Discerning Few : Rafi Sings For Bachchan

Today is Rafi’s 29th death anniversary. Hope his soul is in peace.

na fankaar tujh sa tere baad aya
mohammed rafi tu bahut yaad aya
– A song from movie Kroadh

Just the other day I was watching the song and something struck me. I felt that the song was ironical in so many ways. Although its a tribute to Rafi Saab, it was sung by Md.Aziz, a so-called Rafi clone, whose voice is such a far cry from the soothing and melodious voice of Rafi. And the fact that the song was filmed on Amitabh Bachchan, whereas Rafi hardly sang a dozen songs for him.

That got me thinking of all the songs which Rafi Saab rendered for AB. Among the pearls of Kishore da songs, I really had to try hard to find the gems that Rafi had sung. And quite truly I found very few of those. I still wonder why the legendary singer was given such few songs to sing for the megastar. While I do agree that Kishore had become the defacto voice for AB, but you still had Mukesh singing for him in Kabhi Kabhie, Manhar Udhas sang a song in Abhimaan, Shabbir Kumar sang a dozen of them during the mid-1980’s in movies like Coolie and Mard, Md.Aziz sang for him in Khuda Gawah and more, Kumar Sanu gave us a nasal AB in Jaadugar and Geraftar; then why did music composers of 1970’s not give more songs to Rafi Saab? Anyways, instead of cribbing about what did-not and could-not happen, let us just enjoy whatever little that’s available of this actor-singer combination.

While I was making a quick list of the songs, much to my surprise I found that Manmohan Desai was the only director who got Rafi Saab to record for a lot of those BigB songs. And invariably, Laxmikant-Pyarelal was the music composer for the Desai flicks like Desh Premee, Naseeb and Suhaag. In fact, even outside of Manmohan Desai films, LP made use of Rafi’s tones for Dostana and Ek Nazar.

Let me start with one of the most melodious duets of Indian cinema, Teri Bindiya Re, what a composition it is! Everytime I hear it, I go into a wonderland of my own dream sequence. Lata-Rafi, at their very best, just take us back to the basics of classical training; and without straining a single chord deliver such fantastic melody. SD Burman, the music director who made this possible, should be given huge credit for this evergreen song. I only wish that Majrooh Saab had written a few more stanzas so that Lata-Rafi could cast a longer spell of magic. Why the hell is this song so short? Under 4 minutes! Ok, here I go cribbing again….forget it. Let me enjoy, thanking God for those little mercies that the song still exists in the hearts and minds of people.

Another Lata-Rafi duet, which did not get much airtime because the movie did not do well, was the song Patta Patta Boota Boota from the movie Ek Nazar. It was a LP composition, much in sync with the movie but not with the times that were. Its a forgotten song which comes up only when people talk about Mir’s poetry and/or Rafi’s voice and the effortless rendition. What a fine song, and it does not look odd on Bachchan’s persona either.

Let me stepback for a minute, one of the first songs which Rafi sang for BigB was for the movie Parwana and the song was Yu Na Sharma . Madan Mohan was the music composer and the situation was party-like where Kishore da sang the happy version of the song picturized on Navin Nischol. The same song is later sung in a sad version by Rafi for AB. The mood changes, the flavor changes, the voice changes, face changes but the melody remains. AB’s sullen expression and Rafi’s tones of dismay makes for such a beautfiul watch.

Another somber song which Rafi rendered wonderfully for AB was Mere Dost Kissa Ye Kya ho Gaya in Dostana. The strained relationship between AB and Shatru is brought out so well in this song. A restrained Rafi and a clean-shaven, boyish hair-cut and yet a grave-looking Bachchan was a treat. There is so much emotion in those words sung by Rafi and the expression on AB’s face is just unforgettable. In fact, except for this song, all other songs of Dostana were sung by Kishore da; including the title song, Dillagi Ne Di Hawa etc. And yet, for this song LP chose Rafi who did total justice to this gloomy song.

