Chhaayaageet #257 - "Mein Amitabh Bachchan bol raha hoon."
I am Amitabh Bachchan speaking.
The young lyricist dreams of working with the superstar. His father, a veteran lyricist, and the superstar have collaborated on numerous films contributing to numerous chart-topping songs, that have left an indelible mark on Hindi cinema.
So naturally, the young lyricist thinks how great would it be for him to write a hit number for the superstar, just like his father. But when he is trying to make his mark in the industry as a lyricist, the superstar isn’t very active. He has taken a sabbatical from films, and there are speculations that he has retired.
One day the lyricist picks up the newspaper and reads that the superstar is making a comeback after five years, and the article carries an announcement of his comeback film and the name of the filmmaker. He starts day-dreaming again - how fortunate would he be if somehow he gets this film?
In a few days a duo of music composer brothers calls the lyricist and invites him to write the lyrics for the same film. When you want something with an intense fervor the universe conspires to give it to you. The lyricist is very excited to know that he will be writing lyrics for the biggest superstar.
Separately, in Punjab, in the North of India, a young singer is also day-dreaming. He has just started to make a name for himself in the Bhangra pop genre. His albums have broken records and won him several awards. His stage shows are all the rage. His diary cannot keep up with all the people who want to invite him to sing at events and weddings.
One day the singer’s friend says to him: “Yaar Paaji, Bombay mein kaam kab karenge?” Dear Sir, when will you do work in Bombay?
The singer replies: “Jab Paaji bulayenge to karenge.” When someone big (Sir) calls then we will go.
The friend asks: “Kaun? Dharam Paaji?,” referring to Dharmendra. Who? Dharam sir?
The singer clarifies: “Na. Amitabh Paaji.” No. Amitabh Sir.
The friend laughs. He says: “Yaar Paaji, dimaag kharab ho gaya. Ab ek hi gaana hit hua aur woh phone karenge?” Dear Sir, have you gone mad? Your one song has just now become a hit, and he will call you?
The singer insists: “Woh karenge to hi chalenge”. If he calls only then I will go.
The friend continues to give the singer a hard time: “Paaji woh kyon karenge?” Sir, why will he call?
Meanwhile, back in Bombay, the music sittings start with a lot of excitement for the superstar’s launch film. The superstar is very much involved in the music compositions and attends all the sessions regularly. He wants to leave no stone unturned for his comeback venture.
One day, during a music sitting, the superstar mentions to the team that he has a desire to do a song with a sensational Bhangra pop singer, who he had happened to hear in a wedding. Everyone likes the suggestion.
The superstar immediately takes his phone out and asks his secretary to dial the singer’s number.
The singer picks up the phone. It had been about a month since his conversation with his friend. From the other end, the familiar trademark baritone voice of the superstar booms: “Hello, mein Amitabh Bachchan bol raha hoon.” Hello, I am Amitabh Bachchan speaking.
Hearing the voice, the singer feels like he might faint. He feels the ground slipping beneath him. But he recovers himself, and replies: “Paaji, kabhi aise kisi ko direct mat bola karo ki mein Amitabh Bachchan bol raha hoon.” Sir, please don’t say directly to anyone that I am Amitabh Bachchan speaking.
The singer continues: “Mein hoon isliye sirf chakkar aa gaya oar koi hota to heart attack aa jaata.” Because it is me I only felt like I might faint, someone else might get a heart attack.
The superstar laughs at the singer’s quick humor. He replies: “Ji mein aap ke saath kaam karna chahta hoon. Mera secretary aap se baat karega.” Sir I would like to work with you. My secretary will talk with you.
The secretary takes over the call and says to the singer: “Aap ek kaam karo. Bas kal ki flight leke aa jao Bumbai.” Do one thing. Just get on a flight tomorrow and come to Bombay.
The singer hears the demand and responds: “Yaar maafi chahta hoon, mein kal nahin aa sakta. Teen mahine baad mere paas date hai. Mein tab aaunga.” Friend, I am very sorry, I cannot come tomorrow. I have the next date after three months. I will come then.
There is a pause. The superstar is back on the line. He booms: “Aap kal nahin aa rahe?” Are you not coming tomorrow?
The singer holds his ground: “Maaf karna. Mein aap ko bahot pyar karta hoon. Bachpan se aap ko dekhte aa rahe hain. Lekin Sir, mera na teen mahine bilkul book hoon, roz lagataar.” Please forgive me. I love you very much. I have been watching you since childhood. But Sir, I am completely booked for three months, every day consecutively.
The superstar thinks and says: “Aisa karo apni booking wali diary bhej do, dekhte hain book hai ke nahin.” Why don’t you send your booking diary, we can see if you are booked or not.
The singer agrees: “Theek hai ji.” That’s alright, Sir.
After confirming dates, a date three months later is booked. The singer sees the appointment written down in his diary with a glint in his eye. When you want something with an intense fervor the universe conspires to give it to you.
