Duniya Ki Sair Karlo

by

Dinesh Shankar Shailendra, who writes in his series DIRECTOR’S CUT on director Pachhi      and one song written by Shailendra in this film
film Around the world के लिए इमेज परिणाम

 

The fifties and sixties ….. Known as the golden period for Hindi Film Music, had the greatest Music Directors, who gave GREAT music….. But unfortunately, the same cannot be said about all the Directors of that period.

Many times, some good music scores were lost to these directors.
One such example is a director called Pachhi…. whose only claim to fame was that he was character actor Om Prakash’s brother.
Pachhi made almost all his films in foreign countries.

Shooting in foreign countries had its benefits…. In the eighties, one of the most reputed directors was under the scanner for his involvement in ” Kabootarbaazi”..the code word for the smuggling of illegal immigrants.

Producers, under the pretext of shooting abroad, would carry a few people who paid handsomely to be taken abroad as part of the shooting crew…. These people would stay back as illegal immigrants. They would pay so much, that the producer would recover most of the shooting expenses !!!
Some producers were blatant smugglers !
They would carry old equipment from here ( cameras and sound equipment ) and would return with brand new equipment…. showing that as what they had taken in the first place….

That was just a little ‘aside’…. I am not casting aspersions on anybody.

Coming back to Paachhi… he got Shanker Jaikishen, Hasrat and Shailendra to give songs for ‘Around the World’…. they gave him music that we still listen to and enjoy…. after 50 years…. but the film and picturisation of songs left much to be desired.

Take the title song of the film, written by Shailendra.

Shanker Jaikishen start with the roll of drums and trumpets….. close your eyes and listen…. it is like an announcement….Heralding the Greatest Show on Earth !!!

Violins and guitar join in, playing the melody…

The ‘mukhda’ on an ageing Raj Kapoor and a fairly good looking Rajshree…They are riding a horse-cart through the snow….

” Duniya ki sair kar lo, duniya ki sair kar lo,
insaan ke dost ban kar, insaan se pyar kar lo…”

The refrain:

” Around the world in eight Dollars,
around the world in eight Dollars…. “

Many people…. especially the younger generation wonder why ” Eight Dollars ” ?
At that time, eight Dollars ( or its equivalent ) was all the currency one was allowed to officially carry on a trip abroad…!!!! Unthinkable but true…. !

A guitar, violins and an accordion bring up the interlude…. the pacy rhythm needs a special mention…

” Los Angeles bhadkeela,
jahan Hollywood hai rangeela,
dekho Disneyland mein aakar,
pariyon ka desh dharti parr… “

Accordion and violins are used in the second interlude…

” Jab Grand Canyon dekha,
yaad aa gaya woh andekha,
nahin tera koyi saani,
arrey wah re wah Miami “

Guitars, violins and trumpet join in to add to the grandeur…

Shailendra comes into his own in this stanza…. His INDIAN roots speaking up….
A lesson for mankind ….
He goes back into the flow of the song in the last two lines…

” Hum aman chaahney waaley,
hum pyar pe marney waaley,
ek baat kahengey sabse,
nafrat ko mitaa do jag se…”

“Insaan ke haath ka tonaa,
mitti ko banaaya sonaa,
yeh Washington albelaa,
New York sheher ka melaa…”

The last interlude…. guitar and violins with an accordion…

” London ki daud diwani,
Paris ki shaam mastaani,
kudrat ke yeh khel niraaley,
zaraa dekh le dekhney waaley…”

” Berlin ka badaltaa chehraa,
aur Rome ka rang sunehraa,
Venice mein naav ki sairein,
yeh geet gaati hui lehren… “

” Duniya ki sair kar lo, duniya ki sair kar lo,
Insaan ke dost bankar,insaan se pyaar kar lo… “

” Around the world in eight Dollars,
around the world in eight Dollars….”

