A Journey with Dilip Kumar (11th December 1922 – 7th July 2021) and Mohammed Rafi (24th December 1924 – 31st July 1980)
Visitor article by N Venkataraman within the collection of Centenary Celebrations of Rafi along with his songs for Dilip Kumar on his 102nd Start Anniversary
(Dilip Kumar is the undisputed thespian of appearing. Rafi is unarguably probably the most versatile singer. He grew to become recognized with the voice of many heroes. No surprise he additionally grew to become the voice of Dilip Kumar, with Naushad because the admirer of each and the music director in a succession of their movies. Stunning, as a result of Naushad got here wholesale to Rafi fairly late within the day. Dilip Kumar is understood to have requested for Talat Mahmood as his voice in some early 50s’ movies. Naushad himself used Mukesh because the voice of Dilip Kumar with nice success in ‘Mela’ (1948) and ‘Andaaz’ (1949). Mukesh was his voice in some extra movies beneath the baton of different music administrators.
Thus, when you have been on a journey with Dilip Kumar, it was not apparent that Rafi would grow to be recognized as his voice, helmed by the good Naushad. As we speak occurs to be the 102nd beginning anniversary of Dilip Kumar. Venkataramanji takes us on an enchanting journey of the 2 maestros in tandem as solely he may. Initially from South India, he’s primarily based out of Kolkata and is a polymath within the quintessential Bengali bhadralok custom. Thanks rather a lot Venkataramanji for this double deal with of 102nd beginning anniversary tribute to Dilip Kumar and a tribute to Rafi within the collection of his centenary celebrations. – AK)
As soon as upon a time, within the bustling metropolis of Peshawar, there lived a well-bred, energetic, good-looking teenager, who was one of many beloved sons of his dad and mom and the sunshine of his household. He was oblivious of the place his future was main him to. Roughly 400 kms away, one other younger boy, a radiant soul, lived in a sleepy village close to Amritsar, who possessed a coronary heart of gold, an infectious smile and tenderness. He cherished to beat the world along with his god-gifted melody. Each of them embarked upon a fascinating journey, one in pursuit of an unknown future and the opposite in pursuit of his cherished dream, traversing the landscapes of life within the course of with grace and dedication. This Safarnama unfolds on a prestigious prepare, echoing their splendid and eventful future. The Frontier Mail is about go away the Peshawar station and let me bounce in to make it my Safarnama too. To waltz via the ups and downs of their journey I’m inviting everybody to make it part of OUR journey, with a caveat that it’ll be a protracted haul and an exhaustive one too.
The journey of Yusuf Khan from Peshawar to Bombay
The Frontier Mail chugged out of Peshawar station, the engine hissing and sending out waves of steam. A younger Pathan boy, migrating to Bombay alongside along with his household, was on the prepare. The iron-beast clattered via the pure environment, sped previous pastures, valleys, unnamed bridges throughout flowing streams and at instances darkish mountains. The sound of the engine appeared to mingle with the air, laden with deep earthy scent, bringing with it the style of mountain moss and wild winds. It was the primary prepare journey of this excited younger boy. After an exhaustive lengthy journey, the household alighted at Colaba station within the morning hours. It was someday within the first half of Nineteen Thirties. A brand new chapter was to start out within the lifetime of Yusuf Khan.
Mohammad Sarwar Khan, or Aghaji as he was addressed, and Ayesha Begum had six sons and equal variety of daughters. Yusuf Khan was their fourth offspring. Aghaji was a well-to-do fruit service provider residing along with his prolonged household in Peshawar, the principle metropolis within the North-West Frontier Province (NWFP). The indicators of warfare and unrest in his native province, had made Aghaji apprehensive in regards to the future prospect of his enterprise. He had determined to shift to Bombay along with his household. He had employed the highest ground of a four-storied constructing at Nagdevi Road close to the bustling Crawford Market the place he had deliberate to arrange his fruit enterprise on a wholesale foundation.
Yusuf Khan, one of many protagonists of this submit, was born in Peshawar on a dismally chilly day, when a extreme snowstorm was raging exterior their home, positioned at Qissa Khawni Bazar. Concurrently, the adjoining Goldsmith Lane was in flames, the hearth began in one of many workshops from a bit of burnt coal that obtained fanned by the sudden gale that swept the locality. The day was Monday, the 11th December 1922. Not a lot thought was given to this weird incident. However when Yusuf was 5 years outdated, the arrival of a fakir and his pronouncement of risks to him made his grandmother take it upon herself to guard her handsome grandchild from the evil eyes of the world. Ignoring the pleadings of the household and reasoning of his dad and mom, she periodically shaved off Yusuf’s hair and blackened his face, which made Yusuf the butt of disagreeable remarks in his faculty. It seems that the ache that he endured because the alienated little one surfaced from his sub-consciousness whereas enjoying the tragic roles in his early profession.
