SD Burman _ composer who used Bengali folk to create melodies _ Part (3)

By Dr Amjad Parvez
Thursday, January 05, 2012

I must mention here that as per biography available on various sites, SD Burman's mother's name was Nirmala Devi. His father was the second son of Ishanachandra Dev Burman, the Raja of Tripura; so SD Burman is descended from a royal family. SD Burman was one of nine children and the youngest of five boys. Actually during his stay in Calcutta, SD Burman became romantically involved with his music student Meera Dasgupta and married her despite family pressure and RD Burman came out of this wedlock in 1939. Before we proceed, it is mentioned here that SD died on October 31, 1975. Much after his demise, the Chief Post Master General (North East Circle) released a stamp on the musical genius SD Burman acclaiming that his music emerged from the core of perpetual Bengal life. The Tripura government felicitated his 84-year-old ailing wife at a simple function at Khar, Mumbai's western suburb, on September 15. Tripura Information and Cultural Affairs Minister Anil Sarkar, accompanied by his department's Director Subhas Das, presented a traditional shawl and an SD Burman centenary plaque to Meera Devi along with a cheque of Rs 100,000.

Before proceeding further, let me recapitulate SD's movies and their songs of the fifties. These were 'Rajgee' in 1937, 'Jhalar Dhan' in 1939, 'Milan' in 1942, 'Avayer Biye' in 1942, 'Chadmabeshi' in 1944, 'Kalkini' in 1945 and 'Two Brothers' and 'Dil Ki Rani' and 'Chittor Vijay' in 1947. The movie 'Vidya' appeared in 1948, 'Shabnam' in 1949, 'Pyar', 'Mashaal' and 'Afsar' in 1950. I have already mentioned the movie 'Sazaa' of 1950 above. The movie 'Naujewan' came in 1951. I remember this movie in particular as my childhood memories are attached with its song 'Thandi Hawaein Lehra Kei Aaein' pictured on young and lovely Nalini Jewant at that time. This was a Mahesh Kaul movie with Prem Naath in the male lead. The movie 'Naujawan' revolved around a young woman who is unhappy to the choice of husband that is made for her. She comes across someone who pretends to be her suitor to prevent her marrying the "wrong" man. The movie titled 'Buzdil' again is my favourite movie. It was released in 1951 because of its songs such as Lata's 'Rote Rote Guzar Gai Raat Re' penned jointly by Kaifi Azmi and Sheilender. The beauty of this song lay in its simplicity with pathos oozing out of it. Then the song with semi-classical connotations in 'Teen Taal' rhythm, 'Jhan Jhan Jhan Baaje Payal' by Lata has special nostalgic memories attached for me. My maternal aunt Zakia Dil (later Maalik) used to sing this song perfectly. She was professor is the Fine Arts Department at the University of Punjab. She was a skillful painter as well. I used to copy this song the way she copied Lata perfectly well. This song used just a violin and a flute to support the melody with the exceptions of rich violin interlude before the second stanza wherein the variation of the Raag excels. It is amazing that Surinder Kaur sang an exceptionally good song 'Manjhdar Mein Kashti' for this movie. This song takes its start with clarinet as though creating a lamenting impact. Talat and Lata's 'Dar Laage Duniya Sei' was a hit duet of its time. I have already mentioned the movies 'Bahar' (Saiyan Dil Mein Aana Re' by Shahshad Begum pictured on young Vyjantimala needs a special mention), 'Lal Kunwer', 'Jaal' and 'Baazi' above. These movies were made in 1952. I have nothing to mention about the 1953 movies 'Shehenshah', 'Jeewan Jyoti' and 'Armaan' for SD.

