Roshan's everlasting bond with Mohammad Rafi
Roshan galvanised the Indian horizon of film music with his excellent experiments on melody. He had created mujras, qawallis, ghazals, classical compositions which match the exact requirement of the theme of the films wherever he had worked.The earlier films like Bawre Nain was created at a time when recording was not modernised to that extent. Even then his songs in the 50s like "bade armano se rakha hai balam" were hits.
In the 60s Roshan utilized the Golden voice of Indian cinema, Mohammad Rafi in the most melodious manner that was possible. In the film Barsaat ki Raat,1960, the song "zindagi bhar nahin bhulenge woh barsaat ki raat" mesmerised the music lovers with the melody of the sarengi that was used so well. Rafi's voice floated like cirus clouds in the air and Bharatbhusan's performance in the film was well acclaimed by the Indian audience.The same film had a qawalli "yeh isq isq hai, isq isq" which was staretd by Manna Dey and completed by Rafi. The grammer of Qawalli was fully existant in the song.Besides Roshan created songs with a very serene dimension in the film Aarti, 1963, picturised on pradeepkumar.Most of the songs were on Raag Pahari. Rafi created an intoxicating appeal with the songs "Ab kya misal doon mai tumhare shabab ki" and "aapne yaad dilaya tha to mujhe yaad aya". Meenakumari's performace was matched with the background score in the song "baharon ki manzil rahi."
In the film Tajmahal,1963, the andaz of Pradeepkumar almost replicated the style of living of emperor Shahjahan that existed during the mughal period.The songs of Rafi namely "Jo wada kiya ho nibhana parega" and "payon chulene do phulon ko inayat hogi" had matched the badshahi andaz of the historical period.The lyrics were written by shari Ludhiyanvi.Besides other everlasting creations of Roshan include "laga chunri me daag chupayun kase" sung by Manna Dey in the film "Dil hi to hai" picturised on Raj Kapoor, and "Kya baat hai tujhme teri tasver me nahin" sung by Mohammad Rafi.In the film Chitralekha,1965, picturised on Pradeep Kumar, Roshan motivated Rafi to sing a legendary bhajan titled "man re to kahena dhir dhare, woh nir mohi moh na jane jinka moh kare". It was a blank verse with very little musical instruments being used. Rafi's performance was amazing.
In the film Bheegi Raat, 1965, Rafi made people spell bound with the songs "jane woh kaun hai kya naam hai in ankhoka," and "dil jo na keh saka, wohi raze dil".Pradeep kumar's scrreen presence was outstanding as Roshan's orchestration and the sensational performance of Rafi.Noted poet and music director Salil Chowdhury in his interview with Asha bhosle had said he admired Roshan the most because of his use of melody through the instruments used in the songs including sarengi, tabla, sexaphone, guitar and noted instruments. Asha Bhosle said that Rafi, Lata and others have worshipped Roshan like sage. The song in the film Bahubegum, titled "niklethe kahan jane ke liye pahunchethe kahan maloom nahi", almost told the story of Meenakumari who left home for not marrying pradeep kumar and ended up in a kotha.It was a mujra and the orchestration was outstanding by every means. The same film had one of the most immortal performance of Lata titled"Duniya kare sawal to hum kya jawab de." Rafi was outstanding with his final performance "hum intezer karenge tera qawamat tak, khuda karen ki qawamat ho aur tu aye." Viewers became speechless in the cinemahall with this song.
Besides Roshan's performance in the Film Mamta, 1967 is worth mentioning. Mamta was the hindi version of the Bengali film "Uttar Phalguni", which depicted the story of a tawaif who was victim of circumstances and shed blood to make her daughter a Barrister who ultimately pleads in the High Court of Calcutta in an alleged murder case of her mother.The performance of Suchitra Sen, the most versatile Actress of Bengali Cinema cannot be described in words.But the big challenge was matching the quality music composed by Robin chatterji in bengali film where the majority of the songs were sung by classical singer Sandhya Mukherjee.Roshan created the asme class of music in the film.the popular songs included "Rahe na rahen hum" sung by Lata and "in baharon me akela na phiro, rah me kaighata rok nale" sung by Rafi. But the type of Hindustani classical songs that used to be sung in the Class of singers called baijees in the late 18th century was displayed by Roshan.Roshan died in 1969 with his last film "anokhi raat." It is big loss for the Film industry because if aany composer had utilized the Royal style of Rafi's singing it was Roshan himself. Rafi's archive should contain the works of Roshan so that future generations can learn the grammer of Hindustani classical used under different moods.Article By Souvik Chatterji
Related Reading
In the 60s Roshan utilized the Golden voice of Indian cinema, Mohammad Rafi in the most melodious manner that was possible. In the film Barsaat ki Raat,1960, the song "zindagi bhar nahin bhulenge woh barsaat ki raat" mesmerised the music lovers with the melody of the sarengi that was used so well. Rafi's voice floated like cirus clouds in the air and Bharatbhusan's performance in the film was well acclaimed by the Indian audience.The same film had a qawalli "yeh isq isq hai, isq isq" which was staretd by Manna Dey and completed by Rafi. The grammer of Qawalli was fully existant in the song.Besides Roshan created songs with a very serene dimension in the film Aarti, 1963, picturised on pradeepkumar.Most of the songs were on Raag Pahari. Rafi created an intoxicating appeal with the songs "Ab kya misal doon mai tumhare shabab ki" and "aapne yaad dilaya tha to mujhe yaad aya". Meenakumari's performace was matched with the background score in the song "baharon ki manzil rahi."
