Rafi and Dilip Kumar.
Tragedy King Dilip Kumar had been the only actor of the 40s and 50s who had created admirers in every decade and even the present generation has tremendous respect for the living legend for his capability of choosing respectable roles all through his career. Rafi had been instrumental in nurturing the respectability that Dilip Kumar had developed the years.
In Uran Khatola, in 1955, Naushad’s composition for Rafi titled “who door ke musafir” had amazed the audience. Dilip Kumar’s tragic andaz was unparallel in the film. Similarly the classical andaz of Naushad and Rafi in the song “madhuban me radhika nachere” from the film Kohinoor was bolstered by strong lips of Dilip Kumar. He even made the harkats taken by Rafi look lively. Dilip Kumar was even brilliant in the ghazal sung by Rafi in the same film titled “do sitaron ka zamee par hai milan aaj ki raat”, where Lata and Meena Kumari were equally elegant.
In Dil Diya Dard Liya, all the songs sung by Rafi and picturised on Dilip Kumar like “sawan aye ya na aye”, “dilruba maine tere”, “koi sagar dil ko behlata nahi” were masterpieces. Probably Naushad, Rafi and Dilip Kumar were at their best in that film.
The same standard of excellence was displayed in the film Ram Aur Shyam, where the songs “aaj ki raat mere”, “ayi hai bahare”, etc. were melodious and Dilip Kumar entertained the crowd with his romantic andaz.
The songs of Leader, sung by Rafi, including “ek shahenshah ne”, “teri husn ka kya tareef karun”, “aapni azaadi ko hum hargeez mita sakte nahi” were milestones in the history of bollywood music. Dilip Kumar was successful instilling patriotism in the minds of numerous Indians.
For over 30 years Rafi and Dilip Kumar had created history, and it is not possible to highlight their great work in a small article. The songs and the films should be preserved and restored for immense musical value.
By: CR Chatterji.
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