Chhaayaageet #212 - "Film ke title song ka ye haal hai to aage kya hoga?"
We are in Mehboob Studios. Today is the day of recording the song. The musicians are getting their instruments ready. The composer and the singer have planned to do a few rehearsals. This is the first song of the film that is getting recorded.
When the filmmaker arrives, the composer is inside the recording theater. The filmmaker goes inside to meet him.
"Sahab aaj aap ke saare musician nahin aaye?", the filmmaker asks the composer. Sir today all your musicians haven't arrived yet.
"Sabhi aaye huey hain," the composer replies. They are all here.
"Bahar to sirf chaar paanch log hi baithe hain," the filmmaker is confused. But there are only four or five people sitting outside.
"Utney hi logon ki zaroorat hai," the composer explains. Only that many are needed.
"Aap to kamaal karte hain. Film ke title song ki recording hai aur aapne paanch musician ko hi bulaya hai. Is mauke par maine press ke logon ko bulaya hai. Meri film ke financer bhi aa rahe hain. Weh log kya sochenge? Film ke title song ka ye haal hai to aage kya hoga?," the filmmaker doesn't understand why only five musicians are required for the film's title song. He voices his concerns. You are something. We are recording the film's title song and you have only called five musicians. For this moment I have invited some people from the press. My film's financier is also going to come. What will they think? If this is the state of the title song, what will happen next?
The composer is not in a mood to discuss this. "Saikdon baaje waalon ko lekar recording karna zaroori hota hai kya?" Is it necessary to have hundreds of people playing instruments?
The filmmaker asks, "Kitni der hai recording mein?" How much time until we record?
"Rehearsal ho gayi hai. Ab mein record karne jaa raha hoon," the composer tells him matter of factly. The rehearsals are done. Now I am going to go record the song.
The filmmaker turns around to see the actor arrive. He rushes to his leading man with a bit of urgency in his steps.
"Yeh to kamaal kar rahe hain?", he says referring to the composer. He is doing something incredulous.
"Kya baat hai?", the actor isn't sure what the filmmaker is referring to. What is the matter?
"Sirf chaar paanch musicians hain inke paas aur woh gaana record kar rahe hain," the filmmaker clarifies with disbelief. He is recording the song with only four musicians.
The composer had been brought into the film for music on the recommendation of the actor. So, the filmmaker has taken his complaint to the actor.
The actor tries to reassure the filmmaker. "Dekhiye woh jo karte hain woh bahot soch samajhkar karte hain. Aap ghabraiye nahin. Aap iske result ko dekhiye. Jab gaana record ho jaaye fir suniye aur bataiye kaisa hai." See he puts a lot of thought into whatever he does. You don't worry. You see the result. When the song gets recorded, you listen to it and then judge how it is.
"Ye title song hai mera. To ismein chaar hi musician andar baithe hain?", the filmmaker cannot let go of the fact that only a handful of musicians are going to record the song. He continues, his voice dripping with worry. This is my title song. And there are only four musicians sitting inside?
The composer sees the two of them in conversation. He turns to the actor and asks, "Kya bol rahe hain?" What is he saying?
"Kuch nahin, kuch nahin. Taareef kar rahe hain gaane ki," the actor presses the composer's arm trying to steer the conversation away. Nothing, nothing. He is praising the song.
The composer understands what their conversation is about. He turns to the filmmaker. "Sahab aap ki situation kya hai? Aligarh University ke dias par ek student taalib-e-ilm jo hai woh ek nazm padh raha hai. Agar mein producer hota to usmein chaar musician bhi nahin bithata. Sirf shayar hai, padh raha hai, to tarannum mein chala jaata mein. Lekin cinematic license leke maine char instrument rakh liye." Sir what is your situation? A student of Aligarh University who is studying there is standing on stage reciting a poem. Had I been the producer, I would not keep even four musicians. He is a poet, reciting, I would have made it into a chant. But I have taken some cinematic license and kept four musicians.
Saying this the composer leaves the two of them and goes back into the recording theater. The song is duly recorded to the composer's satisfaction.
The filmmaker approaches the composer and remarks, "Sahab gaana achha record hua." Sir the song got recorded well.
The composer wants to ensure the filmmaker has no qualms left. "Aapko kya shak hai? Kal ghar aa jaiye in sahab ko lekar," he tells the filmmaker as he points to the actor. What doubt remains with you? Come to my place tomorrow with him.
The following day the filmmaker and actor present themselves at the composer's home.
The actor finds a moment alone with the composer and explains to him, "Rawail sahab ghabraye huey thay ki aapke gaane mein jyada musicians nahin hain." Rawail Sir was afraid because there weren't more musicians in the song.
The composer smiles and replies, "Bhai dekho. Ek shayar ek stage pe, platform pe khada hokar apni ghazal ya apni nazm suna raha hai to uske peeche bahot saare orchestra aur bahot saare musician kaise ho sakte hain? Bhai tum mujhe bata do." Brother see. When a poet is standing on stage and reciting his ghazal or poem then how can there be a big orchestra or many musicians behind him? Brother you tell me.
The actor agrees, "Aap sahi farmatey hain." You are absolutely right.
When the three of them are together, the filmmaker explains his hesitation, "Sahab gaana to bahot achha hua hai. Lekin 8 minute ka gaana hai. To public ko hold kaise karenge?" Sir the song has come out very good. But it is an 8 minute song. How do we hold the public?
The composer thinks for a minute. Then he explains the entire screenplay to the filmmaker and tells him to have a scene where the hero and the heroine bump into each other, causing her books to fall to the ground, and his hand accidentally touches hers.
Naushad scored the music and the title song of Mere Mehboob (1963), produced and directed by HS Rawail, lyrics by Shakeel Badayuni and playback by Mohammad Rafi. The song is filmed on Rajendra Kumar and Sadhana as the lead hero and heroine.
The film became a blockbuster hit. It was scripted and made as a Muslim social film with the story set in Aligarh Muslim University and Lucknow. The title song is filmed in the University Hall.
The film was so popular and people were so impressed by Rajendra Kumar's portrayal of the character of Anwar Hussain Anwar that they thought Rajendra Kumar was a Muslim in real life and wrote to him asking him his real name. It was with this film that Sadhana got her famous "Sadhana cut" of styling her hair. While shooting, HS Rawail did not like how Sadhana's hair fell on her forehead, and he took a pair of scissors and cut her hair.
Mere Mehboob got the Certificate of Merit for the Second Best Feature Film in Hindi at the 1963 National Awards. Sudhendu Roy won the Filmfare Award for Best Art Direction, while it received the following nominations: Best Supporting Actor (Johnny Walker), Best Supporting Actress (Ameeta), Best Supporting Actress (Nimmi), Best Music Director (Naushad), Best Lyricist (Shakeel Badayuni for Mere Mehboob Tujhe), Best Playback Singer (Mohammad Rafi for Mere Mehboob Tujhe).
The film was originally titled "Mehboob", and then later changed to Mere Mehboob.
Audio of Rafi Sahab singing this song live and very differently in some places.
Music: Naushad
Lyrics: Shakeel Badayuni
Singer: Mohammad Rafi
*ing: Rajendra Kumar, Sadhana
Director: HS Rawail
Film: Mere Mehboob (1963)