Ghulami has some really brilliant dramatic and action scenes. My favorite ones.
* Dharam’s confrontation with the Thakurs while drawing water from the well.
* Kulbhushan’s son being shot dead by the Thakurs.
* Naseer encountering the bandit and killing him.
* Mithun chasing his cattle back from the border, and then being arrested by Naseer.
* Mithun being rescued by Dharam and Kulbhushan, and their confrontation with Naseer.
Some scenes are very violent though, especially the one where Naseer interoggating Dharam, inserts the stick in his bullet wound, or the one where Naseer catches the dacoit, and slashes him brutally.
In fact i would say every scene in this movie is a gem by itself. At no stage does the director J.P.Dutta, let the interest slip in the narration, absolutely tight and keeps you on the edge throughout. In truth, this movie is a masterpiece in itself.
Dharmendra is brilliant as Ranjeet, rebelious, angry, breathing fire. Especially in the scene where he confronts the Thakurs.
Mithun Da again gives a solid performance as Jabbar, especially in the scene where he has a face off with Naseer in the thana. And his habit of saying ’Koi Shaque’ is endearing.
Kulbhushan Kharbanda to me has been an actor, who always has performed well in whatever role he has had, and again here is he just outstanding. Watch him in the scene, where he breaks down in the desert after meeting Dharam.
Naseer as always top class, as the ruthless Sultan Singh, just showing why he is one of the greatest actors around.
Smita Patil, does not have much of a role to do, but she does her part well. All the supporting cast, Reena Roy, Anita Raj, Om Shivpuri, Raza Murad, Bharat Kapoor do their parts well.
The movie also has 2 great songs, one is Zehaal-E-Muskin, lovely song by Shabbir and Lata, with some wonderful lyrics by Gulzar, this is used to establish the love between Mithun and Anita Raj. Another is Mere Pee Ko Pawan, very moving song by Lata. Laxmikant Pyarerlal’s BGM too is good at places.
All in all, not a movie to be missed at all.
The camera pans over the desolate landscape, littered with ravines, valleys, criscrossing streams. Forbidding, haunting, the dreaded Chambal Valley, India’s own Wild West frontier, a name that spelt terror during the 70′s. A place synonymous, with backwardness, opression, dacoits, poverty. Immortalized in movies like Mujhe Jeene Do, Chambal Ki Kasam, Ganga Ki Saugand, Mera Gaon Mera Desh, and countless other daku genre movies of that time. As Amitabh Bachan’s deep baritone voice, narrates the Chambal legend, the camera takes a trip over the valley, exploring every nook and corner of it. The valleys , the ravines, seem empty, but still a sense of fear lurks around the corner. Amitabh narrates about how dacoits are not born, but created by the circumstances around them, and just as he ends it with “ aur Jeevan ki Pahiya chalti rahegi”, the camera cuts to the wheel of a bullock cart, on which our city educated hero Arjun Yadav( Sunny Deol) is returning to his village.
That in effect sets up the mood for Dacait, one of the best movies, made in the dacoit genre, and clearly one of the more superior flicks, that dotted the 80′s. The story deals with the city educated Arjun Yadav, returning to his village, his family, consisting of his mother Devi Chaudhrain ( Rakhee), his farmer brother Amritlal Yadav( Suresh Oberoi), his teen sister Shanta( a certain Ms. Matondkar), and Bhabi. In effect a happy family, bonding well, sharing affectionate vibes. However the local Thakur Bhanwar Singh( Raza Murad) runs a reign of terror, grabbing the farmers lands, taking advantage of their ignorance. He is aided and abetted by his brother Badri( Dan Dhanoa), the money lender Tola Ram( Harish Patel) and the corrupt thanedaar, Bishnu Pandey( Paresh Rawal). Bishnu in particular is a scumbag of the worst kind, killing innocent villagers and claiming them as dacoits, selling arms to the dacoits, and doing the Jee Huzoori to Thakur.
