Gulzar's musical memories I gave up paan forever for that one shot of Hari's
Abhijit
http://www.filmfare.com/articleshow/1160800.cms?&botlink=1
-------------------------------------------------
Gulzar's musical memories I gave up paan forever for that one shot of
Hari's
----------
I was in the middle of Mere Apne when my neighbour and good friend Ravi
(Jeetendra- I called him by his real name, Ravi) dropped in to tell me
he wanted me to direct a film for him. I narrated a few story ideas but
he rejected them all.
Then one day, he was shooting with Raakhee and she narrated him a
story. He loved it. He promptly called me up and wanted to know why I
couldn't make this story. To which I replied that it was one of the
stories he had rejected. He retorted, "That only means you don't
know how to narrate a story." And I shot back, "There was nothing
wrong with my narration; it's Raakhee who's impressed you." I
added that henceforth I would send Raakhee to narrate him stories.
The story was that of Parichay. The film, as is well known, is loosely
based on The Sound Of Music. But I had picked the idea from a Bengali
story titled Rongeen Uttarion, written by Rajkumar Maitra and published
in a Bengali magazine, Ultoroth. Raakhee had read it too and she
thought it would make a good film. So I had translated it.
Since Ravi was producing the film, it was understood that he would play
the lead. It was an unusual love story; not the usual Jeetendra movie.
But I knew I could present him differently. I knew his plus points and
limitations as an actor. And I thought he suited the role of an earnest
teacher very well. One of his qualities is that woh sachcha insaan hai
and that comes across in his personality. I wanted that quality in my
hero. Besides, the role didn't require any great histrionics.
The first song we recorded for Parichay was Beeti na beetayi raina. We
loved the song and Pancham was very excited about it. But Ravi didn't
like it when he heard it. I think he had a problem with it because it
was a classical song and not quite his type. Besides, he said, even his
friends didn't like the song. He wanted us to record another song but
I refused. It was a lovely song and it would be criminal to scrap it.
Meanwhile we started shooting for the movie and had put up a set at RK
Studio. One day Amitabh Bachchan was shooting there too and while I was
busy planning my scenes, Ravi played the song to Amitabh in his car. He
came back beaming. "Amitabh to roh pada gaana sun ke. He liked it so
much, he told me, 'Humme to aise gaane milte hi nahin karne ke
liye,' " Ravi confessed.
I think Ravi felt he was lucky to have got the song even though it
wasn't picturised on him. And after hearing the song several times,
he even started liking it. For the record, the song went on to win the
National Award that year.
Beeti na beetayi raina, as you know, was picturised on Jaya Bachchan
and Sanjeev Kumar (I called him by his real name too-Hari). In one
particular scene, Jaya was to start singing Chand ki... and Hari had to
enter the room at that very point and complete the line-bindiwali,
bindiwali ratiyan.
He did that shot so well that I was overwhelmed. That was a quality
Hari had; he enthralled you completely with his acting. So I told him,
"Hari, you've given such a beautiful shot. What can I do for you in
return? Tell me and I'll give it to you." "Stop eating paan,"
he replied, with a straight face. I was taken aback. So he repeated,
"You want to know what you can do for me? Here it is: Just give up
paan."
Now, I knew he didn't like paan but I hadn't realised how much he
detested it. I didn't have paan regularly but I'd pop one now and
then. But that was the last day I had paan. I gave it up forever, for
that one shot of Hari's.
Now, Hari was slightly disturbed by the idea of playing Jaya
Bachchan's father in Parichay because he was playing her husband in
another film of mine, Koshish, and both movies were scheduled to
release within a month or so of each other. He felt the audience
wouldn't accept him in the older role. But I had no such doubts. It
is to Hari's credit that he played both the roles so well that he
made you forget Sanjeev Kumar the actor. You only saw him as the
character he was playing. Both the movies are a tribute to his genius.
Parichay is also dear to me because I recorded my first-ever song with
Pancham, Musafir hoon yaaron. I remember he was recording the
background music for another movie at Rajkamal Studio when I dropped on
to give him the lyrics of the song to mull over. He woke me up at
midnight: "Chalo, tumhe gaana sunata hoon." We got into the car and
drove all night on the roads of Bandra while he kept humming the
mukhdas and antaras. That's how we created this song.
