Jaidev - why he never did another Navketan film after Hum Dono
vrk
because there is another thread lamenting the lies that celebrities
utter. but if this is true, i feel very sad, because I am a big time
fan of Jaidev myself.
http://shajiwriter.blogspot.com/2010/02/jaidev-loneliness-of-unsung-music.html
few months ago, one day I was sitting in A.R. Rahman’s Chennai
Recording studio. I was there to record an advertisement song for
which I had written the lyrics. Its music director is a prominent film
music director in Kannada films today. He appeared to be interested in
vintage Hindi film songs. We were discussing great Hindi film songs of
the by-gone era. We were enjoying ourselves singing the golden oldies
turn by turn. And then suddenly we found ourselves in the midst of an
argument about the composer of a particular song.
The Kannada music director was absolutely certain that S.D. Burman was
the composer of the mesmerizing song ‘Abhi Na Jaon Chhodkar’. But I
knew that S.D. Burman had nothing at all to do with that song. Our
music director paid no heed to what I was saying and swore that he
breathed and lived by Hindi film songs. Konkan was his place of birth
and he had lived in Bombay for a long time. He questioned me how I
could know anything at all about vintage Hindi film music, because I
am hailing from a hamlet in Kerala which had not had even a hint of
Hindi!
The intensity of argument brought A.R. Rahman’s assistants, opening
the thick doors of recording studio and peering out. Till then, the
director of the advertisement film was a silent witness to all the
arguments flying back and forth. He now butted in and asked me as to
who, according to me, was the composer of the song. In fact, and not
merely according to me, the song ‘Abhi Na Jao Chhod Kar’ is from the
film Hum Dono released in 1963. All the songs in the film were
immortal melodies and super hits of all time. They were all composed
by Jaidev. But our music director had not even heard the name Jaidev.
‘Who is he?’ he asked in a less polite language.
An unpardonable ignorance in a person who is in the field of music.
But I could guess the reasoning behind this kind of a wrong crediting.
Hum Dono was a Dev Anand film. It was produced by his company
Navketan. S.D. Burman was the composer at the court of Navketan.
Besides, S.D. Burman was the composer of all the important films of
Navketan before and after Hum Dono. The instrumental arrangement of
the songs had a familiarity with the orchestration which bear S.D.
Burman’s name. Quite a few people have wrongly attributed many of
Jaidev’s songs to S.D. Burman and Madan Mohan. It is an irony of life
that these kinds of wrong attribution of Jaidev’s songs are more
popular than Jaidev himself ever was.
As I have already said, the commonality attributed to Jaidev’s numbers
and scores of S.D. Burman and Madan Mohan are both valid and natural.
Jaidev was the one who arranged the music and conducted the
orchestration for a huge number of S.D. Burman songs and many of Madan
Mohan’s songs as well. He had rendered these services as music
arranger and conductor to many composers like Khemchand Prakash, Ustad
Ali Akbar Khan, Shankar Jaikishen and others.
People who speak of the Golden Age of Hindi film music mostly speak of
commercially successful names like Naushad, Shankar Jaikishen, S.D.
Burman, R.D. Burman and Laxmikant Pyarelal. But there are many
composers who established their identities through the uniqueness of
their compositions alone. They may not have composed music for a very
large number of films. Many of their films might not have succeeded at
the box office.
Jaidev had composed music for less than thirty films. The number of
songs to his credit may not be more than hundred and fifty. But Jaidev
is a name imprinted on the hearts of lovers of vintage Hindi film
songs as the genius who gave such fabulous numbers as ‘Kabhi Khud Pe
Kabhi Haalaat Pe’, ‘Allah Tero Naam’ and ‘Abhi Na Jao Chhod Kar’.