In the film Tajmahal,1963, the andaz of Pradeepkumar almost replicated the style of living of emperor Shahjahan that existed during the mughal period.The songs of Rafi namely "Jo wada kiya ho nibhana parega" and "payon chulene do phulon ko inayat hogi" had matched the badshahi andaz of the historical period.The lyrics were written by shari Ludhiyanvi.Besides other everlasting creations of Roshan include "laga chunri me daag chupayun kase" sung by Manna Dey in the film "Dil hi to hai" picturised on Raj Kapoor, and "Kya baat hai tujhme teri tasver me nahin" sung by Mohammad Rafi.In the film Chitralekha,1965, picturised on Pradeep Kumar, Roshan motivated Rafi to sing a legendary bhajan titled "man re to kahena dhir dhare, woh nir mohi moh na jane jinka moh kare". It was a blank verse with very little musical instruments being used. Rafi's performance was amazing.
In the film Bheegi Raat, 1965, Rafi made people spell bound with the songs "jane woh kaun hai kya naam hai in ankhoka," and "dil jo na keh saka, wohi raze dil".Pradeep kumar's scrreen presence was outstanding as Roshan's orchestration and the sensational performance of Rafi.Noted poet and music director Salil Chowdhury in his interview with Asha bhosle had said he admired Roshan the most because of his use of melody through the instruments used in the songs including sarengi, tabla, sexaphone, guitar and noted instruments. Asha Bhosle said that Rafi, Lata and others have worshipped Roshan like sage. The song in the film Bahubegum, titled "niklethe kahan jane ke liye pahunchethe kahan maloom nahi", almost told the story of Meenakumari who left home for not marrying pradeep kumar and ended up in a kotha.It was a mujra and the orchestration was outstanding by every means. The same film had one of the most immortal performance of Lata titled"Duniya kare sawal to hum kya jawab de." Rafi was outstanding with his final performance "hum intezer karenge tera qawamat tak, khuda karen ki qawamat ho aur tu aye." Viewers became speechless in the cinemahall with this song.
Besides Roshan's performance in the Film Mamta, 1967 is worth mentioning. Mamta was the hindi version of the Bengali film "Uttar Phalguni", which depicted the story of a tawaif who was victim of circumstances and shed blood to make her daughter a Barrister who ultimately pleads in the High Court of Calcutta in an alleged murder case of her mother.The performance of Suchitra Sen, the most versatile Actress of Bengali Cinema cannot be described in words.But the big challenge was matching the quality music composed by Robin chatterji in bengali film where the majority of the songs were sung by classical singer Sandhya Mukherjee.Roshan created the asme class of music in the film.the popular songs included "Rahe na rahen hum" sung by Lata and "in baharon me akela na phiro, rah me kaighata rok nale" sung by Rafi. But the type of Hindustani classical songs that used to be sung in the Class of singers called baijees in the late 18th century was displayed by Roshan.Roshan died in 1969 with his last film "anokhi raat." It is big loss for the Film industry because if aany composer had utilized the Royal style of Rafi's singing it was Roshan himself. Rafi's archive should contain the works of Roshan so that future generations can learn the grammer of Hindustani classical used under different moods.Article By Souvik Chatterji
Related Reading
- Immortal Ghazals sung by Mohammad Rafi.
- Awards received by Mohammad Rafi in his illustrious career.
- Mohammad Rafi- the greatest voice of the last century.
- Rahul Dev Burman’s immense respect for Mohammad Rafi.
- Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.
- OP Nayyar’s immortal relationship with Mohammad Rafi.
- Salil Chowdhury’s relationship with Mohammad Rafi.
- Ravi’s memorable combination with Rafi.
- Roshan's everlasting bond with Mohammad Rafi.
- SD Burman and Mohammad Rafi.
- Rafi’s pleasant memories with Madanmohan.
- Khayyam and Jaidev’s relationship with Mohammad Rafi.
- Kalyanji Anandji’s association with Mohammad Rafi.
- Naushad’s association with Rafi.
Roshan;s songs were well appreciated duirng the 60s. A huge amount credit goes to Rafi and Lata, because the songs were dificult and had remote style of composition but became immortal hits for the common mass.
ReplyDeleteSouvik Chatterji.