Devi, and her son Amrit, are a thorn in the side of Thakur, for their refusal to accept his oppression, and standing up to him often. Arjun, however is a pacifist, who believes in a peaceful resolution of issues, and tries to convince Thakur. During one such ocassion, when the Thakur is confronted by Devi, Amrit and Arjun about his misdeeds, he promises to change, and return the land back to the villagers. However its only a mere ploy to lull the villagers into a false sense of security, and during one of the nights, when the villagers are celebrating, the Thakur and his men attack.
In what must be one of the most hard hitting and terrifying scene, Arjun and Amrit, are tied up, his Bhabi and nephew are gunned down. But the real horror is yet to come, Thakur and his men, capture Devi
Thakur: Chaudhrain, bees saal pehle humne tujhe vidhwa bana diya, aaj hum tujhe vidhwa ki shakal be denge.
And as the villagers, Arjun, and his brother looks on horrified, her hair is cut off , and she is further humiliated by asking to dance in front of the village. The protests from Arjun and Amrit are met with the force of the lathi’s hitting them harder. After the humiliation of Devi, Thakur again grabs her daughter Shantha, and tells to one of his henchmen
Bahut tak gaye ho tum, chalo is ke saath aaram karo
Shantha breaks free of their clutches, and to save her honor, jumps into the well committing suicide. The entire chain of events drives Shanta insane. Dacait surely had some excellent scenes, but for me this would be one of the best in the movie. It was the turning point in the movie, and also is the cataylst for transforming the hitherto peaceful Arjun into a violent Dacait.
As the story of Dacait goes its more or less predictable, wronged hero, turns into a dacoit, to avenge the oppression, takes revenge, and either meets his end, or goes to prison. More or less, like any other dacoit movie made during that time. And it has all the stock characters one has in a movie of this genre, the greedy moneylender, the oppresive Thakur, the child hood sweetheart Javli( Meenakshi Seshadri), the happy family torn apart, the honest cop S.P.Srivastava( Shafi Inamdar) sent to catch the hero, the village elder Bighu Chacha( A.K.Hangal) , the hero’s good friend Ahmed. But where Dacait scores above other movies in this genre, is it’s treatment and realism.
Take the portrayal of the dacoits themselves. The standard Tilak sporting, dhoti wearing, turbaned dacoit, in a den, with the Maa Durga idol gives way to a more realistic depiction. Dressed in army fatigues, the cartridges drapped across them, stubbled, young, most of the dacoits look like actual dacoits, the ones you had read about. Even their hide out is not some kind of den, with torches, but an open space, hidden by the hills around, and they are depicted more as nomads, escaping the cops. A far cry from the caricatures we generally see on the screen. Also in the way the director, Rahul Rawail, sets up the boundary between the villagers and the dacoits, for a greater amount of time, we don’t really see them, but its something we can feel.
On one side of the river, is the village, filled with people, mostly farmers, leading a simple life, the ravines lying on the other side, a place where none really ventures, for those who do rarely come back. There are however villagers like Bhighu Chacha, who know those hideouts, and who can contact the dacoits. Most of them ordinary youth from the villages around, driven to take the gun, due to the oppression unleashed by the likes of Thakur. As we see it in the first time Arjun goes into the dreaded territory. One of his childhood friends, has now turned into a dacoit. This is again another brilliant scene. When the two friends meet after a long time, there is no running into each other’s arms, bear hugs, flowery dialogue, Arjun looks at his friend, smiles, casually asks “kaise ho”, just as one would on meeting a friend after a long time. The dialog that follows is equally effective, as Arjun tells his friend that having seen him with an oar in his hand( his friend being a boatman), the gun does not look as good. And that’s when his friend reveals, how he was harassed by the Thakur, and his stooges, and his only means of livelihood, his boat snatched away from him, very well shot.
Couple of more scenes that really are haunting. Sunny meeting Rakhee, at the funeral pyre, of her family, he taps her shoulder , calling out “Maa”, she turns back, a look of terror on her face, and then goes into a frenzy, shouting “Naacho Re naacho”, haunting. And the scene where Rakhee again regains memory is equally well shot, she is sitting lost, holding a doll, a knife sharpener outside, begins to sharpen some knives, the sounds of the wheel, the sparks from the knife, everything bringing back her memories of the terrible night she had to endure. This surely would be one of Rakhee’s best performances ever. Her transition from a loving mother to a woman traumatized by the events and has gone insane is brilliant. Watch it in the scene, when the Thakur asks her to tell her the whereabouts of her son, nothing spoken much, just a mixture of disgust, rage, fury as she spits back.