‘Kabhi Khud Pe Kabhi Haalaat Pe’ is among the best ghazal numbers sung
by Mohammad Rafi. There are many who rate the Raag Gara number sung by
Lata Mangeshkar for Jaidev ‘Allah Tero Naam’ as the best prayer song
to have emerged from Indian films. In a recent televised event,
Jaidev’s ‘Abhi Na Jao Chhod Kar’ was rated both as their favourites
and the best Hindi film song ever by today’s stars Shankar Mahadevan
and Farhan Akthar.
It is possible that an average listener may identify Jaidev as the
only music composer from Hindi films to have won the National award
thrice. He may even be aware that Jaidev was the composer for Ramanand
Sagar’s Ramaayan, the first magnum opus of a Television serial in
India. But the lamentable fact is that this composer of incomparable
songs, winner of many state awards and winner of ‘Sur Singar Samsad’
award for Lifetime Achievement in Music remains so unknown to common
man that we keep hearing the question, “Jaidev? Who is he?” even from
people who love his music!
It was Jaidev who introduced ghazal singer Hariharan to film music in
the film Gaman (1979) with the song ‘Ajeeb Saaneha’. This is not
merely one of Hariharan’s best songs it has become one of the finest
ghazals in Hindi film music. It won the U.P. state award and a
nomination for National award for Hariharan. In the film Kinare
Kinare, Jaidev brought together four leading singers Mohammad Rafi,
Talat Mahmood, Manna Dey and Mukesh to sing a song to be picturised on
one character played by Dev Anand. It was an event nobody had tried
till then.
Jaidev gave Yesudas some of his best Hindi songs that suited the
unique pathos that Yesudas carried in his singing style. He even made
him sing for Amitabh Bachhan in Aalaap released in 1977. ‘Zindagi Ko
Sawarna Hoga’ and ‘Chand Akela’ with a light classical touch and the
sad lullaby ‘Koi Gata Main So Jata’ in this film, were Yesudas’ very
important Hindi film songs. Jaidev introduced another ghazal singer
Bhupinder to Hindi films in the film Gharonda. Who can forget the
depth of feeling that the song ‘Ek Akela Is Shahar Mein’ carried with
such conviction? Jaidev’s Gaman also saw the introduction of another
important singer, Suresh Wadkar to Hindi films with the classical
based ‘Seene Mein Jalan’.
Jaidev had a great infatuation for poems. He set ‘Madhushala’ to
scintillating music and popularized it. It was Jnanpith award-winning
book of poems written by Harivansh Rai Bachhan, father of Amitabh
Bachhan. Manna Dey sang all the songs of this album of poems. Jaidev
had also set to music poems of many poets like Maithilisharan Gupta,
Nirala and Mahadevi Varma.
Jaidev Verma began as child actor, then continued as a singer,
blossomed as a good player of Sarod and finally emerged as a composer
in a life that meandered through paths not many ventured, in an
entirely lonely journey. Hailing from Punjab, Jaidev was born in
Nairobi, Kenya, in 1918. His father was a low-ranked employee in the
Railways there. Jaidev showed great interest in music from a very
young age. He played his mouth organ with arresting skill. His parents
were more interested in ensuring his formal education. The Kenya of
those days had limited facilities for education. Therefore, Jaidev was
sent to India for schooling. He traveled alone by ship on months-long
journey to India playing his mouth organ all the time. His lonely
music journey had started.
After spending a few years at his father’s home in Lahore, Jaidev
shifted to his maternal uncle’s home in Ludhiana. His child-less
maternal uncle looked after him well. Seeing the boy’s interest in
music he sent him to regular classical music classes. Jaidev got to
hear and learn from many great exponents of classical and light music
at Ludhiana’s famous Harvallabh Mela.
At the age of 14 Jaidev saw a movie for the first time. The film was
Alibaba Aur Chhalis Chhor. That experience took such a hold of him
that he started seeing many films. A great urge to become an actor
possessed him. He ran away from home to Bombay to act in films. But it
was not easy for the young boy to find proper chance to act. In those
years many boys were running away to Bombay to act in films. It was a
time when the film industry had just started to sprout. Opportunities
were few and far in between. Jaidev did not have any money with him.
