Chhaayaageet #250 - “Agar uski dhun mein dum hua, toh woh sangeet dega.”
If his tune has power, then he will compose the music.
The filmmaker and the lead actor are discussing their next venture. The lead actor’s last few releases have been huge hits, particularly in the Soviet Union, where his portrayal of the common man has earned him a devoted, almost cult following both at home and abroad.
“Ek aisi film chahiye jo aam janta ke dilon ko choo jaye,” We need a film that speaks directly to that global audience, the lead actor insists. He wants to maintain his image as a common man.
The filmmaker smiles. “Mere dimaag kuch chal raha hai. Maine abhi haal hi mein Fyodor Dostoevsky ki novel, Crime and Punishment, padhi hai. Uska kirdaar tum jo chahte ho usse milta julta hai.” I have something on my mind. I recently read Fyodor Dostoevsky’s novel, Crime and Punishment. The character in that novel matches what you are looking for.
The lead actor likes it. “Wah, ek classic Russian novel par film. Soviet Union wale bhi bahut pasand karenge.” Great, a film on a Russian novel. The people of the Soviet Union will also appreciate it.
The discussion shifts quickly to the musical score. They both agree on the lyricist. He is one of the few in the film industry who insists on writing lyrics first and then the tune. His pen also has a sarcastic side. He uses his poetry to deliver a sharp critique of the political and economic reality of newly independent India. It’s been a decade since independence, but the common man hasn’t really felt the benefits of Nehruvian policies. Who better than him to write the lyrics. They invite the lyricist to the next meeting.
The songs and music have been the hallmark of all of the lead actor’s previous hits. He doesn’t want to change anything on that front. “Sangeetkar to wohi hona chahiye. Woh mera lucky charm hai.” It will be the same composer. He is my lucky charm.
The lyricist, a man committed to high standards when it comes to social issues, immediately objects. “Sir, yeh film baaki filmon se alag hai. Iske liye ek nayi soch chahiye. Mere zehan mein ek sangeetkar hai jo iss film ke saath insaaf karega.” This film is different. It requires a new style. I know of a composer who will do justice to the music.
The lead actor looks unconvinced. “Par mein kaise maan loon ki meri audience ye naya sangeetkar pasand karegi.” I am not convinced that my audience will appreciate this new composer.
The lyricist stands his ground. “Hamein woh shakhs chahiye jisne Crime and Punishment ko na sirf padha ho par samjha ho.” We need that person who has not just read Crime and Punishment but also understood it.
The lead actor is hesitant to break his successful partnership, but he respects the lyricist’s viewpoint. He decides to compromise. “Theek hai, ek shart par. Agar uski dhun mein dum hua, toh woh sangeet dega.” Alright, on one condition. If his tune has power, then he will compose the music.
The lyricist decides to visit the composer. The composer and the lyricist go back. There has been mutual respect between them, and their boundaries are well defined. The composer doesn’t force his tunes on the lyricist, and this allows the lyricist to let his poetry flow. Also, both are Punjabi Muslims from Punjab. That bond is really special.
“Oye yaar, ki haal chaal hai. Tere naal ek film di gal karni si. Mera khayaal hai tu Crime and Punishment kitaab padhi haigi.” How are you? I want to talk to you about a film. I think you have read Crime and Punishment. The lyricist has a strong Punjabi accent.
“Hanji, badi wadiya kitaab si. Main character da dard bahut mehsoos honda.” Yes, very nice novel. I could feel the pain of the main character.
The lyricist explains that it is still not a done deal, and the composer needs to prove himself. “Bas wohi dard chaida gaane wich. Imtihaan lai tayyar hain?” We need the same pain in the song. Are you ready for the challenge?
The composer gets cracking on the tunes. Soon, he has about five tunes composed for one of the key songs, which is also the title song. He seeks out the lyricist, and a date is fixed with the filmmaker and the lead actor.
The composer arrives at the studio. He sits before the filmmaker, the lead actor, and the lyricist, and plays five distinct compositions. Each melody captures the film’s philosophical darkness and eventual glimmer of hope. Since the lyrics have already been written, singing them in the tune has a much deeper impact on the group.
The composer finishes, and the room falls silent. The lead actor, deeply moved by the tunes, looks at the new composer with admiration. He nods slowly and gives his approval: “Saari tunes ka jawaab nahin.” All tunes are outstanding.
Khayyam composed the music for the song Woh Subah Kabhi To Aayegi and the rest of the songs in the film Phir Subah Hogi (1958). The lyrics are written by Sahir Ludhianvi, and the film is directed by Ramesh Saigal. The playback is provided by Mukesh and Asha Bhosle. Raj Kapoor and Mala Sinha are the lead actors in the film and this song.
Ramesh Saigal wanted to work with Raj Kapoor and continue to deliver a great story of a common man based on Fyodor Dostoevsky’s novel Crime and Punishment. Raj Kapoor had several hits on similar themes, such as Awaara (1951) and Shree 420 (1955). A common factor in those films was the melodious music by Shankar Jaikishan. The music appealed not just to the local audience but was also hugely popular in the Soviet Union.
When Raj Kapoor heard about the plot of this film, he assumed that Shankar Jaikishan would be the composer. The lyricist, Sahir Ludhianvi, felt that Khayyam may provide a better option for the dark and melancholy music required for this film. The music was quite different from Raj Kapoor’s previous movies. The film reflected the common man’s growing disillusionment with the unfulfilled promises of economic and social justice in newly independent India.
Raj Kapoor agreed to listen to Khayyam’s tunes before making the final decision. When he heard the tunes, it didn’t take him too long to provide his approval.
Another song from the same film, Chin-O-Arab Hamara, Hindustan Hamara, Rehne Ko Ghar Nahin Hain, Sara Jahan Hamara, became very popular yet controversial. It came close to being banned since it was a direct attack on Nehruvian politics.
Composer: Khayyam
Lyricist: Sahir Ludhianvi
Singer(s): Mukesh, Asha Bhosle
*ing: Raj Kapoor, Mala Sinha
Director: Ramesh Saigal
Film: Phir Subah Hogi (1958)