I have a lot however to talk about SD's 1954 movie 'Taxi Driver'. The story is a nostalgic journey through the Bombay of the fifties with its quiet, peaceful and scenic background, electric trams. A taxi driver, Mangal, who is called "Hero" by his friends, drives a cab every day, then drinks at night, listens to his singer girlfriend, Sylvie. One day, while assisting another taxi driver, Mangal comes to the assistance of a damsel in distress, who is being molested by two thugs. Mangal gallantly rescues her, and attempts to take her to her destination, but to no avail, as the person she is looking for has moved. The next day, Mangal and the young woman, Mala, again attempt to seek Ratanlal, a music director, but the entire day is spent in vain. Mala lives in Mangal's tiny apartment and both become attracted to each other. When Mala finds out about Sylvie, she leaves him. Mangal goes in her search, but finds that she has become a famous singer with the help of her music director friend. Apart from the two songs mentioned above, let me not forget two other songs by Lata; one 'Aei Meri Zindigi Aaj Raat Jhoom Lei' and two, 'Dil Jale To Jale', both club songs and hits of that time.

In 1954, SD composed for the movie 'Radha Kishen' and in 1955 for the movie 'Society'. Two 1955 movies however need a special mention because of their music. These were 'Munimji' and 'Ghar Number Chawalees' (House No 44), the former for the song 'Jeewan Kei Safar Mein Raahi' and later for Hemant Kumar's songs 'Teri Duniya Mein Jeeney Sei To Behter Hei Keh Mar Jaaein' and 'Chup Hei Dharti' and Lata's solos 'Peechey Peechey Aa Kei' and the best number 'Phaili Hui Hein Sapno Ki Baanhein'. This movie ended the movie romance of Dev Anand and Kalpna Kartik into a real life marital bliss. SD's great success were 'Devdas' in 1955, 'Funtoosh' in 1956, 'Paying Guest', 'Nau Do Gayara', and 'Pyaasa' in 1957. The latter movie was a Guru Dutt venture. Its writer was Abrar Alvi and the movie was released on February 17, 1957. The story revolves around an unemployed youth Vijay, the youngest in family whose passion is saying poetry. Hemant Kumar excels in the song 'Jaaney Woh Kaisey Log They Jin Kei Pyar Ko Pyar Mila' with distressed Mala Sinha listening to Guru Dutt's woes.

SD Burman _ composer who used Bengali folk to create melodies _ (Part 4)

By Dr Amjad Parvez

Friday, January 06, 2012

The climax however is Muhammad Rafi's 'Yei Duniya Agar Mil Bhi Jaaei To Kaya Hei', a cry against the cruel social injustice representing the gap between the rich and the poor.

 In this song, Rehman's villainous character, Waheeda Rehman and Mala Sinha's expressions excel when Guru Dutt is thrown out by his rivals as the masses are inclined towards what he is preaching. The song was pictured wonderfully in black and white lighting effects. I must not forget the wonderful song by Geeta Dutt 'Jaaney Kaya Tu Nei Kahi' pictured on Waheeda playing a street prostitute luring Guru Dutt.