You give this song to a ten year old… He/ she will shoot it better if not as well as Pachhi has….
It seems as if, after listening to the song a couple of times, Pachhi has called his cinematographer and sent him to take shots of all the places mentioned in the song… Then, on the editing table, the editor has just matched picture with sound, added a few shots of the actors and ” Eureka ” !!!! the song is ready for viewing… It is sad…

Listen to the excitement Shanker Jaikishen have created with their peppy music…Listen carefully to the words…. written by a man, Shailendra, who has only traveled to Moscow and Cairo…. He describes the world so beautifully…. and ….he adds to an apparently simple song his thoughts…. the quest for love and peace to make this beautiful world better….

” Hum aman chaahney waaley,
hum pyaar pe marney waaley,
ek baat kahengey sabse,
nafrat ko mitaa do jag se….”

The praise for our achievements…. ” Insaan ke haath ka tonaa, mitti ko banaaya sonaa…”

The sensitivity to gauge what is happening around him…. He writes, prophetically about Berlin…. ” Berlin ka badaltaa chehraa…”
The Berlin wall, which caused so much misery to the world, was finally brought down in 1989….about 25 years after Shailendra wrote this ….

Give it a thought…. Listen…..

Har Dil Jo pyar karega in the eye of a director

By

Dinesh Shankar Shailendra

DIRECTOR’S CUT….

Raj Kapoor…

We always wonder why songs from the past stand out compared to recent songs .
There is no doubt that there are music directors and lyricists who do great work even today.
Then what is lacking???
Screenplay writers and directors have, over the years, lost faith in lyricists.
I would not name anybody in particular but in the seventies eighties and nineties very few lyricists have been able to impress.
It has been a two way traffic…there has been a dearth of good screenplay writers and directors…and stars have taken over the business of film-making.
Raj Kapoor, the director, from the very beginning, believed that songs were an essential part of narrating a story on screen.
After making ‘Aag’, in ‘Barsaat’, he discovered the talent of Shanker Jaikishan and Hasrat Jaipuri….
Towards the end of ‘Barsaat’, Shailendra joined them. RK knew, he had a team that would literally rewrite the history of Hindi film music.
All his films depended on songs to take his story forward…His first colour film ‘Sangam’ was no exception.
Effectively, Sangam had two theme songs….one at the beginning of the film and one towards the end. The first is a joyful party song where, the three main characters in the film…Raj Kapoor, Vyajantimala and Rajendra Kumar actually introduce themselves to the audience….They in fact reveal to the audience the part they will be playing as the story of the film unfolds.
The second is a song that comes towards the end…after most of the story has unfolded (Dost dost na raha…)
“Harr dil jo pyaar karega…”, taken at face value, is a party song full of fun….started by Raj Kapoor, true to his character of a fun loving, good for nothing person who is madly in love with Radha played by Vajyantimala.
BUT the words Shailendra has written, take the song to a different level….Added to this, the little touches that the director has contributed, have the desired effect on the audience.
In this song, like so many of his songs, Shailendra chooses his words like a highly talented screenplay writer. According to where the song comes in the film, his words reveal certain things to the audience, yet, he makes them curious about what will happen as the film progresses…..Writing a good screenplay is tough….but to do it with lyrics??? JUST OUT OF THIS WORLD !!!

The song starts with Raj Kapoor playing the accordion that makes up the introduction music….he sings the mukhda…

” Harr dil jo pyar karegaa, woh gaana gaayega,
diwana saikdon mein, pehchaana jaayega….”

In the interlude, he moves towards Vyajantimala, who moves away towards Rajendra Kumar, who, in turn moves away to isolate himself…
Raj Kapoor sings the verse…

” Aap hamare, dil ko churaa kar,
aankh churaaye jaatey hain,
yeh ek tarfaa, rasme wafaa hum,
phir bhi nibhaaye jaatey hain,
chaahat ka dastoor hai lekin, aapko hi maaloom nahin…
jiss mehfil mein shamaa ho, parwana jaayega…”

Vyajantimala joins in… she sings the mukhda… Raj is ecstatic… he thinks she is addressing him…

After the interlude, she sings…

” Bhooli bisri, yaadein mere,
hanstey gaatey bachpan ki,
raat biraat, chali aati hain,
neend churaaney nainan ki,
ab keh doongi, kartey kartey, kitney saawan beet gaye…
jaane kab in aankhon ka, sharmaana jaayega…”

She is addressing Rajendra Kumar… he understands…. but his loyalty towards his friend makes him awkward….

