On Raj Kapoor’s 38th death anniversary on June 2, 10 soundtracks that reflect the creative crescendos scaled by RK and his musical team.
Key Points
- Raj Kapoor formed a long-lasting bond with composers Shankar-Jaikishan and they worked in several films, giving chartbuster music.
- Raj Kapoor was only 25, while Shankar was 27 and Jaikishan was 20 when they first teamed up for 1949’s Barsaat.
- They threesome worked extensively with lyricists Hasrat Jaipuri and Shailendra as well as the iconic Lata Mangeshkar to make a successful team.
Actor-filmmaker Raj Kapoor’s two-decades-long collaboration with Composers Shankar Jaikishan yielded many of the best-known songs from the golden age of Hindi film music.
On Raj Kapoor’s 38th death anniversary on June 2, Dinesh Raheja and J Kothari revisit 10 glittering soundtracks that reflect the creative crescendos scaled by this team.
Barsaat (1949): The Raj Kapoor-Shankar Jaikishan Jodi Began On A High Note With This Record-Buster
When Raj Kapoor, then 25, first teamed up with 20-year-old Jaikishan and 27-year-old Shankar, they shattered all previous box office records with Barsaat in 1949.
The blockbuster score hit audiences with the impact of a monsoon thunderclap, and instantly shot the two new music directors to prominence. Kapoor had spotted their talent during his days in Prithvi Theatre where they played the tabla and the harmonium.
Shankar-Jaikishan crafted 10 superhit songs for Barsaat, nine of which featured Lata Mangeshkar! Her eternally popular Hawa Mein Udta Jaye, Mora Laal Dupatta Malmal Ka, was filmed on lesser-known Bimla Kumari but even 75 years later, sounds fresh and invigorating, redolent of the first rains.
Lata crooned for leading lady Nargis sweet love melodies like Mujhe Kisi Se Pyar Ho Gaya and Meri Ankhon Mein Bas Gaya Koi Re.
Lata’s song for debutant Nimmi, Jeeya Bekarar Hai, penned by newcomer Hasrat Jaipuri, hit the popularity jackpot, as did Barsaat Mein Humse Mile Tum! The Tak-Dhina-Dhin refrain from the title song is unforgettable.
Barsaat‘s success consolidated Lata Mangeshkar’s position as the new singing sensation coming as it did quick on the heels of her songs in Andaaz and Mahal.
Patli Qamar Hai and Barsaat Mein were the first film songs penned by Shailendra. The poet had spurned Raj Kapoor’s offer to write lyrics for Aag (1948), but was persuaded by his son’s birth to write the Barsaat songs for Rs 500. What a bargain.
Barsaat ushered in a new era in film music and crystallised the Kapoor-SJ-Lata-Mukesh-Shailendra-Hasrat team, which was to blaze a lightning trail over the next two decades.
Awara (1951): Raj Kapoor And Shankar-Jaikishan Had India-Russia Dueting To Awara Hoon
The hummable Awara Hoon is probably India’s most famous export to Russia. When Awara was released in Russia as Brodigaya, two nations dueted to this Mukesh song.
At the song’s genesis itself, it was celebrated by Raj Kapoor and the film’s writer, K A Abbas, who marveled at Shailendra encapsulating Kapoor’s onscreen character in just one line: Awaara Hoon Ya Gardish Mein Hoon Aasmaan!
While Barsaat‘s score had been entirely romantic, Kapoor imbued more philosophical thought into the Awara score. In the prelude to the lavishly filmed dream sequence sung by Lata, Ghar Aaya Mera Pardesi, the common man’s anguish and aspirations was articulated in Manna De’s voice: Mujhko Yeh Narak Na Chahiye Mujhko Phool, Mujhko Geet, Mujhko Preet Chahiye Mujhko Chahiye Bahaar.
At the same time, the audience was dazzled by the romantic richness and rhythms Shankar-Jaikishan conjured up for the Raj-Nargis pair in Lata’s Ab Raat Guzarne Waali Ha, Jabse Balam Ghar Aaye and in the Lata-Mukesh duet Dam Bhar Jo Udhar Munh Phere.
Fittingly, however, it is the song Awara Hoon that’s legendary. It firmly established Mukesh as Raj Kapoor’s voice in song.
Aah (1953): The Music Score Was More Successful Than The Film
Lata’s angsty torch song Raja Ki Aayegi Baraat proved immensely popular. But neither the film’s fabulous music score nor the appeal of the Raj-Nargis pair could brighten up this maudlin Raja Nawathe-directed film about a man who seeks to sacrifice his love when he realises he has a terminal disease.
Shankar-Jaikishan’s imaginative use of a musical whistle in the interludes enlivens the catchy Lata-Mukesh duet Jaane Na Nazar Pehchane Jigar filmed on Raj and Nargis bathing in two different wooden barrels and sporting the most watchable expressions.
Lata’s breezy Sunte The Naam Ham Jinka Bahar Se filmed on Vijayalakshmi proved S-J didn’t stint from lavishing memorable melodies even on secondary characters.
