu Kapoor is perhaps a follower of the theory of enjoying anecdotes and mindlessly goes on propagating them, though he may not be called the perpetrator of lies like Sayani or Bharatan. I had a respect for Anu Kapoor after watching his interview some years back and thought him a , but after watching 3 or 4 of his episodes all that respect vanished and I stopped watching his program. AKji, you have rightly said that Ameen Sayani was quoting Anu Malik who is still there to deny any incorrect statement attributed to him, so for Ameen Sayani it was hearsay.
Still it is a fact that as history, much of what is written about Hindi films is of doubtful veracity. All of them may not be fabricated, still the fact remains that you can not verify them.
Burman since a long time- when RDB was a child. No idea, whether these films were completely scored by RDB. I even had a discussion with him in Facebook- all his programmes are full of errors. Mr Maitra, Could you please mention which Bengali song was the original sung by SDB of Roop tera mastana , and if possible, give its link.
I consider Mann Dey only credible artist from the Golden Era alive and he does not talk now a days. Akji and Kaushikji This is a post on Sardar Malik. I am not sure whether this the right place to discuss as to who actually composed Roop tera mastana.
Never the less, I too would like to join the fray. This was how Roop tera mastana was born according to Brajen Biswas. If I have overlooked or if you have any information to the contrary, I will be grateful if you can provide the details. As regards the composer of the song, there is contradictory information. Again the author quotes singer Bhupinder saying that the song was not composed by Pancham as is commonly believed, but by Dada Burman himself.
Of course I agree with Kaushik Mahashoy that it is all within the family and we need not break our heads in trying to establish who actually composed the song. Finally a parting trivia. The prelude to the song Chori Chori solah shingar karoongi sounds a lot like the prelude of the song Roop tera mastana! Correct me if I am wrong. It was being discussed on another post too. But I agree the controversy is pointless — not because it was a family matter, but whether the father or the son did it, the important point about Aradhana is that it was a major turning point in music and Kishore Kumar- Rafi balance.
You have made a great discovery. The prelude in Chori chore solar singaar karungi indeed is almost identical to the one in Roop tera mastana. Not justifying or defending Anu Kapoor, but please keep in mind he is just an anchor on the Masti Channel. Anchors are given a script to read from, the research for which is done by the channel or production houses producing the serial.
I know for a fact that they take a lot of stuff from published books. Those composers knew what they were doing, and we are no one to judge. Our job is to listen and appreciate. Mr Ameen Sayani is a much revered person in the industry and verifies his facts before speaking.
Nevertheless, all this talk does not change the equation that ANu Malik ka saara klaam ek taraf, Sardar Malik ki Saranga ek taraf. Shikha ji, you are right. However, as far as I know, Annu ji is also a part of the research team; as he is also very much interested in old Hindi film music.
We love them all and if we have the right to appreciate, then we must have the right to criticize also. The comparison of the film version of Mukesh with the discarded version of Rafi is interesting.
However, no body seems to have noticed that the lyrics of the two versions are different, with just the mukhra of the song the same. What Rafi sang is a couple of dohas independent of each other. Doha is an exclusive meter in Hindi literature, having 24 matras, having a pause after 11 matras and having a dirgh and a hriswa in the end. This arrangement can not be altered in a doha, otherwise the meter will become faulty.
Rafi was aware of this and his rendering the meter is flawless. Later it seems Bharat Vyas converted the meter into a full fledged cine-song and Mukesh was the best choice to sing a filmy song where he could take some liberty with the singing. I am not sure how and why it happened. But unless you cmpare the lyrics of the two songs you cannot even hazard a guess.
Friends, I am searching for two Asha Bhonsle songs: 1. MD Sardar Malik 2. Will much appreciate a link for these. P Acharya, There are some other songs of Madan Manjari available on YT — I have myself included a duet from the film — but Hum apne gham sajakar bahar kar lenge by Asha Bhosle does not seem to be available.