In Peshawar, Yusuf attended a madarsa the place he learnt Urdu and Persian. The frequent language utilized in Peshawar was Hindko, a mix of Punjabi and Persian. Yusuf may perceive Pushtu (the language of Pathans) however couldn’t learn or write the language. He, in his memoirs, displays with awe and amusement on two storytelling classes of his childhood that stimulated his creativeness. Throughout winter nights the members of the family would collect round a bonfire lit within the middle of the massive terrace. Every member of the household would narrate a narrative or sing a music. And each night he accompanied his father to the market sq. to take heed to the narratives of one of many Maulanas. On returning residence he would attempt enacting the characters. Who may have foreseen that a number of years later Yusuf could be collaborating in story-telling of a special variety beneath a pseudonym!
In Bombay, Yusuf was enrolled in Anjuman Islamia Excessive Faculty. Quickly the household needed to shift to Deolali, a hill station 180 Kms from Bombay resulting from his brother Ayub’s fragile well being. Ayub met with an accident whereas visiting the apple orchards in Kashmir, which resulted in accidents to his backbone and kidney. Subsequently he additionally developed respiratory dysfunction. Aghaji used to go to them throughout the weekends. Yusuf was admitted to Barnes Faculty. Throughout his keep right here, he grew to become fairly proficient in English and he took eager curiosity in sports activities, particularly soccer. Ayub, who was roughly two years elder, was very near Yusuf and had super affect on him. Although he was not in the most effective of well being, he by no means misplaced his quest for studying, thirst for information and fervour for erudition. Yusuf had entry to Ayub’s intensive assortment of English and Urdu Classics. In the course of the Second World Conflict, Deolali was declared a military station, and all the homes have been requisitioned for troopers. The household returned to Bombay. As soon as faculty was over, Yusuf joined Wilson School, the place solely Anglo-Indian boys have been allowed to play soccer for the school. Soccer had grow to be essential for Yusuf since he nurtured the concept of turning into a soccer participant. Due to this fact, he shifted to Khalsa School. He additionally excelled in cricket, badminton and athletics. Kite-flying additionally grew to become his favorite interest. At Khalsa School he made only a few pals. Raj Kapoor, identified to Yusuf from his Peshawar days, grew to become a really shut pal and Yusuf used to frequent their home at Matunga.
Someday within the late 1941, the household went via a disaster. As a result of strict war-time restrictions, the provision of fruits from Peshawar, the place all their orchards have been positioned, progressively trickled. With the diminishing earnings, Aghaji was discovering it troublesome to handle the family bills of the massive household of seventeen and visiting kin from Peshawar. In the future Yusuf, after a disagreement over a trivial matter with Aghaji, left residence. He needed to discover employment alternatives in a spot no one would acknowledge him and reached Poona. Yusuf’s adeptness in English and Urdu labored to his benefit. The following day he managed to get a job of an assistant to a supervisor within the military canteen. Quickly the officers have been impressed by Yusuf’s impeccable gown sense and courteous demeanor. Later, on Yusuf’s request, he was granted permission to arrange a sandwich counter on the membership within the evenings, which quickly turned out to be a blockbuster. With meals and lodging supplied by the administration, and a good wage to handle his different wants, Yusuf may save the excess earnings generated from his new enterprise. Ramzan month was coming to a detailed. Having saved 5000 rupees, which was a considerable quantity then, Yusuf returned residence a number of days earlier than Eid-ul fitr (which was on Monday the 11th October 1942) to a heat welcome from his household. To Yusuf’s solace, Aghaji met him cordially, and never a phrase was exchanged on the Poona episode.
From Yusuf Khan to Dilip Kumar
Yusuf’s thought of beginning a enterprise of creating feather pillows didn’t take off. After settling a deal in buy of an orchard in Nainital, to the satisfaction of Aghaji, Yusuf obtained concerned within the fruit enterprise. The thought of doing one thing on his personal nonetheless lingered in his thoughts. One morning, Yusuf was ready on the Church Gate Station to board a prepare to Dadar to take care of a potential enterprise supply. Dr. Masani, a psychologist, who had counselled him for vocational selections on the Wilson School, too was on the station. He requested Yusuf to accompany him to Malad to satisfy the homeowners of Bombay Talkies. It appeared, the facility of future had introduced them collectively to steer Yusuf to a predetermined future. After customary alternate of pleasantries, Dr. Masani broached the aim of his go to to Devika Rani. Yusuf’s experience in Urdu and English turned out to be the clincher as soon as once more. Devika Rani supplied him the position of an actor for a month-to-month wage of Rs. 1250. Yusuf was shocked since he knew nothing about appearing or movies. After a little bit of motivation by Devika Rani, he didn’t waste any extra time in futile considering. On returning residence, Yusuf confided solely to Ayub about his newfound occupation. The ultimate contract was signed the subsequent day; the day was Friday and the 12 months was 1942. Though he didn’t point out the precise date or month in his autobiography, the chronology of occasions talked about therein means that it was 11th December 1942.