Having mentioned the above songs, let me now come to the Manmohan Desai and LP combo. Desh Premee was quite a long winded movie with so many twists and turns, typical of any Desai movie. The movie was based on patriotism, regional, caste, creed and racial differences. Kishore da sang the fun songs Khatoon Ki Khidmat Mei, Gore Nahi Hum Kaale Sahi etc. But it was Rafi’s song of unity in diversity that won hearts. The title song, Nafrat Ki Lathi Todo, was symbolic of Desai’s movies. Though this song may not count among best of Rafi songs, but its the perfect song for national integration. And keeping in tradition with all the patriotic songs that Rafi has sung.

Teri Rab Ne Bana Di Jodi song, which later gave the title to Adi Chopra’s movie, was sung by Rafi for another Desai movie Suhaag, with music by LP. BigB in the disguise of a ek tara strung sardar and Rekha behind the garb for almost the entire song could have spelt disaster. But AB and Rekha carried it off, with Rafi crooning this playful number and Shailendra Singh lyrically rebutting him.

Another song from the same movie was the dandiya number, Sabse Bada Tera Naam O Sherowali, was devotionally sung by Rafi. Much later, Mehul Kumar copied the same sequence in Krantiveer, where the hero sings for Maa Sherawali while waiting for the villain to arrive on the scene. Anyways, Suhaag was an exceptional case where Rafi sang entirely for AB. There were two other songs, Athra Baras Ki Tu Hone Ko Ayi filmed on AB and Rekha in her kotha; and Aye Yaar Sun was a silly song where AB was training a blind Shashi Kapoor to ride a bike on his instructions, basically AB literally doing a backseat driving. Nowhere in the movie do we feel that Rafi’s voice does not suit BigB, at least this movie should have opened more doors for this combo. But probably the box-office report and producer’s superstition held them back from doing so.

Betwixt Desh Premee and Suhaag came Desai’s Naseeb. And much before the Hey-Baby’s and the Om-Shanti-Oms, there was John Jaani Janardhan. A star-studded song which was opportunistically filmed during the golden jubilee celebrations of Desai’s Dharam Veer. Desai made the best of the situation by shooting the song as guests kept coming in; they swayed a little, lip-synced a little and the song created history. This was another song which is a symbol of Desai’s secular credentials and all-inclusive approach. And Rafi singing to the tunes of LP was icing on the cake. He gave the song the much required gaiety and enjoyment without missing a single beat. It was one of the more overtly commercial songs of Rafi that went very well with AB’s merriment.

I would like to mention two more songs which were not sung for AB, but nevertheless AB was the proxy of the voice. The song was filmed on unknown faces, but the thoughts and feelings were of AB. One of the song is Deewane Hain Deewano Ko Na Ghar Chahiye from Zanjeer which reflected AB’s thoughts in the movie; and the other is Ruthe Rab Ko Manana Asaan Hai from Majboor. Both songs were sung with great enthusiasm by Rafi Saab, although they were not to be shot on the main lead. That goes on to show the humility of this man who valued the song for what they were, nice compositions.

Amidst all these amusement let me not forget one of my favourite romantic songs of Rafi which also happens to be picturized on AB, which is Tumse Door Rehke. The movie was Aadalat and the music composer was Kalyanji-Anandji, perhaps the only time that the duo got Rafi to sing for AB. The song has such a nice ring to it, filled with fondness and yearning and the magic of Rafi’s voice and expression.

Although Kishore da has sung more songs of AB, memorable ones too, I cherish these Rafi tracks as well. These songs should not be lost in the vast ocean of AB songs.

This post was first published on PFC

 

most memorable filmfare awards of 1992-93

Most awards, you know, they don’t give you unless you go and get them – did you know that? Terribly discouraging.
– Barbra Streisand

The topic of awards is quite a sensitive one. But, at the same time its also a topic of much controversy when the right people do not get it and the wrong ones are awarded, for whatever reasons.

Like the practise goes, of giving away awards a year after they release, obviously; here too the awards were given away in 1993 for the films that released in 1992. This awards  night was the last time that I saw the entire show. One of the reasons being that, I had started losing respect for them.

Anyways, this award night was quite remarkable in more ways than one. This was also the last time that Aamir Khan attended the show. Not just attended the show, he performed too. Aamir and Juhi danced to the Ghoonghat Ki Aad Se Dilbar Ka song from the movie HHRPK. In fact, Filmfare awards was a kind of platform to promote upcoming movies and stars usually performed songs from their to-be released movies, thereby reaching a wider audience.