The dominant theme, however, is melancholia, and it is best captured in two phenomenal sad songs, Lata’s Yeh Shaam Ki Tanhaiyan and the Lata-Mukesh duet Aaja Re Ab Mera Dil Pukara. All the prodigious talents involved succeeded in making even heartache sound seductive.
Shri 420 (1955): Five Anthemic Songs In One Soundtrack
Many soundtracks have one centrepiece. Shankar Jaikishan, however, lavished Raj Kapoor’s Shri 420 with five anthemic songs — the achingly romantic Pyar Hua Ikrar Hua, the crowd-pleasing yet insightful Mera Joota Hai Japani… Phir Bhi Dil Hai Hindustani, the riddle-me-do Ichak Daana, the poignant lament for lost chances Ramaiyya Vastavaiya and, finally, Mud Mud Ke Na Dekh, a hot peppery western dish added to a delicious Indian banquet.
If the Lata-Manna De duet Pyar Hua Iqrar Hua picturised on a magical Nargis-Raj is sighed upon today as the ultimate in romance, it’s also because of the visual eloquence that Kapoor imparted to Shankar-Jaikishan’s timeless melody. Their synergy was matchless.
If Shankar suggested the Telugu (his native language) flavoured Ramaiyya Vastavaiya as an opening line, Shailendra added some deeply felt lines: Mukesh’s Duniya Wohi Duniyawale Wohi, Koi Kya Jaane Kiska Jahan Loot Gaya speak of the profoundest of sentiments in the simplest of words.
In Barsaat, Raj Kapoor made his onscreen character sing only two out of the film’s 10 songs. But Awara Hoon made Kapoor realise the stardom-enhancing potency of a hit song. So in Shri 420, Kapoor’s character warbled six out of the eight songs!
Chori Chori (1956): Raj Kapoor-Shankar-Jaikishan Without Mukesh
For the first six years, Kapoor collaborated with Shankar-Jaikshan exclusively for his films under the RK banner. The films Kapoor acted in for outside producers had other music directors, till L B Lachman’s Chori Chori altered that dynamic.
Chori Chori justifiably bagged S-J their first Filmfare award for Best Music Director.
The soundtrack’s beating heart lies in its three intensely romantic Lata-Manna De duets,Yeh Raat Bheegi Bheegi, Aaja Sanam Madhur Chaandni Mein Hum and Jahan Main Jaati Hoon. This was the first Kapoor-S-J partnership without Mukesh, necessitated by the playback singer’s decision to concentrate on his acting career with Anuraag (1956).
The composing duo’s mastery over the medium was showcased in two Lata solos, the upbeat Panchhi Banu Udti Phiru and the Hindustani classical-based Rasik Balma, which had Lata navigating the high pitched beginning and difficult alaaps with noteworthy grace.
Anari (1959): High-Minded Philosophy Paired With Catchy Musical Hooks
The Kapoor-Shankar-Jaikshan team’s first film without muse Nargis proved just as meritorious as their earlier classics. Anari deservedly bagged another Filmfare trophy for Shankar-Jaikshan. The duo were now in great demand and had seven releases in 1959 but they seemed to reserve their best for Raj Kapoor.
Anari exemplified this musical partnership’s signature style. Mukesh’s Kisi Ki Muskurahaton Pe Ho Nisaar appeal continuous to resonate across generations not just because of Shailendra’s passionate espousal of universal love but also because it is foot-tappingly catchy, minute-long prelude, whistled refrain et al.
The common man repeatedly delighted in this partnership’s easy-on-the-lips tunes because they had more hooks than a fishing kit.
The Hrishikesh Mukherji-directed hit was studded with earworms — Mukesh’s plaintive Sab Kuchh Seekha Humne Na Seekhi Hoshiyari was balanced by Lata’s sparkling effervescence in Woh Chaand Khila, Dil Ki Nazar Se and the under-rated Banke Panchhi Gaaye was filmed on leading lady Nutan.
And, of course, the album had to build up to a emotional crescendo on the piano. Tera Jaana has Lata giving it her all with a high-pitched beginning, breathtakingly long alaaps and a passionate declaration of heartbreak. Simply irresistible.
Jis Desh Mein Ganga Behti Hai (1960): A Dacoit Drama As A Musical
Shankar-Jaikishan were excited about reteaming with RK productions after half a decade but were flummoxed when they heard the theme of Jis Desh Mein Ganga Behti Hai. How, they wondered, would they incorporate music into a film about the redemption of dacoits?
Suffice to say, the results totally belied their initial anxiety. The popular title song and Mera Naam Raju had Mukesh in fine fettle conveying Kapoor’s message of peace.
In Ho Maine Pyar Kiya, Begaani Shaadi Mein and Kya Hua? Lata’s voice embodied actress Padmini’s energetic expressions of love.
The OST has two epic standouts: Lata’s O Basanti Pawan Pagal effectively telegraphs the heroine’s frenzied emotional despair in its words and composition.