-------------------------------------------------
asi...@my-deja.com
> Beeti na beetayi raina, as you know, was picturised on Jaya Bachchan
> and Sanjeev Kumar (I called him by his real name too-Hari). In one
> particular scene, Jaya was to start singing Chand ki... and Hari had to
> enter the room at that very point and complete the line-bindiwali,
> bindiwali ratiyan.
>
And thirty years later, the tune was morphed by Adnan Sami into "Kabhi
To Nazar Milao" and went on to become a hit once again. :-)
Cheers
Arun
irfan
Adnan Sami in his song ' kabhi to nazar milao'
has been inspired by RDB/KK song,
' deewana lekey aaya hai dil ka taranaa'
Particularly the second line, ' dekho kahin yarao....
was lifted completely.
May be Asha suggested this to Adnan.
Regards,
Irfan
asi...@my-deja.com
Bheegi raaton mein" sounds like the other RDB number 'gum hai kisii ke
pyaar me.n, dil subah shaam'.
Asha's revenge on Lata? :-)
Cheers
Arun
Chetan Vinchhi
"Abhijit" <nanhaf...@yahoo.co.in> wrote in message
news:1121296472.9...@g14g2000cwa.googlegroups.com...
>
> -------------------------------------------------
> Gulzar's musical memories...
> ----------
>
> The first song we recorded for Parichay was Beeti na beetayi raina.
>
>
> Parichay is also dear to me because I recorded my first-ever song with
> Pancham, Musafir hoon yaaron.
It is okay to use cute paradoxes in poetry. But such nonsense in an
interview?
His credibility goes for a toss.
C
V S Rawat
The paradox could be solved if musaafir huun yaaro was
written or composed first, but biitii na bitaaii rainaa got
recorded first.
--
Rawat
Chetan Vinchhi
"V S Rawat" <VSR...@invalid.none> wrote in message
news:42d6a...@x-privat.org...
>
> The paradox could be solved if musaafir huun yaaro was
> written or composed first, but biitii na bitaaii rainaa got
> recorded first.
But the word used was "recorded" for both the instances.
You got to be careful with this kind of statements.
There are some possible explanations for the paradox (e.g.
beetii naa biitaayii was not really a Pancham song, Gulzar was
not really there when it was recorded, musaafir huuN yaaro
was not really recorded for Parichay, etc.) but they are inane.
C
V S Rawat
Hmm. You have set me thinking for more.
Here are some:
1. Gulzar's English might not be as strong as his Hindi,
urdu, punjabi.
2. What is his age?
> C
--
Rawat
Asif
while either writing/recording the interview or publishing it. The
story's focus is clearly on 'Beeti na bitaai raina', so when Gulzar
says it was the first recorded song for the film, it was indeed so.
Then he recalls Pancham and says 'Musaafir hoon yaaro' was his first
'recorded' song with him. I think he may have said that it was the
first song Pancham 'tuned/composed' for him, as is evident from the
incident of Pancham calling him at midnight, taking him for a ride, and
then playing the song on his car deck.
So, Chetan Sahab, please do not read too much between the lines and do
just blame it on the journalist.
And, Rawat Sahab, for goodness sake, please think good about the poet
instead of questioning his mental state (age).
Asif
Pavan Jha
recorded for the film 'Parichay' but it was the first interaction
between the Independent MD Pancham and Independednt Lyricist Gulzar..
It might be possible after this interaction "Beeti na bitaay raina' was
first officially recorded in the recording room..
It might be the difference of creating a song and recording a song..
Here is the transcript of what 'Pancham' wrote about the song..
एक दिन की बात है. मैं किसी
फ़िल्म की 'बैक-ग्राउन्ड
म्युजिक' के
सिल-सिले में 'राज-कमल
स्टुडिओ' गया हुआ था. वहां
गुलज़ार भी थे..
उन्होने मुझ-से कहा...
"पन्चम! एक गीत का मुखडा है,
देखो कैसा लगता है!"
मैने कहा "लिखवा दें"
उन्होने वह मुखडा मुझे
लिखवाया. जादू था उन शब्दों
में ! मैं बिल्कुल
चमत्कृत सा रह गया था उसे
सुन-कर! मेरे मन में उसी वक्त
यह इच्छा हुई की यह कह दूं कि
एक संगीतकार को जितने अच्छे
बोल, 'मूड' और
'एक्सप्रेशन्स' मिलते हैं,
वह उन्हें उतनी ही अच्छी तरह
से स्वर-बद्ध
करने की कोशिश करता है.