Shahrukh too performed, alongwith Kajol, to the songs of Baazigar. It was great to see Aamir and SRK on Filmfare podium. It just looked like the future of Indian movies was bright, in safe hands and heading in the right direction.

Coming back to the awards distribution, let me start with the last award of the night. The previous year, in 1992, Dimple Kapadia was called on stage to give away the award for Best Actor. She had pulled open the envelope with great enthusiasm and she shrieked into the mike with all her energy ‘Amitabh Bachchan for Hum‘ and had handed-over the award to Bachchan with great excitement. This being 1993, and Bachchan being nominated for Khuda Gawah, it seemed like it was more than a coincidence that Dimple Kapadia was asked to give away the prestigious award again. When she came onto the dias, she seemed to be so unexcited and disinterested. She did not even pull open the envelope, she just held it up in the air, against the light, and calmly declared ‘Anil Kapoor for Beta‘.

I felt Dimple was being teased, she herself might have felt that. That aside, when there were more worthy nominees like Aamir for JJWS and Bachchan, the award went to Anil for a movie that was carried entirely on Madhuri Dixit’s shoulder. Not just this award, Beta swept the awards with Best Actress for Madhuri, Best Supporting Actress for Aruna Irani, Best Female Singer for Anuradha Paudwal for Dhak-dhak number, and of course the Best Choregraphy for Saroj Khan for the same song.

JJWS won just 1 award for Best Film. JJWS did not win any awards in acting categories, what was more disappointing was the way in which JJWS was deprived of awards in music category. There was a minor goof-up on the stage, while the nominess were being read out for Best Lyricist, Majrooh saab heard his name and mistook it for the announcement of the winner and he just walked onto the stage. The award was very undeservedly given to Sameer for Teri Umeed Tera Intezar Karte Hain, and Majrooh’s fantastic lyrics of Pehla Nasha Pehla Khumar was swept aside. It took Simi Grewal’s experience that she handled, what could have become an utterly embarassing situation, by asking Majrooh to hand-over the award to Sameer.

After that, the Best Music Director award went to Nadeem-Shravan for Deewana, and Jatin-Lalit’s wonderful tunes of JJWS were side-lined; that was really disheartening. The worst was not over yet. The nominations in the Best Male Singer was read out and again the award went to Kumar Sanu for Sochenge Tumhe Pyar Karen Ki Nahi from Deewana. I was so disappointed that Udit Narayan did not win the award for Pehla Nasha Pehla Khumar. Not just disappointed, that was the first, last and only time that I cried for an award not being given to the most deserved one.

That very moment I told to myself, lets see 10 years down the line which song will be remembered. I did not have to wait for 10 years because within 2-3 years people forgot the tunes and lyrics of Deewana while Pehla Nasha became the anthem for all lovers, for everyone who is in love, for everybody who has romance alive in their hearts. The song has become immortal and there is hardly anyone who has not heard the song Pehla Nasha.

Pehla Nasha … a song that pushed an entire generation to fall in love, a song that resonates in our ears whenever we hear about a new budding love-story, a song thats present in every compilation of love songs and Valentine’s Day celebrations. Udit’s mellifluous voice, the simple and melodious piano sequence, the wonderful lyrics…the song is just pure magic.

There onwards, the trend continued and awards were being doled out to all the undeserving people. It turned into a popularity award instead of an award being given for talent or achievement. I soon lost faith in the awards as the sanctity of awards was being destroyed.

I was reminded of the celebrations that took place when the founders of the awards had called upon Gregory Peck to inaugrate the first Filmfare Awards. It was all so promising that we had an awards show on the lines of the Academy Awards [Oscars] and that awards would be given to recognise the contribution and talent of film-makers and as an encouragement to do better work ahead.

And here we had the institution of awards becoming a machinery being oiled by the celebrities whom the panelist/jurist/trustess favoured. The more I hated awards, the more number of awards ceremony sprung up from all quarters. We soon had Zee, Star, Screen, Stardust giving out awards. Anyways, coming back to Filmfare Awards, it was saddening to see the awards being celebritized.

To end the post on a bright note, this year the awards that were given away for movies in 2008 was much better and more fairer. I even wrote about it here. I hope they are in the right track on their way to recover lost glory.