For the primary two months, Devika Rani made certain that Yusuf was current in any respect the taking pictures classes. There have been two movies on the ground, Hamaari Baat and Kismet, each launched in 1943. Yusuf witnessed the taking pictures of the ultimate portion of Kismet. He met Shashadhar Mukherjee on the units of this movie and developed an inexpensive rapport with him and Ashok Kumar. Quickly he was made part of the script writing crew to assist the writers, particularly from Bengal, who lacked proficiency in Urdu. On the recommendation of Shashadhar Mukherjee, Yusuf began viewing as many movies as he may to look at how completely different actors carried out in entrance of the digital camera. The times that adopted on the studio have been fairly hectic. After the discharge of Kismet to an amazing opening response Devika Rani summoned Yusuf to her workplace and conveyed him that she had determined to launch him as an actor in Bombay Talkies’ subsequent enterprise Jwar Bhata, to be directed by Amiya Chakraborty, and instructed that he ought to undertake the display screen title, Dileep Kumar. Yusuf was unprepared for the brand new id, however after discussing with Shashadhar Mukherjee he determined to go along with instructed title. The taking pictures began in 1943 and Jwar Bhata, during which Dileep Kumar performed the second lead, was launched on twenty ninth November 1944. Then got here Pratima in 1945. Each the movies didn’t do properly on the field workplace and Dileep Kumar didn’t garner rave opinions for his efficiency. His third movie Milan (1946), primarily based on Rabindranath Tagore’s story Nauka Dubi, directed by Nitin Bose, introduced Dileep Kumar recognition. Jugnu, launched in 1947, heralded his arrival that ultimately ensued a luminous profession via decided effort. From this movie his title began showing within the credit score titles as Dilip Kumar.
Dilip Kumar by no means regarded again after his preliminary success in 1947. Between 1947 and 1950, he acted in 11 movies and 9 of them grew to become blockbusters. Jugnu, his solely movie in 1947, grew to become the best grossing movie for the 12 months. With 5 releases, 1948 turned out to be a windfall 12 months in his profession and three of them ended up among the many high ten movies within the field workplace chart, Shaheed – No.1, Mela – No. 4 and Nadiya Ke Paar – No.6. The opposite two movies have been Anokha Pyar and Ghar Ki Izzat. Each his movies of 1949, Andaz and Shabnam, ultimately completed second and fifth within the field workplace chart. Initially, Andaz was at high of the chart, subsequently overtaken by Barsat. The success continued in 1950 too, with all his three movies discovering a spot within the field workplace chart, Babul at No. 2, Jogan at No. 4 and Arzoo at No. 9.
Mohammad Rafi’s journey from Kota Sultan Singh to Lahore
Allow us to backtrack to the opposite protagonist of this submit. Born on 24th December 1924 at Kotla Sultan Singh, Pheeko was the seventh offspring of Haji Ali Mohammed and Allah Rakhi and was named Mohammed Rafi on the seventh day after his beginning. The couple had two daughters and 6 sons. Haji Ali was an professional chef and the one bread earner of the household. Kotla Sultan Singh was a small village, roughly 15 Kms. from Amritsar, and had roughly 90 households, the bulk being Sunni Muslims. Haji Ali was at his wits’ finish to maintain a household of 10 with the restricted scope and supply of earnings. In 1926, when Pheeko was two years outdated, Haji Ali accompanied solely by his elder son Mohammad Deen, determined to go away for Lahore, the capital of undivided Punjab, roughly 65 kms from his village. His kin there helped him arrange a avenue nook eatery (Dhaba) and Mohammad Deen arrange a barber store at Noor Mohalla, which later grew to become well-known for his “garam hamaam”. Haji Ali used to go to his household throughout Eid-ul-fitr and Eid-ul-Adha. A decade had handed since Haji Ali had moved to Lahore, the small dhaba was now thronged by individuals from neighbourhood and adjoining localities. With a steady earnings, Haji Ali shifted his household from Kotla Sultan Singh to Billal Gunj in Lahore in mid-30s. This was across the time when Yusuf’s household was migrating from Peshawar to Bombay.
Pheeko had his elementary education in Urdu medium at Kotla Sultan Singh. The college prayers in Punjabi, sung beneath a banyan tree was his favorite a part of the day, reminisces his faculty pals Kundan Singh and Bakshish Singh. It gave him a way of pleasure to graze cattle within the fields and the liberty to hum folks songs, he had picked up. He additionally liked to mimic the sounds of animals and birds to the amusement of his pals. His faculty days have been filled with enjoyable and frolic, with lengthy classes of conventional rustic video games like Pithu, Kokla-Chapaki, Gilli-danda, Chhupan-Chhupaai (disguise & search), Khedo Kundi (much like hockey) and likewise kite flying.
At Lahore, Pheeko by no means went again to highschool. Though, he was being educated to grow to be a barber, music was in his soul and his love for music grew daily. Even whereas doing his work, he used to sing Punjabi folks songs and younger Pheeko rejoiced within the admiration of the purchasers. Fascinated by the singing of a fakir who frequented their locality, he adopted him and picked up a Punjabi Naat ‘Khedan de din chaar’, rendered by the fakir and earned his blessings. Seeing the boy’s dedication to be a musician, his elder brother Deen and his buddy Hameed determined that Pheeko ought to get some formal coaching. I’ve come throughout a number of names however I’ve heard him mentioning two names in considered one of his interviews, the names of Barkat Ali Khan of the Patiala Gharana and Abdul Wahid Khan of the Kirana Gharana. Quickly Pheeko began singing in mehfils and melas. As soon as, the legendary KL Saigal had come for a live performance in Lahore. In the course of the programme the electrical energy went off, making the mike silent and the viewers grew restive. A younger Pheeko took the stage, and an unknown teen grew to become the person of the second.