Apart from the dramatic moments, Dacait, has some of the best action sequences ever seen, in Indian cinema. Even now they still are as effective, and don’t look dated. One really brilliant scene, involves Sunny escaping from the cops, through a camel herd. The set up is excellent here, Shafi Inamdar, frustrated at lack of progress in nabbing the dacoits, and berates his men, asks for water. As he picks up the bottle, he gets an idea, we really don’t know what it is. Camera just pans in on him, and cuts to a shot of the blazing sun, with Sunny and his men shown walking in the harsh terrain. And then the plan is revealed, at all the numerous lakes and streams, from where the dacoits, generally take their water, cops have been stationed. Its a lose lose situation, without water they sure are going to die of thirst in the Chambal, and if they go for water, they face the risk of facing the police bullets. That’s when Sunny, spots a camel herd, asking his men to take guard, he manages to sneak through the herd, and get the water, dodging the bullets. Nerve wracking, tense, edge of the seat, exactly the kind of scene, that would please the hearts of any action lover.
In fact most of the action scenes, would do any Hollywood movie proud. Be it Sunny rescuing Meenakshi , or the gun battle between the cops and the dacoits at the thana, or the scenes of the cops combing the Chambal for the dacoits, all of them are brilliantly picturized, and look realistic. Rajan Kothari’s camera work, captures the harsh, desolate feel of the Chambal landscape in a brilliant manner, you can actually feel the atmosphere, the fear, the valleys every moment. Unfortunately can’t really say the same about R.D.Burman’s score. While the BGM is good in places, the songs are mediocre, none of them really stay with you. Most of the other technical values are good, especially the way a typical village in the Chambal area is recreated, right down to the police thana.
Sunny, Rahul Rawail and Javed Akhtar had earlier come together for Arjun, a hard hitting expose of political corruption and the relationship between political leaders, gangsters, criminals, again one of the best movies of the 80′s. The grim, serious drama was in sharp contrast to Sunny’s debut movie Betaab, a standard rich girl, poor guy love story, which had some excellent songs. Javed Akhtar came up with some really hard hitting dialogues for both Arjun, and also Dacait. For me however the best dialogue comes right in the end, when Shafi Inamdar is standing, looking at Sunny who has been shot, A.K. Hangal walks up to him and says
Badhai ho, Inspector Saab, ab sarkaar aap ko medal dengi, inaam dengi, taraki hogi ki aap ne ek khatarnak dacait ko maar diya, par yaad rakhna, jab tak zulm hai, tab tak dacait paida hi rahegi.
Just makes me wonder whatever happened to the art of dialogue writing. Earlier Hindi movies were not masterpieces but they had some fabulous dialogue, they had that bite, that zing, you loved them, loved to quote them. In sharp contrast, most of the dialogues i get to hear today, are so wannabe, so banal, that makes me want to go and bang my head.
Dacait also has some fabulous performances. Raza Murad, with his deep baritone voice, is suitably menacing as the Thakur. Shafi Inamdar, normally seen in comic roles, does well in the role of the honest cop, sent to nab Arjun. Paresh Rawal for me though would be the scene stealer, in one of his earlier roles, playing the scumbag cop, with elan, effortlessly slipping into the role, making you detest him, so much that you celebrate when he meets his end. Meenakshi in a role sans glamour, is decent. This is one of Sunny’s best performances, should be ranked right up there with Arjun, Ghayal, Damini, Ghatak. Combining rugged machismo, vulnerability and an emotional core, Sunny effortlessly switches from a peace loving youth to a violent revenge seeking killing machine. This is in fact a very different Sunny we see here, not much dialogue, conveying more through his expressions. In the scene, where he shots down, Harish Patel, does not speak much, just catches him, drags him down, the stairs, ties him up , and shoots him. Not much dialog here, but you feel the anger in him. Even in the climax scene, when the inspector asks him to surrender, does not speak much, just looks at him, and then begins to shoot the Thakur, again you feel all the rage from him being released. It’s sad that Sunny post Gadar has been trapped in an image, where he has to scream and bellow to make a point. Movies like Dacait, Ghayal show the actor, who conveys a lot without really shouting about it.