On the appointed day after three months, the singer walks in with his entourage into the music room of the composers. The lyricist is surprised to see that the singer has come with his secretary, guards, managers. He is used to the superstar’s entourage being present for important meetings. But who is this singer, the lyricist wonders.
Introductions are made. The superstar himself makes the introductions. He introduces the lyricist by name. From the name he thinks this must be some big builder. The singer meets the lyricist with a lot of respect: “Sir aapka to bahot naam suna hai. Jab bhi Bumbai aa jaata hoon to aap ke hi naam ki buildingein dikhti hain.” Sir I have heard your name a lot. Whenever I come to Bombay, I see buildings with your name.
The lyricist clarifies he is not a builder. He is a song writer.
The singer thinks in his mind: “To isse kya milna?” Then why am I meeting him? But he presents a pleasant face and says: “Chalo koi baat nahin, Sir, bahot achha laga.” Ok, not a big deal, Sir, it is a pleasure.
As the music sitting begins, the singer asks: “Chalo ji kya baat karenge? Kaisa wala gaana chahiye aap ko mujhse?” What are we here to discuss? What kind of song do you want me to make?
Before anyone could reply, the superstar takes over, and says to the singer: “Paaji, ye to aap waala dance gaana hai to behtar hoga aap hi bataiye hum kya karein.” Brother, this is certainly going to be your kind of dance number so it’s better that you suggest what we should do.
Suddenly a thought pops into the singer’s mind. He shares: “Paaji, mein chhe mahinon se mere stage shows mein ek cheez gaata hoon. Aur mere dimaag mein ye feel hota hai ki aap gaa rahe ho saath mein.” Sir, for the last six months I sing a phrase on stage, and I get the feeling that you are singing it with me.
The superstar requests him to sing it, to which the singer obliges. The superstar likes it very much.
The singer is happy to see the reaction. He points to the lyricist and says: “Agar ye sahab is line ko gaane mein convert kar dein to hum iska ek dance number bana denge. Mujhe yakeen hai yeh sure-shot hit hoga.” If this Sir can convert this line into a song then we can compose it as a dance number. I’m sure this will be a sure-shot hit.
Everyone is surprised to see the confidence with which the singer utters his statements, unfazed in front of the biggest superstar.
The lyricist requests the singer to sing the line a couple of times. With the singer’s voice in his ears, the lyricist closes his eyes in search of words. He keeps humming. Everyone is quiet. They respect that a process is unfolding. The lyricist opens his eyes and has the complete line on his lips. It is a line that one of his writer friends used to playfully say it to him.
The lyricist shares the line with everyone and says, “Mujhe laga iss line ko Paaji ki line ke saath connect karein to bahot achha lagega.” I thought if I connected this line to Sir’s line, it would sound great.
The lyricist sings both the lines together for everyone. Everybody jumps in excitement and praises the joined couplet. The superstar and the singer both run and hug him. What a moment for the young lyricist!
The composers immediately compose the song on the harmonium. Everyone is very satisfied with the song. It is already sounding like a hit dance number.
The superstar is familiar with a recent hit Bhangra pop number of the singer. He requests the singer, referring to the number: “Paaji jo marji karo, ismein aapka ye gaana hona chahiye. Mujhe aap ke saath usmein act karna hai. Mein uss gaane ka fan hoon. Woh gaana sar chadh ke bol raha hai poore Hindustan pe.” Sir, do what you may, but this song of yours needs to be in our song. I want to act with you on that song. I am a big fan of that song. It is being applauded by the whole of India.
The singer is pleased to hear this and says: “Bilkul fix kar denge Paaji.” We will definitely fix it, Sir.
As the team continues to work on the song in the sitting, everyone notices that the singer’s secretary is very anxious. After every 15-20 minutes, she would come to the singer and whisper something in private. It seemed like a serious conversation.
The superstar cannot hold himself back and asks why she is coming back and forth and interrupting the music session. The superstar’s manager takes the superstar to the side and briefs him: “Paaji producers se iss gaane ke liye 45 lakh ki fees maang rahe hain.” The singer is asking the producers for 45 lakh (4.5 million) rupees as his fees for this song.
The superstar is stunned to hear this big an amount for just one dance number in the film. He is angered by this demand and asks the singer to clarify the reason for his huge fees.
In a no-fuss manner, the superstar explains: “Dekhiye Paaji, aap ko 10-12 karod ki publicity milne waali hai jab log aap ko Amitabh Bachchan ke saath naachte gaate dekhenge. Aap apne manager se kahiye ki un 10-12 karod mein se 45 lakh fees rakh lein aur baki ke mujhe bhej dijiye aap ke saath video mein nachne ke liye. Baat yahin khatm karte hain. Hum kisi aur ko dhoond lenge.” Look Brother, you’re going to get huge publicity worth 10-12 crores of rupees after you are seen in a film singing and dancing with Amitabh Bachchan. Ask your manager to deduct 45 lakh from the 10-12 crores and send the rest of the money to me for appearing with you in the video. Let’s finish the matter here itself. We’ll find someone else.