Someday in 1943, Jiwan Lal Mattoo, the programme govt of AIR, Lahore, was passing by Deen’s barber store, he heard Pheeko singing Waris Shah’s Heer. Jiwan Lal Mattoo was interested in the voice of the boy and he invited him for an audition. The younger boy cleared the audition in a single go. Music director Shyam Sundar too, impressed by Pheeko’s singing, supplied him a duet with Zeenat Begum, ‘Sohniye nee, heeriye nee’, in his forthcoming Punjabi movie Gul Baloch. Each the incidents have been particular steps in the direction of the making of Mohammad Rafi. Deen and his buddy Hameed, who believed in Rafi’s expertise, have been satisfied that there was restricted scope in Lahore and it was time to maneuver to Bombay. They managed to prevail upon the orthodox Haji Ali to relent to their proposal. Deen entrusted the accountability of Rafi to Hameed. Travelling by the Frontier Mail, Rafi arrived in Bombay to eke out a profession within the celluloid world.
Rafi’s journey into future: From Lahore to Bombay
Hameed managed to lease a small inexpensive flat reverse Nawab Masjid, Bhendi Bazar, from Sirajuddin Ahmed Bari, who resided along with his household on the highest ground of the constructing. Hamid determined to attempt the examined route that they had traversed in Lahore. After ferreting round for details about the mehfils within the metropolis, one night they arrived at a venue the place a mehfil was in progress, Hameed approached the organizer and pleaded passionately to permit Rafi to sing only one music. Because the saying goes – When somebody earnestly yearns for one thing, the complete universe conspires in serving to him to attain it. Having obtained the chance that he was eagerly ready for, Md. Rafi, to the shock of the connoisseurs and viewers current, started with a brief Alaap adopted by a classical quantity set to Jhaptaal. Rafi’s efficiency earned him immense appreciation and blessings from the viewers.
Quickly the phrase unfold and reached the ears of Shyam Sunder, who too had shifted to Bombay by then. Rafi met him on the Ranjit Movietone Studios at Dadar the place the taking pictures of the movie Gaon Ki Gori was occurring. Rafi, this time obtained a chance to sing a duet ‘Jab dil ho kaabu mein to dildar ki aisi taisi’ with G M Durrani. Rafi’s landlord Sirajuddin’s eldest son-in-law, Ahmed Hasan of Lucknow, occurred to be the neighbour of Wahid Ali, father of Naushad. Hameed, who performed a significant position in selling Rafi’s preliminary profession, managed to acquire a suggestion letter from Naushad’s father. Armed with the letter thus obtained, Rafi and Hameed went to Kardar Studios at Decrease Parel to satisfy Naushad. After listening to Rafi, Naushad gave him an opportunity to sing a number of strains in a refrain music, ‘Hindustan ke hum hain, Hindustaan hamara hai’ for the movie Pahle Aap. As per Naushad (from an interview on YT), Rafi’s co-singers have been Allaudin, G M Durrani and Motiram. Pahle Aap was launched in 1944, earlier than Gaon Ki Gori (1945), and, thus, Hindustan ke hum hain from Pahle Aap was tagged as the primary Hindi movie music sung by Rafi. He additionally rendered two extra duets on this movie, each with Shyam Kumar. Thus the 12 months 1944 marked the debut of each Rafi and Dilip Kumar. However it could take one other three years for his or her profession paths to converge.
Rafi’s first marriage, when he was round 13 or fourteen years outdated, with Basheera Begum, didn’t work out and so they obtained divorced after a number of years of their marriage. Rafi’s eldest son Saeed was born out of this marriage. As Rafi’s profession began taking form, issues have been occurring in his private life too. Rafi obtained married to Bilquis Banu, Sirajuddin’s daughter by his fourth and solely surviving spouse Talimunnisa. Earlier Hameed too had obtained married to Mehrunnisa, Sirajuddin’s daughter by his first spouse. Hameed moved to Bangalore along with his household in 1950 and thereupon, the accountability of managing Rafi’s skilled affairs was taken over by Zaheer, Bilquis’s brother.
After his debut in 1944, within the subsequent two years Rafi had began warming up beneath completely different music administrators. Useless to say that he was fairly completely different from the male singers who have been already within the fray. If we take heed to the songs, it could be clear that a lot of the music administrators have been exploring Rafi’s vary and prowess. Rafi’s want to render a music with Saigal was fulfilled when Naushad supplied him the chance to sing a line within the music ‘Mere sapnon ki rani, Ruhi, meri Ruhi Ruhi’. Rafi obtained to sing for roughly 10 seconds in the direction of the tip of the music, but it was a momentous event for him. The identical 12 months Naushad gave Rafi one other alternative within the movie Anmol Ghadi (1946), produced and directed by Mehboob Khan. The background music, ‘Tera khilona toota balak’ grew to become very talked-about. Among the many pre-1947 Rafi songs that impressed me, I want to point out a number of right here: ‘Ae dil e nakaam ab jeene ki tamanna chhod de” (Hamaara Sansaar, 1945, Pt. Gobind Ram, Ramesh Gupta), ‘Hai re duniya kitni dil aa’zar hai duniya (Zeenat, 1945, Hafeez Khan, Naqshab Jarchavi), ‘Daata ji tera bhed na paya” (Sona Chandi, 1946, Taufail Farooqi, Shamim Jaipuri), ‘Ab wo hamaare ho gaye’ and ‘Kahke bhi na aaye tum” (the final two from Safar, 1946, C Ramchandra, Gopal Singh Nepali). The songs should have absolutely impressed the music lovers of that period.
