The
Genesis of the beginning of a subtle and sensational bond
The Awesome and Amazing
AMIYA-SHANKAR JAIKISHAN
ASSOSCIATION (By ssmurthy)
Prelude:
It was an unusual day, as Shankar was busy preparing for a rehearsal as he briefed Jai about the impending visit of a film maker whom he invited, for a hearing of some tunes, he thought, would be to the film makers liking, having got an inkling of the proposed subject theme, under contemplation.
The gentleman in question was getting late, and as it was getting well past afternoon, Jaikishan was becoming restless, as the time for his english movie matinee rendezvous was nearing,
Observing all this was Shankar, while reprimanding Jai, chided him, giving him his early lessons on commitments. Jai then gave in to his senior partner and touched up the base tune composed by Shankar with the famous (to become) flourishing on the harmonium within the next half an hour or so, and what novelty he embellished the tune with, is fondly remembered by Shankar ever since.
Enter Gentleman Amiya :
The gentleman in question was the sensitive film maker Amiya Chakraborthy and the tune "Aiye mere dil kahin aur chal" (not yet in the word format) and the Film "Daag".
This was how the Amiya Chakravarthy - SJ association began and a string of emotion filled movies like "Patita" ,"Badshah", "Seema" "Kathputli" "Apne Huye Paraye" and so on, with a neat social message packed with some amazingly awesome music emerged, bringing in an authentic connosiers delightful debate on the horizon, whether "The SJ - Amiya combo was a shade subtler vis a vis the RK -SJ combo".
Amiya's dilemma and thespian Dilip:
Amiya had thespian Dilipkumar in mind for the lead role, but was hesitant in view of the premium price he commanded those days. Soon Dilip came to know of this and did not brook his price interfere with the role. And what a performance he gave, playing the die hard alcoholic, smitten between the pangs of love, the compulsions of his addiction and his yearning for his mother, deservedly bagged the first FF award for acting in the year 1953, which was otherwise dominated by Bimal Roy for Do Bigha Zamin, Meena Kumari and Naushad Ali for Baiju Bawra.
The arrestingly breezy and fleeting harmonium beats and the straight to the heart - felt words "Aiy mere dil kahin aur chal, gham ki duniyan se dil bhar gaya, dhoond le ghar koyi ek naya ......"
leave you transmuted at the vagaries of helplessness, finding solace in philosophic askance in an utopian world of wishful thinking.
This song had also three versions;
When you have a sozzled up Dilip wallowing in a morass of self pity erasing his woes of misery,
Again the Lata version when you have Lalita Pawar pleading Nimmi to croon this song as a consolation holding her last breath, awaiting the return of her son, who has gone to buy those life sustaining medicines and in the process gets lost in the stupor of his drink,only to find his mother lost for ever. SJ's background score depicting the death scene is serenity beyond expression and Dilip's acting soon after he arrives and realises his mother is no more, is poignancy, hard to emulate and can be treated as an acting lesson for alltime.
We also have this song in the beginning, as Lalita Pawar welcomes arrival of her son reaching for him at the outskirts of her village to the opening strains of merry accompaniment and again in the grand finale as a reformed Dilip kicks the bottle for ever, returning back in prosperity and gets united with his much relieved lover.
If there are two numbers which can be voted for their novelty among the lesser known but immaculately crafted ones, recall the numbers,
"Hum dard ke maron ka ,itna hi fasana hai,
peene ko sharabe gham, dil gham ka nishana hai"
and
"Koi nahin mera is duniyan me, Aashiyan barbad hai...."
both these songs heighten the impact of helplessness as the script warrants, through the vibratingly silken smooth voice of Talat, no wonder the numro uno, opted by most celebrities then, for melancholic and romantic songs.
In between you have "Yeh dekho, kaise hai aaya zamana..." in a lighter vein by Lata and company.
"Preet yeh kaisi bol re duniya...... .." a forlorn and pensive Nimmi voices her concern of subconscious love for Shankar (Dilip's name in the film) and what a subtle melody, composed in a style, that was a token tribute to the master composer Naushad Ali for whom Jai had a lot of regard, while Shankar respected Chitalkar.
and you have that everlasting and haunting Lata solo
"Kaheko dher lagaayi re, aaye na ab thak balama...... ."
a cry in wilderness expressing her anguish agonizingly, the bitter predicament of a lovelorn damsel in distress over her alchoholic lover.
Interestingly Dilip Kumar amidst so many Naushad numbers has become synonomous with this SJ tune "Aiy mere dil kahin aur chal" as much as Raj Kapoor with "Awara hoon" and Dev to toast with "jiya ho jiya ho jiya ho."
rgds
ssmurthy
ssmurthy
No comments:
Post a Comment