It just beats me though why the movie flopped, it was entertaining, had all the necessary elements( drama, romance, songs, emotion) in the right doses, some excellent performances, and was much better than the average Hindi movie that time. I guess maybe the tragic ending did not go down too well with the audiences. Had Dacait been a success, i am sure it would have made at least some of the movie makers to come up with better quality products. Sadly it’s failure gave an excuse for movie makers, to come up with even more shoddier movies. After Dacait, Rahul Rawail’s career itself went down hill, Samundar was a decent watch, but the rest of the movies, were rubbish. Or maybe the fact that Betaab, Arjun and Dacait were scripted by Javed Akhtar made a difference, after all there is only so much a director can do with a pathetic script.
When India gained independence in 1947, the generation of the 50’s were imbued with a spirit of optimism, hope inspired by Pandit Nehru’s call for a tryst with destiny. For the most part the 50’s was a decade of peace and optimism in India. We were not a rich nation, but the optimism was there in every Indian that we would soon take achieve our tryst. But the defeat in the 1962 War to China, shattered the Indian morale. There was a sense of disquiet whether the lofty ideals propounded by Nehru, would have any relevance in the modern world. Nehru’s death was followed by Lal Bahadur Shastri, who managed to rally the people with his clarion call of €œJai Jawan, Jai Kisan€. And victory in the 1965 war, with Pakistan, somewhat restored the national spirit. But it was clear, that the dream of modern India which our founding fathers had dreamt of, was not being realized. Inflation, corruption, tax evasion, black money, began to shatter the illusions of many Indians. And the 70’s was the death of idealism, in many ways, as people became more cynical and started to lose faith in idealism.
Hrishikesh Mukherjee’s 1969 movie Satyakam, pits the idealistic nature of the hero against a society and an establishment, that don’t share his ideals. Satyakam is the story of Satyapriya Acharya( Dharmendra), who grows up imbuing ideals from his grandfather Satyashran Acharya( Ashok Kumar). Graduating fresh from an engineering college in 1946, just a year before India’s independence, he is imbued with the dreams of lifting the vast masses of India from poverty, with his knowledge. Along with him is also his best friend Naren( Sanjeev Kumar), who however is more of a realist. Satyapriya however discovers that life is not what he imagined it to be. He meets Ranjana( Sharmila Tagore), who happens to be the illegitimate daughter of his manager Rustomji( David), and falls in love with her. Rustomji is a sycophant, always at the bidding of Kunwar Bikram Singh( Manmohan), a debauched prince, who also happens to own the company where Satya works.
He protects Ranjana from Kunwar Singh’s lustful eyes, however one day in a moment of weakness, he allows Ranjana to go along with Rustomji, and she ends up being raped by Kunwar. In order to assuage his guilt of not being able to protect Ranjana, he marries her earning the displeasure of his grand father. He also accepts Ranjana’s illegal child, Kabul, as his own. However in spite of this, he is still never able to accept Ranjana as his wife totally. Satya however is unable to make a decent living, due to his uncompromising and highly idealistic nature. He meets his friend Naren, who tells him, that in order to survive, one must compromise at times. Naren is more of a pragmatic person, who understands the world as is.
Satyakam deals with the age old clash of Idealism, represented by Satya and Pragmatism, represented by Naren. Satya is a Howard Roark like figure, who simply refuses to compromise on his ideals. His idealism is not liked by many who see it as too impractical. As people around him remark
Yeh aadmi bahut hi badmaash aur paaji hai. Rishvat vagerah nahin khaata
He refuses to compromise on his ideals even when wracked by poverty, or threat of losing his job. For him his idealism means everything. And yet Satya is not a perfect man, for all his idealism, he can never accept Ranjana totally. His idealism is taken from his growing up years in a Gurukul, totally cut off from the real world. Satya is unable to handle the transition to the real world, as he has never been exposed to it in the first place. He expresses his frustration saying
Mera dimaag kharaab ho gaya hai, ya main cynic ho gaya hoon, ya duniya badal gayee hain.