If Naushad and Shyam Sundar gave him the much-needed break, it was Firoz Nizami who groomed him and performed a big position in furthering Rafi’s profession in his early life. Firoz Nizami was additionally from Lahore and he too was the shagird of Abdul Wahid Khan of the Kirana Gharana. In 1945, he supplied Rafi three songs for his movie Sharbati Aankhen and adopted it up with three extra songs for his subsequent movie Amar Raj (1946). A minimum of one music from this movie deserves point out right here, ‘Fundamental jab chehedoon prem taraana………mein jab gaaun geet suhana”, a duet with Mohantara. Firoz Nizami’s efforts paid off. Subsequent he gave Rafi a dream alternative to sing a duet with Noorjehan, that took his profession to new heights. A lot earlier than Jugnu was launched in 1947, the duet ‘Yahan badla wafa ka, bewafai ke siva kya hai’, had grow to be a brilliant hit. C Ramchandra, too, performed an essential position in Rafi’s early profession. He had used Rafi’s voice in three songs earlier. It’s stated that Ashok Kumar couldn’t attain the recording studios resulting from riots, and C Ramchandra determined to document the solo and duet model of the music, ‘Hum ko tumhara hello aasra’ (Saajan 1947) in Rafi’s Voice. Happy with the end result, CR recorded 4 extra songs in Rafi’s voice. Each the solo and duet model of the music ‘Hum ko tumhara hello aasra’, grew to become fairly well-liked. Thus, Rafi grew to become the voice of Ashok Kumar too. After 1947, Rafi grew to become probably the most wanted male playback singer. ‘Watan ke rah mein watan ke naujawan shaheed ho’, composed by Ghulam Haider, made Rafi a family title. Among the many music administrators of the yore, the title of Husnlal-Bhagatram additionally deserves to be talked about right here. Within the preliminary years, they together with different music administrators, particularly from Punjab, had their share in remodeling a uncooked uncut diamond right into a Kohinoor.
In 1944 Rafi had 4 songs, in 1945 he rendered 10 songs, adopted by 34 songs in 1946, 28 songs in 1947 and 50 songs in 1948. And in 1949 and 1950 Rafi’s recorded songs skyrocketed to 129 and 108 respectively. One other attention-grabbing commentary I want to spotlight right here. In 1945, the movies Zeenat and Gaon Ki Gori, for which Rafi rendered a music every, completed proper on the high of the ten high field workplace hits of the 12 months. There was a repetition in 1946, Anmol Ghadi and Shahjehan completed 1st and 2nd on the field workplace. Once more in 1947, the three movies, Jugnu, Do Bhai and Saajan completed 1st, 2nd and eighth respectively. In 1948, 4 movies during which Rafi lent his voice completed 1st, third, 4th and sixth on the field workplace. The movies have been Shaheed, Pyar Ki Jeet, Mela and Nadiya Ke Paar. I’m not saying that Rafi’s songs immediately contributed to the success of all these movies, definitely not in 1945 and 1946. However, the pattern continued in 1949 and 1950 too. Andaaz (2nd), Dillagi (4th), Bari Behan (sixth), Patanga (seventh) and Dulari (eighth) have been among the many high ten grossers of 1949. Equally, in 1950 Babul (2nd), Dastaan (third), Beqasoor (seventh), Sargam (eighth) and Aankhen (tenth) have been among the many high ten blockbusters. The rising numbers and his presence within the high grossers, no doubt have been optimistic indicators of Rafi’s rising confidence and recognition, and his demand and acceptance with top-notch music administrators.
Dilip Kumar’s and Rafi’s paths intersect
Until now, in my humble effort to pay my tributes to 2 of the best icons of Indian movie business, particularly Dilip Kumar and Mohammed Rafi, on the event of their 102nd and a centesimal beginning anniversary respectively, I’ve tried to hint their journey proper from their beginning until 1950. Each of them grew to become the trendsetters of their respective fields and set the benchmark for the longer term generations. From right here on, I might be focusing predominantly on the songs during which Dilip Kumar and Mohammad Rafi got here collectively. All people is aware of that amongst different qualities, one of many causes for Rafi’s common enchantment was his voice modulation. Dilip Kumar acted or appeared in 62 movies in his profession spanning from 1944 to 1998. Md Rafi. was related in solely 28 of the movies. Like many, I too was beneath the notion throughout the pre-internet period that with set equation like Naushad, Rafi and Dilip Kumar, the thespian could be among the many largest beneficiaries. Rafi who began with Dilip Kumar in Jugnu (1947) till Bairaag (1976) had roughly 80 songs out of which there have been solely 35 solos. However it’s simply statistics, at instances deceptive too. Each of them gelled properly, since their personalities and abilities fitted to the T. Rafi understood the essence of how Dilip Kumar would emote. One by no means realised the distinction even when Rafi was singing a romantic or a melancholic piece or a rollicking quantity. Dilip Kumar-Rafi-Naushad troika labored in 50% of the 28 movies involving 65% of the 80 songs and the opposite 10 music administrators mixed with Dilip Kumar and Rafi within the remaining 50% of the movies involving 35% of the full songs. Each music is a Rafi music and right here comes the issue in elimination. Following the saying to every his personal, let me go along with my number of songs. I’ll first submit some songs composed by music administrators apart from Naushad.