लेकिन मैं कुछ बोला नही.
वह कहने लगे, "अच्छा! मैं चलता
हूं."
इस पर मैने कहा, "नहीं! ज़रा दो
मिनट ठहरिये"
तब उन्होने देखा की मैं किस
तरह गाने कम्पोस करता हूं.
लगभग पांच मिनट तक सोचने के
बाद मैने उस मुखडे को सुर
में ढालने की कोशिश की.
लेकिन कोइ खास बनती नज़र नहीं
आयी.
तब उन्होने कहा, "चलता हूं,
परसों मिलेंगे"
मैं रास्ते भर उसी मुखडे के
बारे में सोचता हुआ, उसे तरह
तरह के सुरों
में गुन-गुनाता हुआ घर लौटा.
और उसी रात अपनी फ़िल्म की
'बैक-ग्राउन्ड म्युजिक' खत्म
करने के बाद मैं तुरन्त
गुलज़ार के घर गया. जब वे बाहर
आये,
मैं उन्हें सीधे अपनी कार
के अन्दर ले आया. कार में एक
'टेप-रेकोर्डर'
लगा हुआ था. उस्में मैने वही
मुखडा - जो उन्होने सुबह
लिखवाया था - अपनी आवाज़ में
थोडी बहुत म्युजिक के साथ
रेकार्ड कर लिया था.
मैने टेप चला दिया. गीत बजने
लगा
मुसाफ़िर हूं यारों
ना घर है, न ठिकाना
मुझे चलते जाना है
बस चलते जाना
उसे सुनकर वे बहुत खुश हो
गये और बोले "पन्चम! गाना
बहुत खूबसूरत बना है इसे
परसों तक रेकार्ड करना है."
मैने सोचा कि चलो मेरी मेहनत
सफल हुई. लेकिन साथ ही एक
परेशानी भी आ खडी हुई. ईश्वर
की दया से उन दिनों मैं काफ़ी
'बिज़ी' संगीतकार हो गया था.
उसी बीच बहुत सारे काम भी
निपटाने थे. इसलिये मैं
सोचने लगा कि परसों तक कैसे
रिकार्ड करूंगा ? वक्त ही
नहीं है. बडी मुश्किल होगी.
अपनी परेशानी ज़ाहिर करने के
लिये मैं एक मिनट चुप रहने
के बाद उनसे बोला, "गुलज़ार!
तूने मुखडा तो बहुत अच्छा
दिया, लेकिन अंतरा बहुत
बकवास कर दिया."
यह सुनते ही वे हंस पडे.
उस दिन से हम दोनो काम की
दोस्ती में बंध गये. अब हम जब
कभी काम के लिये बैठते हैं,
तो काम सोचकर नहीं करते हैं.
बल्कि उसे 'एन्जाय' करते हैं.
अब हम दोनो की आपस में ऐसी
'ट्यूनिंग' हो गयी है के
हमेशा यही होता है कि
कभी-कभी पहले वे कुछ बोल लिख
देते हैं, और उनके
'एक्सप्रैशन्स' को समझ कर
उसी के हिसाब से मैं धुन
बनाता हूं; और कभी कभी मैं
पहले धुन बनाता हूं और उसके
'एक्सप्रैशन्स' के अनुसार वे
बोल लिख देते हैं.
kcp
> उस्में मैने वही
> मुखडा - जो उन्होने सुबह
> लिखवाया था - अपनी आवाज़ में
> थोडी बहुत म्युजिक के साथ
> रेकार्ड कर लिया था.
The story happened during this time ( after Pancham got the lyrics from
Gulzar and till the time he recorded it in is voice ) is as follows :
Bhanu Gupta ( assistant of Pancham - Spanish Guitar ) was at Pancham's
house ( along with the other musicians )...he was playing some rythm on
the guitar. "Chh Chh Chh Chhh"......Pancham was in the bathroom taking
a shower....Pancham shouted "Kya Baja Raha Hai" . Bhanu said "Kuchh
Nahin thoda guitar test kar raha tha", Pancham - "Chalu Rakho..band mat
karo" - he came running out of the bathroom with only a towel and there
and then he composed the song !!! a GEM OF A LIFETIME !!