Or the fact that he believes he is destined for a superior purpose.
main insaan hoon. Bhagwan ka sabse bada pratinidhi.
Ranjana who initially does not accept her husband’s idealism, veers around to the same idealism, when she refuses to sign a contract by Mr. Ladia( Tarun Bose) for payment of money, that would secure her future after her husband’s demise.
Naren on the other hand is the Aam Aadmi. He is a person who has compromised with life, but not to the extent of weighing on his conscience. He feels it is ok, to compromise a bit, as long as it does not become a emotional burden to you. The scenes where Naren faces off with Satya’s over the latter’s refusal to pass a bill, is one of the best scenes in movie.
What really works in Satyakam is that Hrishida, does not adopt a in your face preachy approach. He does not diminish Naren, in order to glorify Satya. That’s the reason, when the two friends face a conflict, you find yourself empathizing with both. It is the way Hrishida balances the opposing views that really lend a solidity to this movie.
In real life however a Howard Roark or a Satyapriya, would have never survived. Even Michaelangelo and Leonardo Da Vinci, created a host of mediocre works, just to survive, before they achieved fame. The dilemma of whether to stick to one’s ideals or compromise, is something every one of us face at every stage in life. Satyakam is a movie, that does not answer any questions, but projects the reality and asks you to decide for yourself.
That’s why I guess the movie was not a commercial success. Audiences are uncomfortable with being asked to decide. Also the movie never gets too melodramatic, and Hrishida treats the subject with the honesty and empathy it deserves. Satyakam is a very honest movie, it sticks to it’s basic theme “Is there a place for an idealistic man in an imperfect world?” and does not stray from the topic.
Satyakam is one of Dharam’s best performances. To those who deride him for his ‘Kutte Kaminee’ roles, watch movies like Satyakam, Anupama, Bandini, where he has given performances that are restraine and subtle. He brings a strong amount of believability to Satyapriya’s role, and you don’t get the feeling you are watching a caricature. Sanjeev Kumar is equally great as Naren, the realist, the every day person. The scenes involving Dharam and Sanjeev are a treat to watch. Sharmila, is fine as Ranjana, however I felt she was not that great in some scenes. Hrishida’s movies always had great music, but the music by Laxmikant Pyarelal, is totally forgettable.
This post already published by me at PFC:Hemant Kumar
Apart from books and movies, Music has been one of my other passions. And i just have a big time passion for old Hindi movie songs, especially the Golden era of 50′s and 60′s. Madan Mohan, S.D.Burman, Shankar Jaikishan, O.P.Nayyar each one of them distinct from each other, each having their own styles.
With his distinctive voice, excellent compositions and melodious tunes, Hemanta Kumar Mukherjee or Hemant Kumar was in a league of his own. Hemant Kumar was not just a singer, he was also a music composer and a movie producer. A truly multifaceted personality, who was a genius, like my other favorite Salil Choudhury. Hemant Da was born in Varanasi, and grew up in Kolkata. He quit his engineering studies at Jadavpur to pursue music as a career. Most of his early songs were Bengali non filmi songs, and his first movie as a singer was a Bong movie, Nimai Sanyas. He was also a foremost exponent of Rabindrasangeet.
Along with Salil Chodhury, he was one of the members of the IPTA( Indian People’s Theater Association), and in 1951 he score the music for Anandamath, based on Bankim Chandra Chattopadhyay’s famous novel. The movie became famous for the Vande Mataram song, sung by Lata, which had a marital tone to it. He however became a name to reckon with, following the success of Nagin in 1954, for which he also won the Filmfare Best Music Director award. This post is one some of my favorite Hemant Kumar numbers in Hindi. I have not heard much of his Bengali songs or even the Rabindrasangeet numbers he had composed and sang. But i did hear some of my friends say that his Bengali songs are some of the best ever, maybe some of my Bong friends out here could throw more light on them.