Shankar-Jaikishan’s inspired orchestral arrangements in Aa Ab Laut Chalein make this song one for the ages. Mukesh conveys Raj Kapoor’s advocacy of rehabilitation for all sinners with calm conviction.
Lata breaks into the song with a single line; the contrastingly fever-pitched Aaja Re that lingers on in echoes, beautifully buttressing his sentiment. Aural ambrosia.
Sangam (1964): A harmonious sangam of melody, lyrics, singing and all that makes for memorable music
Emotions exploded like shrapnel from every song in Sangam. Indeed, what distinguishes a Raj Kapoor-Shankar-Jaikishan score is that their songs capture myriad, and unique, hues from the palette of emotions.
Binaca Geetmala’s chart-topper for 1964 was Mukesh’s Bol Radha Bol Sangam Hoga Ke Nahin which was filmed on Kapoor and became the eve-teaser’s mantra.
On the other hand, the film’s other superhit, Mohammad Rafi’s velvety smooth Yeh Mera Prem Patra Padhkar (for Rajendra Kumar) exhibited a totally different style of wooing a woman. The much-wooed woman (Vyjayanthimala) was soon doing her own wooing with Lata’s Main Kaa Karoon Ram Mujhe Buddha Mil Gaya.
The jaunty accordion notes of Lata-Mukesh’s Har Dil Jo Pyar Karega Woh Gaana Gayega had Mahendra Kapoor piously declaiming in the end, Apna Ke Har Kisiko Begaana Jayega.
Raj Kapoor’s character proved as masochistic in Mukesh’s Dost Dost Na Raha, Pyar Pyar Na Raha, an eternal favourite of the chronically disillusioned.
While these songs fit beautifully in their situations in the movie, a personal favourite remains the voice of reason O Mere Sanam. Lata voices the leading lady seeking understanding for past peccadilloes from her obsessively possessive husband with Shailendra’s immortal line: Kuchh Aur Nahin Insaan Hai Hum.
Truly, a score that’s a harmonious sangam of melody, lyrics, singing and all that makes for memorable music.
Teesri Kasam (1966): Profound Paeans Juxtaposed With Nautanki Numbers
Having turned producer with this film, Shailendra enlisted his friends Kapoor and Shankar-Jaikishan to act and compose in this Basu Bhattacharya directorial venture.
The word wizard even roped in his friendly rival in the RK camp, lyricist Hasrat Jaipuri. The latter vindicated the faith reposed in him with the thought-provoking gem on the arcane quality of life, Duniya Banane Waale. which was voiced by Mukesh and filmed on Kapoor.
Shailendra came up with his own take on existence in another nugget for the actor-singer pair with Sajan Re Jhooth Mat Bolo.
Shankar-Jaikishan juxtaposed such highly emotional, paradoxically male songs as Sajanwa Bairi Ho Gaye Hamar with a clutch of frothy female numbers. Perhaps because leading lady Waheeda Rahman played a Nautanki dancer, Asha Bhosle is the dominant female voice. Lata is confined to the more subdued Aa Aa Bhi Jaa and the dance number Maare Gaye Gulfam.
With characteristic verve and joie de vivre, Asha sings the risqué Haye Ghazab Kahin Tara Toota and the boisterous Paan Khaye Saiyan Hamaro which proved to be a crowd-pleaser, sadly unlike the film which was ill-starred at the box office.
Mera Naam Joker (1970): The Raj Kapoor-Shankar Jaikishan Team Do Without Lata
For the first time in 20 years, an Raj Kapoor-Shankar-Jaikishan score was not embellished with Lata’s vocals. Sangam‘s ever so slightly salacious Buddha Mil Gaya song was supposedly one of the reasons why Lata was miffed with Kapoor (the other was a disagreement over royalty rights to singers).
Asha Bhosle, who had one of the earliest hits in her career with the RK banner in Mud Mud Ke Na Dekh, adequately filled in the gap. But her songs Teetar Ke Do Aage Teetar (for Simi Grewal) and Mohe Ang Lag Jaa Baalma (for Padmini) had limited impact.
The Mera Naam Joker soundtrack won the Filmfare Award, primarily because of the male songs. Mukesh outdid himself with S-J’s pathos-laden compositions for Jaane Kahan Gaye Woh Din and Jeena Yahan Marna Yahan.
The film’s score benefits from Shankar-Jaikishen’s ability to compose a suitable strain of melody to heighten any onscreen emotion, and from Raj Kapoor’s tremendous ear for rhythm. This is evident in Mukesh’s Kehta Hai Joker and Manna De’s Aye Bhai Zara Dekh Ke Chalo which reflect the joker’s tragicomic world.
Though Mera Naam Joker famously set Raj Kapoor back by lakhs of rupees, it did yield a memorable soundtrack. A fitting swan song for the 20 years of jugalbandi between the showman and the Tune Titans.
Photographs curated by Satish Bodas/Rediff