( as told by Bhanu Gupta in a video interview )
KCP
Asif
Shri Jha:
RDB's narrative was very interesting. Where did you read/get that? It
was a great pleasure reading in Hindi something dear to me - RDB,
Gulzar, and the song. Thanks so much.
I read years ago that 'Bechaara dil kya kare' (Khushboo, 1975) was
first supposed to be filmed on Hema Malini, but then RDB suggested that
the song (with its naughty, upbeat mood) suited perfectly with Farida
Jalal's real personality as well as her character in the film, so
Gulzar agreed. Could you please find out if that is true?
Asif
Pavan Jha
The narrative was extracted from a article by pancham in a 25 year old
publication titled "Gulzar Ek Shakhsiyat".. The article is titled "Mere
Pitaji Ka Boya Paudha : Gulzar". You can read the complete article at
the proposed devnagri group
http://groups-beta.google.com/group/suryatra
enjoy..
Pavan Jha
Chetan Vinchhi
"Asif" <m_asi...@yahoo.com> wrote in message
news:1121535697....@g14g2000cwa.googlegroups.com...
>
> >> When Musafir hoon yaaron was recorded, I think it was not officially
>
I don't see Pavan's article on my news server and the link he has given for
the entire narration doesn't seem to work for me. Can someone give me
a brief summary?
I concede, Asif, that it may be the journalist who screwed up. But shouldn't
somebody be proofreading this stuff? That is too much to expect I guess :-\
C
Asif
>> the entire narration doesn't seem to work for me. Can someone give me
>> a brief summary?
The link worked for me, but it asked for membership before I could read
the article. So I signed up and now I am waiting to hear from someone.
Not sure who the administrator of that site is.
Asif
Ashok
m_asi...@yahoo.com says...
Newsgroups are supposed to be open to everyone. Even moderated newsgroups
only filter submissions; they don't control readership. Why is the
google Devanagari group (a great idea by the way) controlling membership?
I see a relationship between tendency to control and RDB/Gulzar/Kishore
fandome. How come? What are they afraid of: independent minds?
Ashok
UVR
>
> Newsgroups are supposed to be open to everyone. Even moderated newsgroups
> only filter submissions; they don't control readership. Why is the
> google Devanagari group (a great idea by the way) controlling membership?
I don't think this one's a "newsgroup" the traditional,
USENET sense of the word, Ashok. It's just a discussion
group, more like an e-mail alias. Quite similar to the
eGroups-which-became-YahooGroups groups, where you can
control almost every aspect of the messages posted to
the newsgroup (including censoring the contents and/or
readership of posted messages).
-UVR.
Pavan Jha
Suryatra was never intended to be a Moderated or Controlled group..
Actually I have not yet annouced it as I was in process of creating
some devnagri articles to have a small resource base (as Pancham's
article) for the people to read when it opens. It is initially kept in
the 'moderated' mode as I have seen a few open groups (like
hindi_in_IT) receiving alot of SPAM stuff.
This is an open group for all.. Lets talk..
Pavan Jha
moderator, Suryatra
भारतीय फ़िल्म संगीत के सफ़र
पर सम्वाद के लिये आप
आमंत्रित हैं. वैसे तो नैट
पर भारतीय फ़िल्म संगीत पे
चर्चा के लिये बहुत से समूह
उपलब्ध हैं जिनमें
आर.एम.आइ.एम. प्रमुख है, मगर
कई बार ऐसा हुआ है कि हिंदी
फ़िल्मों के गीतों की चर्चा
अंग्रेज़ी भाषा या रोमन लिपि
मे होने की वजह से कई लोग इन
समूहों से जुड नहीं पाये या
कई बार विषय का कथ्य लिपि की
वजह से वांछित प्रभाव नहीं
छोड पाया. सुर-यात्रा के सफ़र
में कोशिश रहेगी कि हिंदी
फ़िल्म संगीत की चर्चा और लेख
देवनागरी लिपि में
सम्मिलित किये जायें ताकि
पढने वाले और चर्चा में भाग
लेने वाले कथ्य का पूरा मज़ा
ले सकें. इस सफ़र मे आपका
स्वागत है.
इस संगीतमय कारवां मे आपका
सफ़र सुरीला हो..
आइये सुर यात्रा पे चलें