1. Wah re zamane kya rang dikhaye from Ghar Ki Izzat (1948), lyrics Ishwar Chandra Kapoor, music Pt. Gobind Ram
Ghar Ki Izzat, produced and directed by Ram Daryani beneath the Murli Movietone banner, was a average success. It was a center class household melodrama co-starring Mumtaz Shanti. Maybe, this was the one Dilip Kumar movie for which Pt. Gobind Ram composed music. Rafi roughly sang 23 songs for Pt. Gobind Ram. Although Pt. Gobind Ram belonged to the Punjab gharana like G A Chisti, Ghulam Hyder, Pt. Amarnath, Husnlal-Bhagatram, Shyam Sundar and others, he had a definite model and created many unforgettable compositions. The music that I’m posting is a background melancholic music, picturized on Dilip Kumar.
2. Preet jata ke meet bana ke bhul na jana with Lata Mangeshkar from Hulchul (1951), lyrics Khumar Barabanqvi, music Mohammad Shafi
This can be a beautiful romantic duet picturised on Dilip Kumar and Nargis. I consider, HMV had included this duet of their checklist of all-time nice hits of the fifties. This movie, produced by Ok Asif and directed by S Ok Ojha, had 9 songs. After Sajjad Hussein left in a huff, Md. Shafi was roped in. Md. Shafi, initially a sitarist of the Etawah Gharana and married to Ustad Vilayat Khan’s sister, grew to become the music arranger in New Theatres and later joined Naushad as his assistant. Md. Shafi composed 12 songs in all for Rafi. He composed 6 songs for this movie and three of them have been duets rendered by Rafi with Lata Mangeshkar. By the way, Ok Asif’s fourth and final spouse was Dilip Kumar’s youthful sister, Akhtar. They obtained acquainted throughout the making of Mughal-e-Azam.
3. Aasha ke jab deep bhuje….apni chhaya mein bhagvan bitha le mujhe from Insaniyat (1955), lyrics Rajendra Krishna, music C Ramachandra
If I’m not mistaken there are solely three songs composed by C Ramchandra and rendered by Rafi for Dilip Kumar. I would favor to submit this coronary heart rending solo, over the 2 duets from Nadiya Ke Paar (1948) and Paigham (1959). In 1955, Dilip Kumar acted in 4 movies, Azaad, Uran Khatola, Insaniyat and Devdas. Insaniyat was the one movie to function Dilip Kumar and Dev Anand collectively. However this movie was not even a patch on different good movies produced by Gemini Productions. However its redeeming function was this music by Rafi on Dilip Kumar.
https://www.youtube.com/watch?v=dm14JF59Qdc
Naya Daur, spiced up with a number of absorbing intricacies, may not have precisely raised the subject of everlasting class battle, however the humanist challenge it addresses stays timeless. Produced and directed by B R Chopra, with Dilip Kumar and Vyjayanthimala within the lead roles, Naya Daur not solely grew to become the second highest grosser of the 12 months, but additionally the second highest grosser of the last decade, ending behind Mom India on each the counts. Dilip Kumar got here out with one other sensible efficiency and gained his fourth Filmfare Award and his third in a row. O P Nayyar, one other Lahorian composer, supplied the precise magic with 9 wizardly compositions which gained him his solely Filmfare Award.
4. Saathi haath badhana with Asha Bhosle from Naya Daur (1957), lyrics Sahir Ludhianvi, music O P Nayyar
It was unlucky that O P Nayyar composed music for just one movie during which Dilip Kumar acted. The names of the movies like Aan and Aazaad crop up whereas discussing the subject on Dilip Kumar’s course correction in his position choice. However Naya Daur was the movie the place we may see the actual rollicking and boisterous Dilip Kumar for the primary time and, after all, in Gunga Jamna later. And O P Nayyar’s compositions to an amazing extent supplied the precise magic to boost this side of Dilip Kumar to his followers. And who else apart from Rafi may have complimented them in these six songs which supplied nice selection. Two of the songs ‘Udein jab jab zulfein teri’ and ‘Ye desh hai veer jawanon ka’ together with the all-female duet ‘Reshmi kurta salwar jaali ka’, brings within the typical energetic flavour of Punjabi folks. The background music ‘Aana hai to aa, raah mein kuchh pher nahin hai’, and the romantic duet ‘Maang ke saath tumhara’ with the everyday horse hoof beats and the 2 songs of mass awakening and friendship gives the range. For now, I’m posting this music as an ode to the battle of human spirit.