My all time favourite is 'Devdas' made in 1955 with Dilip Kumar, Vyjantimala and Suchitra Sen. It was directed by Bimal Roy based on the Sharat Chandra Chattopadhyay novel of the same name. In 2005, Indiatimes Movies ranked the movie amongst the Top 25 Must See Bollywood Films. While comparing Shahrukh Khan's version, I must add here that the 1955 version pictured the movie in real life locations and life of the village. The latter version depended more on glamour. Both were good but I prefer the older one. Its songs were "Mitwa Lagi Yeh Kaisi" by Talat Mehmood, "Kisko Khabar Thi" by Talat Mehmood, "Jise Tu Qubool Karle" by Lata Mangeshkar, "Ab Aage Teri Marzi" by Lata Mangeshkar, "O Jaan-e-Wale Ruk Ja" by Lata Mangeshkar and "Woh Na Ayenge Palat Kar" by Mubarak Begum. Set against the backdrop of rural Bengal during feudal times, Devdas is the story of a doomed love affair between Devdas (Dilip Kumar), son of the local Zamindar, a high-caste Brahmin, and Parvati (Suchitra Sen), the daughter of their neighbour, also a Brahmin, but belonging to a slightly lower status in terms of caste, affluence and status. They grow up as childhood sweethearts. But when they decide to marry, Devdas' father puts his foot down, packing his younger son off to Calcutta for higher studies. Parvati's marriage is finalised with a wealthy Zamindar, a widower with children older than his young second wife. Learning about Parvati's marriage, Devdas rushes back to his village and tries to stop the marriage, in vain. Parvati is prepared to elope with him but Devdas refuses and Parvati leaves his room in the middle of the night, castigating him for his cowardice. In Calcutta, Chunilal (Motilal) introduces him to an attractive and strong-willed courtesan, Chandramukhi (Vyjantimala), and initiates Devdas into the darker corridors of the city. Devdas finds an easy escape in drink and though he insists that he hates Chandramukhi, he keeps coming back to her for moral support. Chandramukhi falls in love with him. He meets Parvati once more, when he returns to the village to perform the last rites of his father. He bequeaths his share of the family wealth to his older brother, ear-marking a part of it for his mother during her lifetime. Parvati pleads with him to give up drinking. He evades a direct reply and instead, promises to see her at least one last time before he dies. Back in the city, he drowns himself in drink. Chandramukhi gives up the life of a professional courtesan and concentrates on nursing Devdas back to health. He gives up drinking for some time and is advised to go on a holiday. He embarks on a train journey across the country, destination unknown. He stealthily runs away one night, leaving his faithful family retinue Dharamdas in the train when he chances upon a junction station that will take him to Manikpur where Parvati lives. He treks along in a bullock cart to see Parvati one last time. He dies a tragic and painful death under a tree outside her house before Parvati can see him.

In 1958, SD Burman composed for the movies 'Solhawaan Saal', 'Lajwanti' and 'Kalapani'. The latter movie was produced by Dev Anand for Navketan films and directed by Raj Khosla. The film was based on AJ Cronin's 1953 novel, 'Beyond This Place', and starred Dev Anand, Madhubala, Nalini Jaywant, and Agha. The film's lyrics are by Majrooh Sultanpuri. The best song is Muhammad Rafi's 'Hum Bekhudi Mein Tum Ko Pukarei Chaley Gaye' and a teasing number 'Acha Ji Mein Hari Chalo Maan Jaao Na' pictured on lovely Madhubala and Dev Anand. S.D Burman also sang the Bengali version of his composed song sung by Rafi 'Hum Bekhudi Mein Tum Ko Pukare Chale Gaye'. Nalini Jewant played the role of a prostitute and pictured the song 'Najar Laagi Raja Tore Bangle Par', a typical Mujra number by SD. The storyline as available on Wikipedia is that Karan comes to know that his father, Shankarlal is in jail and that his mother has been pretending from his childhood that his father had died. On meeting his father, Karan comes to know that he has been jailed for a murder that he did not commit. Karan sets out to gather proof of his father's innocence so that he can reopen the case filed against him, and set him free. Karan comes to meet one of the witnesses who had spoken for his father in the court, who tells him about the investigating officer, Inspector Mehta. Karan stays as a paying guest, of which Asha is the owner. Asha is herself a journalist. From Inspector Mehta, Karan comes to know about other witnesses - Kishori and Jumman. The Inspector confesses that although he smelt a rat, he was silenced by the defense lawyer, Diwan Sardarilal. Inspector Mehta also tells Karan that he overheard Kishori and Jumman speaking of a letter, and that this might prove to be a major proof of Shankarlal's innocence. Karan goes about to woo Kishori, so that he can get the letters possessed by her. In the meantime, romantic feeling develop between Karan and Asha. Karan also approaches Diwan Sardarilal as to how he can reopen the case to prove his father's innocence. He also asks if it will be enough if he can get the letter from Kishori.