Beqaraar Karke Hume( Bees Saal Baad, Hemant, Hemant)- Pretty zany, pretty melodious, easy on the ears. One of my all time favorites by Hemant Da. Bees Saal Baad in fact remains one of the better horror flicks made in India.
dekhiye vo kaalii kaalii badaliyaa.N
zulf kii ghaTaa churaa na le kahii.n
chorii chorii aake shokh bijaliyaa.N
aapakii adaa churaa na le kahii.n
yuu.N qadam akele na aage ba.Dhaaiye
In fact Bees Saal Baad, for which Hemant Da composed music, had that other unforgettable number from Lata, Kahin Deep Jale Kahin Dil. Very haunting, very poignant.
Dheere, Dheere Machal( Anupama, Lata, Hemant)- As a movie Anupama had some wonderful songs, but this Lata solo is one of my favorites. If you take the beginning of the song, you can see the way Hemant Da, intersperse Lata’s voice with the piano tunes. So you have like this
“Dheere Dheere Machal”, followed by piano tune, “Ae Dil E Bekaraar”, again followed by the tune, to give an effect of the character, actually trying to get the tune right, and then she sings the full stanza
“Dheere Dheere Machal,
Ae Dil E Bekaraar
Koi Aaata Hai”.
Just observe the way Hemant Da, keeps the piano tune, going on throughout the song. And the lyrics by Kaifi Azmi.
mujhako chhune lagi.n usakii parchhaaiyaa.N
dilake nazdiik bajatii hai.n shahanaaiyaa.N
mere sapano.n ke aa.Ngan me.n gaataa hai pyaar
koii aataa hai
I would rate this as one of Lata’s best solos ever.
Ya Dil Ki Suno(Anupama, Hemant, Hemant)- When it came to slow, soul stirring poignant numbers, Hemant Da was one of the best. He seemed to revel in that slow melancholic nature. This was one such number. One feature if you see for most of Hemant Da songs, is the way he consistently maintains the tone of the song. At no stage does he deviate it from it at all. Here also he uses the piano tune, but unlike Dheere Dheere Machal, where the tune is more frenetic, here he sets it to a more slower level.
Ek Khwaab Khushi Ka Dekha Nahin
Ek Khwaab Khushi Ka Dekha Nahin, Dekha Jo Kabhi To Bhool Gaye
Maana Hua Tum Kuch De Na Sake, Jo Tumne Diya Woh Sehne Do
Ya Dil Ki Suno Duniyawalon
Jaane Woh Kaise Log The( Pyaasa, Hemant, S.D.Burman)- This is the kind of song, which i would say “Dil ko choo lena wali”. Dada gave one of his best scores for Pyaasa, with every song being a gem in it, and this one sung by Hemant Da, beautifully conveys the frustration and pain. Great lyrics by Sahir.
khushiyo.n kii ma.nzil Dhuu.NDhii to
Gam kii gard milii
chaahat ke naGame chaahe to
aa.Nhe.n sard milii
dil ke bojh ko dhu.Ndhalaa kar gayaa jo Gamakhaar milaa
Na Tum Hamein Jaano(Baat Ek Raat Ki, Hemant, S.D.Burman)- This song has two versions one by Hemant Da and another by Sumant Kalyanpur. Pretty melodious, romantic number.
Hai Apna Dil to Awara(Solva Saal, Hemant, S.D.Burman)- Totally peppy, masti bhare gaana, which really perks your mood. In fact the movie was interesting too, about Waheeda Rehman, who runs away from home to meet her boyfriend, and she runs into Dev Anand. This song was picturized on Dev in the train. In fact, after Kishore and Rafi, i think Hemant sang a good number of songs for Dev Anand. Here Dada makes good use of the mouth organ, throughout the song, as it goes in perfect synch, with Hemant Da’s voice. Incidentally the mouth organ in this song was played by one R.D.Burman.