5. Udein jab jab zulfein teri with Asha Bhosle from Naya Daur (1957), lyrics Sahir Ludhianvi, music O P Nayyar
Rafi rendered a bit greater than 200 songs in roughly 60 movies for O P Nayyar, and for Naushad lower than 200 songs in 55 movies. In relation to variety of movies, Rafi should have rendered songs in 80% of the movies of Naushad and the share could be kind of the identical for O P Nayyar too. However that’s simply statistics. And I’m not attempting to take pleasure in any comparative evaluation., since AKji, 9 years in the past, had eloquently and eruditely expressed his views on the matter in fewer phrases in his article OP Nayyar’s quintessential Rafi. Neither financial system of phrases nor erudition is my forte. I want to submit yet one more music from this movie, an out and out Punjabi bundle – B R Chopra, O P Nayyar, Rafi, (and I forgot ….Ludhiana too is in Punjab) and Sahir too. I can perceive a Pathan becoming into the scheme of issues, however how did a Tamilian accomplish that properly to slot in right here?
https://www.youtube.com/watch?v=md7YX_SYNFM
6. Toote hue khwabon ne humko ye sikhaya hai from Madhumati (1958), lyrics Shailendra, music Salil Chowdhury
Bimal Roy was in dire straits after his two earlier movies Naukri (1954) and Devdas (1955) met with industrial failure. When Riwik Ghatak, a gifted movie maker and script author, got here up with the concept of creating a movie on reincarnation, Bimal Roy readily agreed. Dilip Kumar had developed a superb working relationship with Bimal Roy after Devdas, and when he was approached by Bimal Roy and Ritwik Ghatak, he had no hesitation in accepting the supply. The movie went over the price range resulting from intensive shoots and outside reshoots. To satisfy the shortfall Dilip Kumar personally contributed Rs.70000 and satisfied the distributors to comply with go well with. The movie went on to grow to be the best grosser for the 12 months, profitable 9 Filmfare Awards out of the 12 classes for which it was nominated and greater than recovered everybody’s funding. Initially, the distributors and Dilip Kumar weren’t in favour of Bimal Roy’s selection of Salil Chowdhury for the movie’s music path, however Bimal Roy prevailed upon them to acquiesce. Finally, Salil Chowdhury gained his first Filmfare Award. Rafi rendered 26 songs for Salil Choudhury in his complete profession and the music I’m posting is the one music the place Rafi, Dilip Kumar and Salil Chowdhury collaborated.
7. Sukh ke sab saathi, dukh mein na koye from Gopi (1970), lyrics Rajendra Krishna, music Kalyanji-Anandji
Rafi’s affiliation with Kalyanji-Anandji goes again to their first movie Samrat Chandragupta (1958). Rafi should have rendered round 190 songs for this duo. They obtained the chance to attain music in three movies, Gopi (1970), Bairaag (1976) and Vidhata (1982) during which Dilip Kumar acted, the final one after Rafi’s demise. In Gopi (1976) Mahendra Kapoor was their first desire for Dilip Kumar, but it surely appears Mahendra Kapoor was not at his greatest in negotiating the smooth bhajan, ‘Sukh ke sab sathi, dukh mein na koye’. They needed to fall again upon Rafi. It is rather a lot evident that each Rafi and Dilip Kumar retained their magic on this music.
8. Na tu zameen ke liyehai na aasman key liye from Daastaan (1972), lyrics Sahir Ludhianvi, music Laxmikant-Pyarelal
Fairly often, the background rating performs a crucial consider movies and helps in carrying ahead the narration of the story, provides depth to the characters and conditions and helps in conveying feelings. On this rating, Rafi’s position requires particular point out. At first I’ve posted one such music picturised on Dlip Kumar in his preliminary profession and now I’m posting one other one composed by Laxmikant-Pyarelal. Laxmikant-Pyarelal composed roughly 400 songs for Rafi, however may compose solely two songs within the voice of Rafi for Dilip Kumar.
That brings me to the final a part of my journey. Like in any journey, particularly in a protracted prepare journey, you get to satisfy individuals and because the journey progresses you get to know a few of them too. And some amongst them have a tendency to stay with us longer, if not endlessly. I began my journey with a young person Yusuf and his household and later joined by a younger Pheeko and his household. I might be ending my journey with the formidable 4.