The next verse is sung by Rajendra Kumar….

” Apni apni, sab ne keh li,
lekin hum chup chaap rahey,
dard paraaya, jisko pyara,
woh kya apni baat kahey,
khaamoshi ka, yeh afsaana, reh jaayega, baad mere….
apnaake harr kisiko, begaana jaayega…..”

When one is watching this film for the first time, the words, the expressions of the actors and the movements, sound nice and look good…. But in turn, they churn up a kind of curiosity in the mind of the audience….

Raj Kapoor’s lines are a blatant expression of love and a little complaint as to how, the love of his life is not really understanding how much he loves her…He will pursue relentlessly….. ” Jis mehfil mein shamaa ho, parwaana jaayega…. “

Vyjantimala expresses that she feels the pangs of love …. the seeds of which were sown in her childhood itself…. ( Her love for Rajendra Kumar ) But, her shyness, ( the typical Indian upbringing ) has stopped her, many a time from expressing this love overtly to him…. She complains…. ” Jaaney kab inn aankhon ka, sharmaana jaayega…”

Rajendra Kumar expresses anguish…. He loves Vyjantimala too…. But his friendship with Raj Kapoor, and the fact that he knows how crazy his friend is about the lady, is forcing him to remain silent….” Dard paraaya, jissko pyara, woh kya apni baat kahey….”

The song ends… Raj Kapoor asks people to dance… he is still playing the accordion…Rajendra Kumar requests Vyajantimala to partner him … she eagerly joins him… Raj is happy to see his best friend dance with the woman he is madly in love with… In a compact shot…. there is a romantic exchange between Rajendra Kumar and Vyajantimala… she puts her head on his shoulder… Raj notices and he is a tad envious…

He suddenly starts playing the ‘Anniversary Waltz’…. ( Used as the RK theme in all his films )… it borders on sadness… Raj, then picks himself up and goes back to playing the happy notes of the song…

Shanker Jaikishen stand out among the crowd of music directors…. They use the piano, the accordion and violins to perfection… Note the subtle changes in these three instruments when required to go from gaiety to seriousness…. They understand exactly what their beloved ‘Rajsahab’ wants ….. The deliver…. AND HOW !!!
Very few people, including many music directors understand the importance of balancing sound levels to perfection….. They should listen to any song composed by Shanker Jaikishen…. They were the undisputed champions !

The subtle changes in expressions of the three main actors…. handled excellently by the director, make this great song greater… Raj Kapoor gives his co-actors proper screen space and manages to bring out the best performances…

Shailendra’s words are great… but Raj Kapoor, the director, does not let his Kaviraj down !!!!!

Movie: Sangam Music Director: Shankar Jaikishan Singers: Lata Mangeshkar, Mukesh & Mahendra…
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Yatin Shrikant Dalvi
Yatin Shrikant Dalvi Dineshji…
You bloom like the ‘Brahmakamal’, once in a long time ! The wait for your post is long but worth the trouble.
As usual, a Great post!!! But, please do not keep us waiting for long….😊

Like · Reply · 1 · 3 hrs
Dinesh Shankar Shailendra replied · 1 Reply
Shashibhushan Hegde
Shashibhushan Hegde How amazingly Shailendra could condense the entire film in to 3 stanzas of a song – this one or awara hoon or Ramayya vastavayya…..this was something only Shailendra could do.

Like · Reply · 2 · 3 hrs
Dinesh Shankar Shailendra replied · 1 Reply
Subhash Tiwari
Subhash Tiwari The words, voice and music blend together and flow so smoothly which you rarely get to hear elsewhere. The pianno interlude before Mahendra Kapoor takes over for Rajendra Kumar, and the accordion pieces of RK theme are the soul of this song carrying the meaningful words riding together.

Like · Reply · 1 · 3 hrs
Dinesh Shankar Shailendra replied · 1 Reply
Latha Rajgopal
Latha Rajgopal Amazing ! Great analysis of director’s point of view in fact Dineshji you hv widely covered every minute aspect of this song sequence lack words to express my feeling ! Thanks so much for sharing one of my favorite songs !

