Chhaayaageet #100 - "Yeh gaana tumhen bahot soch samajhkar gaana padega."
Bombay Talkies is going through hard times. A breakaway group has left the studio and started another studio, Filmistan. As Filmistan has gone from strength to strength, Bombay Talkies is on the decline and losses are mounting.
A leading actor in the industry, who is part of the breakaway group, has a change of heart. He used to be Bombay Talkies' biggest star. He decides to return and try and turn the studio around. He has a storyline based on a strange spooky incident from his own real life. He brings in a colleague to write the script and screenplay and also direct the film.
The casting of the female lead is turning out to be a problem. Many established actresses have refused, and the ones who accept ask a high price. A 15 year old upcoming actress, not quite popular, finds out about the film and approaches the filmmaker for the role.
The other proprietors of Bombay Talkies are apprehensive about the script. Suspense films do not have a repeat audience. They also do not like the 15 year old as the female lead. The lead actor is almost 30. How is the audience going to accept this? As it is the studio is going through losses.
The actress is called for a screen test. The cinematographer is asked to make her not look good. The filmmaker is aghast to see the shots. The lighting is making her look terrible. She is a beautiful girl. The filmmaker calls her back. This time he himself takes charge of the lighting. In her second screen test, the girl looks stunning. Everyone agrees, finally, they have found their female lead.
As the film progresses, the songs are also written and composed. The music composer wants a fresh voice for the new young heroine. He remembers a 19 year old girl who has only recently come to Bombay. He had the chance to listen to her sing. He asks her to come over.
The singer is also a relative newcomer to the Hindi film industry. She has tried to find a footing by doing some bit roles as the heroine's sister, also sung a handful of classical songs. She is a bit nervous but also sure of herself. The composer's normal tone of voice sounds like he is chastising someone.
"Tumko ek gaana gaana hai. Aur woh gaana tumko bahot samajhke aur bahot soch samajhke gaana padega. Uski situation aisi hai." You have to sing this song. You have to make sure to understand this properly and also think how to sing this properly. This is the situation of the song.
The composer continues, "Heroine nayi aayi hai. Aur woh bahot sundar hai." The heroine is new and she is very beautiful.
The singer acknowledges saying "Chachaji, aap mujhe gaana to sikhaiye. Phir ye baaki sab hum dekhenge." Uncle, please teach me the song. Then we will see about the rest.
"Achcha to gaana likh lo", instructs the composer. Ok then start writing the song. The composer sings it for her as she writes it down. He instructs his assistant to teach the young singer exactly how he wants her to sing.
After a few practices right there, the composer speaks to the filmmaker about the singer.
"Achcha ye gaana parson record karenge", the filmmaker informs. Ok we will record this song the day after tomorrow.
On the appointed day, the singer reaches the studio for the recording. She finds that there is no music room. They are going to record the song on the same set where the song is also to be filmed. The music composer, lyricist, filmmaker, the lead actor and musicians are all present on the set.
A microphone is set up in the middle of the floor. The singer dutifully walks up to the microphone expecting the recording to begin shortly. The filmmaker comes up to her.
"Is gaane ke pehle ek lamba sher hai, kuch saat aath linein hain. Woh tumko gaana hai. Hero sun raha hai. Usko door se awaz aa rahi hai. To tumhari awaz door se kaise aayegi? Tum to microphone ke paas khadi ho." There is a long verse at the start of the song, about seven or eight lines. You have to sing that. The hero hears this verse being sung in the distance. So how will your voice sound distant? You are standing here close to the microphone.
The filmmaker wants to create a specific mood and atmosphere for this song. He continues his instructions to the singer, as if he is directing a scene for the film.
"Tum chali jao wahan door. Woh jo darwaza hai wahan jao. Aur wahan se gaana shuru karo. Aur dheere dheere ek ek line gaate gaate chali aao jahan musicians hain, mic hai. Phir music shuru hoga. Phir gaana shuru hoga." You go away, stand near that door. Start singing from there. As you sing each line, slowly start walking, and reach the microphone. Then the music will start. Then the song will start.
It is the 1940s. There is no audio technology to manipulate a singer's voice. This has never been done before.
The singer starts from the corner of the studio, singing as she walks to the microphone. It takes close to 15 attempts for her to go back and forth from the door in one corner of the studio to the microphone in the middle of the floor, mapping out the number of steps so that she is at the microphone at the exact moment she has to sing the main refrain.
It takes them all day. They repeat the process many times until the song is completely recorded. It takes two to three days to get to listen to a recording once the song is recorded. Then it is decided whether to record it again or keep it as is. It is a laborious process. The composer and filmmaker listen to the recording a few days later, and decide to keep it.
Ashok Kumar produced Mahal (1949) for Bombay Talkies, and brought in Kamal Amrohi to write the story, screenplay, and direct the film. The story was loosely based on a paranormal experience Ashok Kumar had while shooting a previous film. The film's music is composed by Khemchand Prakash, and lyrics written by Nakshab. Mahal is regarded as one of the first romantic suspense and reincarnation stories of Hindi cinema. Bimal Roy worked as the editor on the film, and later made Madhumati along a similar theme.
When Mahal was being made, someone at Bombay Talkies remarked that if the film fails it will be because of the music. Of course, the film and it's music went on to be a big hit. Khemchand Prakash got a lot of fan mail praising the music and songs. Even in failing health, Khemchand ji took all the mail to the detractor's house, and made him read every single letter aloud. Khemchand Prakash passed away soon after the film was released at the young age of 43.
Madhubala was 15 years old, and an upcoming actress trying to make her mark, when she was cast opposite Ashok Kumar, an unusual pairing given the age difference between them.
Khemchand Prakash initially offered the song Aayega aanewala to Tun Tun (yes, the comedian, whose original name is Uma Devi). However Tun Tun declined because she was under contract with Kardar Productions to sing only for Naushad. Then Khemchand remembered a 19 year old Lata Mangeshkar whom he had heard and decided she was the fresh voice he needed for the new heroine Madhubala.
Mahal put Madhubala on the map as an actress, and the song Aayega aanewala did the same for Lata Mangeshkar. The song was so popular that it was played every day by Radio Ceylon. In those days, playback singers' names were not known to the film audience. They were not credited on the records. Their names were hidden. Listeners of Radio Goa called into the station asking to know the singer's name. Radio Goa had to call Bombay Talkies to get the name of Lata Mangeshkar and inform their listeners.
On the Mahal LP record, Lata Mangeshkar's name is absent. Lata ji fought to get recognition for singers on records, and also to be listed as part of film credits.
Listen to Lata ji singing this song live. This was in 1990 as part of a concert rehearsal. How blessed have we been to listen to her melodious voice enthralling us through so many unforgettable songs. She is missed deeply.
Singer: Lata Mangeshkar
Music: Khemchand Prakash
Lyrics: Nakshab
*ing: Madhubala, Ashok Kumar
Director: Kamal Amrohi
Film: Mahal (1949)