Dilip Kumar-Rafi-Naushad-Shakeel Badayuni
Dilip Kumar first met Naushad (additionally Mehboob Khan) on the Brabourne Stadium when he went to observe a cricket match someday within the second half of Forties. Naushad had a narrative in hand and needed Dilip Kumar to satisfy him the subsequent week at S U Sunny’s workplace. The story was finally scripted for the movie Mela and thus started a lifelong affiliation of the three stalwarts, particularly Naushad Ali, Dilip Kumar and Mohammed Rafi. Actually, when you add Shakeel Badayuni, who penned the lyrics in all their movies, it turns into a formidable mixture of 4. Typically, we are likely to miss out the music author. After omitting these movies the place Dilip Kumar was not current within the body of these songs composed by Naushad and rendered by Rafi, we’re left with 14 movies, from Mela (1948) to Sunghursh (1968). This mix stays the most effective ever by way of reputation and sturdiness. I’m not going into the field workplace hits, awards and accolades gained by them. Like statistics these too are befuddling, and peripheral factors that are solely incidental to the story. However I can’t resist the temptation of sharing an attention-grabbing trivia. Barring Shakeel Badayuni the remainder have been born within the month of December, Naushad on 26th December 1919, Dilip Kumar on 11th December 1922, and Rafi on 24th December 1924. Thus this submit can also be a tribute to the trinity of Hindi movie music. By the way, Raj Kapoor was born on 14th December 1924 at Qissa Khwani Bazar, Peshawar. With none extra frills, I current six songs of the formidable 4. It may have been another six songs, however on the finish they’re all Rafi’s songs and my current selection.
9. Insaaf ka mandir hai ye, bhagavaan ka ghar hai, a background music from Amar (1954)
10. Mohabbat ki raahon mein chalna sambhalke from Uran Khatola (1955)
11. Do sitaron ka zameen par hai milan aaj ki raat with Lata Mangeshkar from Kohinoor (1960)
12. Nain lad jainhe to manavaa mein kasak hoibe kari from Gunga Jumna (1961)
13. Koi sagar dil ko bahlata nahi from Dil Diya Dard Liya (1966)
https://www.youtube.com/watch?v=XPIrOczxnDY
14. Ishq deewana husn bhi gayal from Sungharsh (1968)
This journey ends, however the voyage continues……….
As I disembark, I want to share a number of departing ideas.
1. Naushad as soon as stated “Rafi and I have been one. Since he handed away, solely 50% of me has remained. I’ll pray to Allah to ship Rafi for an hour to create my greatest composition.”
2. Sharing a borrowed thought – “Would Dilip Kumar have been as massively profitable, if Rafi have been to not sing for him? This may be prolonged to different profitable heroes too. Isn’t Rafi the hero behind all of the heroes?” Could also be borrowed, however an attention-grabbing poser to ponder over.
3. Sharing considered one of my two experiences. Not too long ago, I used to be travelling by Uber and the music ‘O Balam tere pyar ki thandi aag me jalte jalte’ was enjoying within the FM radio. I began a dialog with driver and got here to know that his title was Shakeel Ahmed. He was a Rafi’s fan, and he knew about Naushad, however was not conscious that the music he was listening to was composed by him. And once I instructed him about his namesake, Shakeel Badayuni, he confessed that he was listening to the title for the primary time.
4. And eventually my second expertise: A younger woman, most certainly in her late twenties, visits our locality on a regular basis early within the morning to brush and clear the streets and footpaths, and likewise the passages and courtyards of some homes within the neighborhood. I didn’t discover her until someday in final December, once I began listening to Rafi’s songs on the identical time each morning. I noticed a enjoying gadget (not a radio) neatly packed in a plastic cowl and tied to her arms. In the future as she was passing in entrance of the window of my floor ground home, I may hear the music ‘Preet jata ke meet bana ke bhul na jana’. Instinctively, I went out and requested her in regards to the music. Immediate got here the reply “Bauji, mujhe kya pata, mein sirf ye jaanati hoon ki ye Rafi ka gaana hai’.
Acknowledgements & References:
1.Dilip Kumar: The Substance and the Shadow – an autobiography (as narrated by Dilip Kumar to Udayatara Nayar) Hay Home India, 2014
2. The Thespian: Life and Movies of Dilip Kumar by Urmila Lanba, Imaginative and prescient Books Pvt.Ltd.
3. Dilip Kumar ki Yaadgaar Filmein (in Hindi) by Javed Hameed, Atulya Publications, New Delhi, 2021
4. Mohammed Rafi: Golden Voice of the Silver Display by Sujata Dev (authorised by Shahid Rafi), Om Books Worldwide, Noida, Uttar Pradesh, 2015
5. Mohammed Rafi: God’s Personal Voice by Raju Korti and Dhirendra Jain, Niyogi Books, New Delhi, 2016
6. Mohammed Rafi: My Abba – A Memoir by Yasmin Khalid Rafi (translated from Hindi by Rupa Srikumar and A Ok Srikumar), Tranquebar Press, Chennai, 2012
Disclaimer:
1. All the knowledge on this submit is completely from the books talked about above. If the readers discover this text/submit worthy of appreciation, the credit score in each respect goes to the authors of those books altogether. Solely a fraction of what has been written by these authors in these books is utilised for the aim of this text. I’d request the readers to get a replica of the books for additional studying, which little question might be attention-grabbing. I maintain myself completely accountable for any shortcoming or non-conformance.
2. My honest apologies to these sources which/ whom I may need inadvertently missed to acknowledge.
3. Neither the weblog nor the writer has any industrial curiosity in any respect. The music hyperlinks from the YouTube have been embedded just for the listening pleasure of the music lovers. The weblog or the writer claims no copyright over these songs which vests with the respective copyright homeowners.
4. The thumbnail image is taken from the web, duly recognising the total copyrights for a similar to the both unique creator or the positioning the place they have been initially displayed.
