Chhaayaageet #133 - "Tune bhi aisi honi chahiye jismein jagah ho likhne ki."
The poet is contemplating this next film that he has to write the lyrics for. Typically lyricists prefer to write something simple so that it doesn't ruffle too many feathers, and is easily acceptable to filmmakers. However, this filmmaker is different. His approach is to throw down the gauntlet, expecting his team to rise to their potential, and show what they are capable of. This makes things interesting. It makes for a hard day's work at the office. At the end of the day, it's a matter of finding fulfillment and satisfaction, navigating through the maze of challenges.
The poet, composer and filmmaker are at their regular sitting. The filmmaker has explained the situation in the script to both of them, where a song is opportune. The composer jams a few different tunes on his harmonium.
Deep in thought, the poet remembers something. A few years back, he and the composer had been in a different sitting with different filmmakers. The composer had played a tune then which had gotten rejected. In fact, both of them had thanked their stars when they were cast out of that film.
"Woh jo tune thi zara woh aap sunayen", the poet reminds the composer of that tune. Can you please play that tune?
The composer obliges. The filmmaker quite likes it. They finalize it for that song in that situation.
The composer asks the poet, "Aap ko yeh tune kaise yaad aayee?". How did you recollect this tune?
The poet responds, "Yeh jo gaane ki situation hai, is gaane mein bahot saari baatein kehni hain. To tune bhi aisi honi chahiye jismein jagah ho likhne ki. Woh is tune mein hai. Chhoti chhoti linein ho sakti hain aur bahot ho sakti hain." The situation of this song warrants a lot to be said through the song. So the tune must be such that it must provide the space for the words. This tune has that. It can provide the space for small lines, and many of them.
The poet writes as if a painter makes his brush strokes. Short strokes and many of them. In a matter of ten minutes, he writes three long stanzas.
The poet and composer go back and forth between the tune and the words. Each the master of his domain, each aware of the filmmaker's expectation of their work, to show what they are capable of.
As the sitting progresses, the poet realizes that he hasn't quite found a way to wind up the song. The brush strokes have gone in one direction. He needs to figure out a way to bring it all back together.
He writes a free verse, aware that this does not fit into the meter of the tune at all. He confesses to the composer and filmmaker.
"In teen antaron ke alawa maine kuch aur bhi likh liya. Aur free verse mein likha hai. To parson to recording ho nahin payegi. Inko to compose karna padega. Aur free verse ko compose karna aasan kaam nahin", he says, inadvertently raising the bar for the composer. Besides these three stanzas, I have written something else. And it is in free verse. So, the recording might not happen day after tomorrow. He will have to compose a tune for this. And composing a tune for a free verse is no easy task.
They look at the free verse. It's a long verse.
A conversation ensues between the poet and the filmmaker, what can they do, what can't they do, exploring options. The composer withdraws himself from the discussion. While the others are shooting the breeze, he comes up with a tune for the free verse in a matter of a few minutes, tying it back to the original tune.
The composer looks at the piece of paper and starts to sing the free verse in a different tune. He looks at the poet and the filmmaker. They react positively and with admiration.
"Gaana to hamare haat mein aa gaya", they exclaim. The song is now in our hands.
The song has become over 10 minutes long. But then it flows so effortlessly with the short brush strokes of the poet and the composer's tune that creates space for them, that time seems to stand still while the moments move along. The poet remembers a sher from a famed poet of yesteryears, Sarshar Sailani, to admire the combination of talent that gives rise to a beautiful creation.
Chaman mein ikhtilaate rang-o-boo se baat banti hai
Hum hi hum hain to kya hum hain, tum hi tum ho to kya tum ho
In a garden, the combination (ikhtilaat) of color and fragrance (rang-o-boo = rang aur khushboo) creates wonder
If I am by myself then what am I, if you are by yourself then what are you
Javed Akhtar wrote the lyrics, and Anu Malik composed the song Sandese aate hain, for the film Border (1997), written, directed and produced by JP Dutta. It is based on real life events that happened during the Battle of Longewala during the Indo-Pakistan war of 1971. Sonu Nigam and Roopkumar Rathod sang the song providing playback for multiple characters.
Roopkumar Rathod was a stage singer performing classical and ghazal concerts. He was not quite interested in film playback singing. In fact, when Hridaynath Mangeshkar was composing for Lekin (1990), he first offered the song Surmai shaam to Rathod, but Rathod politely turned it down as he did not want to sing in films.
Border was very well received becoming the highest grossing film of 1997. The song Sandese aate hain became very popular. After this song, Sonu Nigam's career graph as a playback singer shot up, and he started receiving offers from many filmmakers to sing for their films. During those days he was hosting Sa Re Ga Ma Pa on Zee TV.
JP Dutta won the Filmfare award for Best Director. Akshaye Khanna won the award for Best Male Debut. Javed Saab won the Filmfare for Best Lyricist for the song Sandese aate hain. The lyrics beautifully express a variety of emotions.
Roopkumar Rathod hails from the Aditya Gharana of Jamnagar. His father was a proponent of the oldest vocal style of Hindustani classical music, Dhrupad. His brothers are Shravan Rathod, of the duo Nadeem-Shravan, and Vinod Rathod, also a playback singer. Roopkumar was introduced to music from his early years.
After Border, Sonu Nigam and Roopkumar Rathod once again combined to sing the popular song Zindagi maut na ban jaye in Sarfarosh (1999). Other notable songs of Rathod include Tere liye, duet with Lata Mangeshkar in Veer Zaara (2004), Maula mere in Anwar (2007), and Tujh mein rab dikhta hai in Rab Ne Bana Di Jodi (2008), among others.
Both Sonu Nigam and Roopkumar Rathod have performed this song by themselves in live concerts. However, this is them singing live in a raw jamming session in a private setting.
Lyrics: Javed Akhtar
Music: Anu Malik
Singers: Roopkumar Rathod, Sonu Nigam
*ing: Sunny Deol, Suniel Shetty, Akshaye Khanna, Puneet Issar, Kulbhushan Kharbanda, Rakhee Gulzar, Pooja Bhatt, Tabu, Sharbani Mukherjee
Director: JP Dutta
Film: Border (1997)