Sureshkumar G. Vithalani
Sureshkumar G. Vithalani Very nice narration as usual.

Lakshmi Kanta Tummala
Lakshmi Kanta Tummala Shailendra is matchless when it comes to songs like this one which tell the entire story in a few stanzas. Thank you, Dinesh, for your bi-weekly contributions to this group. They are eagerly awaited by all members. Your narratives take us back down memory lane to the times we enjoyed the songs in the theaters.

Shailendra’s Unique Composition- Is it the 9th Alankar, “Shailendralankar” ?

A newAlankarcan be added to Grammar Books in the name of “Shailendra” asSHAILENDRALANKAR

Dr. Subhash Tiwari

Author of this article

Dr. Subhash R Tiwari.  

Shailendraji wrote the song “Din Dhal Jaaye Haaye Raat Na Jaaye… Tu To Na Aaye, Teri Yaad Sataaye”. Whether by Design or by Default, He Created something Unique in this song which, to the best of my knowledge, has not been pointed out till now. In the world of Hindi Grammar, it may be something to include as an Example in Hindi grammar Books. Had I had A million Rupees to Offer as a Prize Money to the person who would Point It out, I would have Happily done that. Alas I don’t have that kind of Money.

DIN DHAL JAAYE, HAAYE, RAAT NA JAAYE
TU TO NAA AAYE, TERI YAAD SATAAYE.
In Hindi Grammar we are taught something called “Alankar” which are of 8 types. One of these,which we all know is called “Anupras” where a particular Letter is repeatedly used to start sequential words, for example “Tarani Tanuja Tat Tamaal Taruwar Bahu Chhaye”, or “Chachane Chaachiko Chaandiki Chammachse Chaandani raat mein “.. and so on.

Now the Song “Din Dhal Jaaye…” and its 1st 2 lines. There is something there which is not seen in any other song. Whether this happened by Design or Default, only the Great Poet could tell, which now is out of Question, but this definitely is a thing to reckon and remember. Before we actually go to it let us briefly refresh ourselves with something basic.

The Sanskrit or Hindi Sounds of speech are scientifically tabulated in to “Swar” (Vowels) and “Vyanjan” (Consonants) with a difference vis-à-vis other Languages especially English. We all know the basic things, but to make my point it is essential to emphasize on these things.

In Hindi or Sanskrit, we use 12 Sounds called Swar, where the Sound is Produced directly from the Throat or Larynx or Sound Box. The Vyanjan (Consonants) on the other hand are a result of Articulation Efforts from Tongue, Soft and Hard Palate, Back of Teeth and Lips. The Hindi Vyanjans are arranged in lines in a cascade form where a particular Vyanjan is produced by a definite effort between Tongue and Soft Palate like Ka, Kha, Ga etc occupying the 1st line and the other types following in the next line where the Tip of the Tongue touches the Front of the Hard Palate and back of Upper teeth like Cha, Chh, Ja, Za..etc. I hope you will understand it when you do it yourself.

In these Vyanjans, there is only 1 Line Pa, Fa, Ba, Bha, Ma where the articulation is a result of “Lip Contact”.

In Prose writing, there is no compulsion of Metre or “Matra”, and the writer can replace any word starting with Pa, Fa, Ba, Bha or Ma with any other word of his choice, but in the Couplets or Chaupayees to maintain the flow of the couplet the Poet has the compulsions of using a word which might not have another word to replace it with the same meaning and flow.
In these 2 lines “ Din Dhal Jaaye Haaye, Raat Naa Jaaye”
Tu To Naa Aaye, Teri Yaad Sataaye”

There is no Lip Contact, even for Once, as if Shailendraji was wring these lines for a daughter who called her Father as “Daddy” hating use of “Papa” just because it spoiled her Lipstick. Have you heard any other song with this feature. I think “No”. So it is something Unique with this song and a new “Alankar” can be added to Grammar Books in the name of “Shailendra” as “SHAILENDRALANKAR”