The music room goes quiet. You could hear a pin drop. The filmmaker holds his head in his hands. The lyricist gets the feeling that this song might not materialize. After all has any creativity survived the egos of big people?
The singer pauses and thinks. He has huge respect for the superstar. He walks up to him with folded hands and says: “Paaji maaf kijiye. Saari baat bhool jaiye. Mein aapke liye ye gaana muft mein karne ke liye tayar hoon, Paaji.” Sir, please forgive me. Let’s forget the whole matter. I’m ready to do the number for you free of cost, Sir.
Fast forward to the shoot of the dance number. Dates are locked in. The day before the filmmaker and the singer meet: “To kal aap 7 baje pahunch jaiye.” So you reach there tomorrow at 7am.
The singer is perplexed, “Mein itni jaldi aa kar kya karunga?” What will I do there so early?
The filmmaker clarifies, “Bachchan sahab pahunch jayenge.” Mr. Bachchan will have already reached.
The singer knows the superstar is known to be very punctual and reaches anywhere earlier than the designated time, come what may.
The singer folds his hands and says: “Paaji, please, unko to neend nahin aati, lekin mujhe to aati hai. 7 baje uth jaunga to mera munh aur sujha hoga. Mein das baje se pehle nahin aa sakta.” Sir, please, he (Mr. Bachchan) doesn’t sleep, but I sleep. If I wake up at 7 my face will be even more swollen. I cannot come before 10am.
They change the call time to 10am to suit the singer.
Someone asks the singer if he will be nervous to shoot with Mr. Bachchan. The singer replies that he has also acquired enough popularity in the world that he is not afraid. In fact, he was feeling very confident to perform with Mr. Bachchan.
The first and the second day’s shoot of the song goes very well. On the third day, the singer is not able to perform a specific step. He is repeatedly making mistakes and swirling himself around when he doesn’t need to.
The superstar asks him, “Kya hua?” What happened?
The singer is sheepish about his mistakes and confesses, “Thodi ghabrahat si ho rahi hai.” I am feeling a little afraid.
The superstar doesn’t understand the reason for this. He asks, “Do din to nikal gaye tab ab kyon ghabrahat ho rahi hai? Mere saath to bahot logon ne kaam kiya hai.” Two days have already gone so why are you feeling afraid now? Many people have worked with me.
The singer continues, “Paaji aap Mount Everest ho. Aap ke saath jinhone kam kiya hai, Shashi Kapoor, Shatrughan Sinha, Rishi Kapoor. Ye Everest ke aas paas ki chotiyan hain. Mein to kuch bhi nahin hoon. Ek singer hoon bas to thodisi ghabrahat ho rahi hai.” Sir you are Mount Everest. And those who have worked with you, Shashi Kapoor, Shatrughan Sinha, Rishi Kapoor. They are the other peaks near Everest. I am nothing. I am just a singer so I am feeling afraid.
The superstar comes up with a solution, “To ek kaam karte hain. Is jagah gaane mein, mein aapka haath pakad loonga. Aur aise step karenge. Jab tak maine aap ka haath pakda hai, tab tak aap ghoomna mat.” So let’s do this. At this point in the song, I will hold your hand. And we will do these dance steps. As long as I am holding your hand, you will not swirl around.
The rest of the song is completed over the next 7 days.
Daler Mehndi performed the song Na Na Na Na Re along with Amitabh Bachchan in the film Mrityudata (1997), produced under the ABCL banner and directed by Mehul Kumar, with lyrics by Sameer, and music by Anand-Milind. Sudesh Bhosle provided the playback vocals for Amitabh Bachchan.
Daler Mehdni became a Bhangra and pop sensation after his first solo album Bolo Ta Ra Ra became a massive hit and sold 20 million copies. He followed that up with his second album Dardi Rab Rab, which surpassed the sales of his first album. Amitabh wanted the song Dardi Rab Rab also to be factored into the film song.
Mrityudata was Amitabh’s comeback film but bombed at the box office. However, the song Na Na Na Na Re became a big hit. People would throw coins at the screen whenever this song would come on. Daler Mehndi was very much applauded for this number.
Sameer was used to write the hook lines for all his songs, however, this one was provided by Daler Mehndi. Sameer then took over and wrote the rest of the lines to everyone’s applause and liking.
At 4:23 in the song you can see Amitabh extending his hand to hold Daler Mehndi’s as they perform the dance steps.
Watch Daler Mehndi’s hit song Dardi Rab Rab:
Watch Daler Mehndi perform this song live:
Watch Sudesh Bhosle perform this song live:
*ing: Amitabh Bachchan, Daler Mehndi
Lyrics: Sameer, Daler Mehndi
Music: Anand-Milind
Singers: Daler Mehndi, Sudesh Bhosle
Director: Mehul Kumar
Film: Mrityudata (1997)