But, interestingly, a duet with the same words sung by Vinod Rathod and Sadhana Sargam from a recent film Gentleman composed by Anu Malik is available. The rest songs of this film are composed by AR Rahman. Thanks Mumbaikar8 for this information. I do not know if it follows the same tune, but it is rare that a new song should have such lyrics.
All these melodies are sweet and unforgetable. I would like to mention the forgotten melodies of music director Shyamsundar. This ghazal has been sung beautifully by Mujaddid Niazi. Can you upload that here as it is not easily found on you tube. Arun Kumar Nigam, I had not heard his name. Could not locate his Lagta nahi jee mera. But thanks for introducing him, heard his other ghazals. Excellent singer. After listening to Mohd. If not, I recommend you must listen to it.
It is one of the better interviews as it is more about music. I sometimes feel that the people who got the chance to interview greats of golden era have not done their job properly.
It would have been so much more interesting and informative if they have tried to understand the various aspects of making great music from them. Sidharth, It is an excellent interview indeed.
Sardar Malik has mentioned his son Anu. On the second point, the reason is they want to limit themselves to the least common denominator. Sidharth, thanks for the link to this interview. I wish it had more details around the music like in the first instance when he talks about using the nishad in what is essentially a Bhoop based raga.
Lovely gem in the use of roopak taal to change the emphasis from the normal use to that of a dance based rhythm. There was a small snatch of a song he sang which seems to be based on Yaman Kalyan that I had not heard before.
Once again thanks very much for the link. SSWji, Yes, the interview left yearning for more. I do try to listen between the lines but I wish I had your ears for detail :. You always add a new dimension to a song. This also shows how much effort a music director puts in a song.
Maybe our experts on this forum can throw some light on this. I just tend to listen to a particular instrument or voice and blot out the rest for detail. I like the supporting lines in a song. It fills out the soundscape. Apparently the song was stolen from Sardar Malik. I think the song is not the usual Kalyanji Anadji style at all unlike the other songs in the film. It does have a Sardar Malik flavor. AKji, what do you think? That could be the reason for the suggestion.
But Yaman is a very popular raga. Let us not take anything away from KA. Click Here For More News. Rajeshwari Datta Pretty Images. Shruti Bapna Beautiful Images. Ranveer Singh HD Images. Aamir Khan HD Images. Vidya Balan HD Images. Aishwarya Rai Cute Pictures. Actress Komal Pawaskar Magnificent Stills. Click Here For More Galleries. Deepika Padukone. Kiara Advani. Parineeti Chopra.
Alia Bhatt. Anushka Sharma. Sonam Kapoor. Click Here For More Interviews. Top 10 Environmentalists Of Bollywood. Top 10 Movies Based On Politics. She was an actress and director, known for Saranga , Lav-Kush and Sampoorna Mahabharat In short the movie talked about a woman who faces problems when she insists on marrying the man she loves as is so in other stories. These competent music directors either refused low grade films or opted to stay home.
Nashad was a great success in Pakistan. Babul did not get any work in Pakistan. These competent music directors either refused low-grade films or opted to stay home. The latter two actors provided comic and veteran relief respectively.
It was produced and directed by Lekhraj Bhakri and screenplay and dialogues were by Pandit Girish. The characters were consistent and sound because of their actions and behaviour. The plot moved smoothly with successive incidents, well designed to develop the dramatic interest with the relief of comedy and spectacle in the right places, without encumbering the action or holding up the drama.
According to site Cineplot. The son on the other hand is grateful to her because she had brought him up. She had spoiled her other son by over protecting him and ignoring his wickedness. Hero gets saved by her evidence which is wrung from her broken heart in the court when she realizes how wrong she had been. Shyama has not been given proper treatment and she ends up doing overacting in the film.
Newcomer Jai Jaiwanti Ameeta , playing her first role, makes a promising debut as the vamp and gives an effective performance. Ravindra Kapoor, also making his film bow, is quite remarkably good as the spoilt son.
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