Yaad Kiya Dil Ne(Patita, Hemant-Lata,Shankar Jaikishan)- Totally melodious duet from this Dev Anand flick. Very romantic number.
o, kho gaye ho aaj kis khayaal me.n
o, dil fa.nsaa hai bebasii ke jaal me.n
matalabii jahaa.N meharabaa.n ho tum
yaad kiyaa dil ne kahaa.N ho tum
pyaar se pukaar lo jahaa.N ho tum
Nagin is a Hemant Da album, for which i guess a separate post would be necessary. Hemant Da, makes wonderful use of the Indian folk tradition, and ethos to create a masterpiece of an album. Observe the way he makes extensive use of the been sound, to create the mood of the movie. Especially in Lata’s Man dole, mera Tan Dole, where throughout the song, you hear the been sound. In fact Lata seems to have given her all for the movie, be it Jaadugar Saiyyan, or the more soulful Mere Dil yeh Pukare Aaja or Oonchi Oonchi Duniya ke Deewaron.
One more standout song in the movie is Hemant’s Tere Dwar Khada Ek jogi. The song in fact is more of a religious kind of one, and the music in fact is similar to what you hear in the Eastern UP region.
karake jatan aayaa, man me.n agan laayaa
akhiyo.n me.n darshan-pyaas)
priit kii bhiikshaa, prem kii diikshaa
maa.Ng rahaa yah daas
na maa.Nge yah sonaa chaa.Ndii maa.Nge darshan devii
tere dvaar …
Zindagi pyaar ki do chaar ghadi(Anarkali, Hemant, C.Ramachandra)- The earlier reworking of the Salim-Anarkali love story, before Mughal E Azam, this had Pradeep Kumar and Bina Rai as the ill fated lovers. Heard this song many times as a kid, but could not find it later. Thanks to the net, could again rediscover this.
taaj yaa takht yaa daulat ho zamaane bhar kii
kaun sii chiiz muhabbat se ba.Dii hotii hai
Like Naagin, another memorable album from Hemant Da was Khamoshi, a pretty underrated movie starring Rajesh Khanna, Dharmendra and Waheeda Rehman.
Tum Pukar Lo(Hemant)- One of the best songs ever. Just gives me goosebumps every time i listen to it. Hemant Da’s score is brilliant, as he captures the pensive nature of the song. And his singing beautifully brings out the feelings. In fact if you take the starting of the song, he actually drags the Tum syllable, so it comes off like Tummm, mmm,, Pukar Lo and then he pitches it up Tumharaaa Intezaar Hai. And Gulzar’s lyrics give that perfect touch.
Honth Pe Liye Huey, Dil Ki Baat Hum
Jaagte Rahenge Aur, Kitni Raat Hum
Honth Pe Liye Huey, Dil Ki Baat Hum
Jaagte Rahenge Aur, Kitni Raat Hum
Mukhtasar Si Baat Hai, Tumse Pyar Hai
Tumhara, Intezaar Hai
The other 2 equally great songs from this movie are Kishore’s Woh Shaam Kuch Ajeeb Thi, and Lata’s Hum Ne Dekhi Hai.
In fact if you listen to Woh Shaam Kuch Ajeeb, it has a distinct Hemant Da touch there. Kishore starts off like Woh Shaam Kuch Ajeeb Thi, its like Woh Shaam come high, and then he brings it down. But somehow, brilliant as this song, i found that the background score tends to dominate at many points in the song. In fact a feature of many Hemant Da composed songs was that, he would keep the music in the background and not allow it to intrude into the song.
Yeh Raat, yeh Chandni Phir Kahaan( Jaal, Hemant, Lata, S.D.Burman)- What a song is this, so romantic and so sensous. So beautifully does it capture the restless spirts of the lovers.
aatii hai sadaa terii TuuTe hue taaro.n se
aahaT terii sunatii huu.n khaamosh nazaaro.n se
bhiigii havaa, uma.Dii ghaTaa kahatii hai terii kahaanii
tere liye bechain hai sholo.n me lipaTii javaanii
siine me bal khaa rahaa hai dhuaa.n, sun jaa dil kii daastaa.n
ye raat ye chaa.Ndanii phir kahaa.n, sun jaa dil kii daastaa.n
Hemant Da may have passed away into another world, but his songs and music, would forever remain with music lovers. I would love to hear your favorite Hemant da songs.