He started living off the streets of Bombay as a street boy. Luckily,
his father who had just come to India searched for and found him in
Bombay. He took him back to Punjab and admitted him to a school.
Love of music kept motivating him. He got a few opportunities of
singing in local Radio stations. But, even as these chances came by
him, he was struck by an acute bout of Asthma. With that his dreams of
making it as a singer got dissolved. Now the desire to act came back
to haunt him once more. He again ran away to the city of dreams,
Bombay. He joined Wadia Movietone as a stunt actor. Imagine the wisp
of a teen-aged boy afflicted by asthma as a stunt-man! He played the
role of Narada in the film Vaman Avatar released in 1934. He spent a
few years in Bombay doing bit roles in films for a living. Dire penury
and asthma drove him back to Ludhiana.
He returned to Bombay at the age of 19 but this time he sought
opportunities in music. Realizing that he lacked knowledge in saleable
skills in music, he joined and quickly learnt the mores of Hindustani
classical music from Jawarkar Brothers of Kirana Gharana. Later he
went to Almora in Uttar Pradesh to join an organisation called Sangeet
Kendra being run by Pandit Uday Shankar and Ustad Akbar Ali Khan.
Trust Jaidev’s luck, the Sangeet Kendra closed within a few days of
his arrival! He packed his bags and went to Lucknow with Ustad Ali
Akbar Khan to learn playing the Sarod. To Ustad Ali Akbar Khan’s
wonder, the young disciple was able to master the difficult instrument
Sarod within a year.
Lack of opportunities for his creative ambitions, penury and asthma
combined to push him to abandon music. He was assailed by depressing
thoughts. “Why I alone am targeted by all grieves?” was the question
that kept nagging him. He immersed himself in religion and started
frequenting the cottages of sages who offered ‘salvation’ from all
problems. But this phase did not last. Realizing that all these people
offering instant salvations were frauds, he went back to Ludhiana and
spent his days in depressed silence. Jaidev had casually sent an
invitation to Ustad Akbar Ali Khan to attend his elder brother’s
wedding. But the Ustad turned up unexpectedly for the wedding. On
seeing Jaidev’s state of depression, he took him back to Lucknow.
That was how Jaidev came to perform as Sarod artiste accompanying
Ustad Akbar Ali Khan on his concerts. He shifted his residence first
to Jodhpur in Rajasthan and then to Bombay. In Bombay he became the
accredited music artiste of All India Radio and started singing and
playing Sarod for All India Radio. Later, he became an assistant to
composer Khemchand Prakash who was at the height of his fame with the
success of his films like Tansen and Mahal. Khemchand Prakash was the
composer of the super-hit song ‘Aayega Aanewala’ in Mahal which was
Lata Mangeshkar’s first super-hit song.
This was the time when Jaidev met and got introduced to young
composers like Roshan (Grand father of Hrithik Roshan, the lead
artiste of Hindi films nowadays) and Madan Mohan. This is a great
example of the saying ‘genius finds genius’. Roshan invited Jaidev to
sing in his very first film. Once, when Roshan and Jaidev were going
together to a film company, they saw Madan Mohan. Roshan was reported
to have told Jaidev, “I am going to introduce you to a brilliant young
composer”. On introduction, Madan Mohan and Jaidev needed no time at
all to become best of friends.
Roshan, Madan Mohan and Jaidev had many similarities. They were rare
music geniuses. They were unfailingly great human beings too. Their
unquenchable thirst ran to music, languages, literature and wine. None
of them were given the importance or prominence that they richly
deserved. But they lived their entire lives as friends and supporters.
Theirs was a rare friendship in the ‘man eats man’ world of cinema.
In 1951-52, Ustad Akbar Ali Khan became a film music composer by
scoring music for Navketan films Aandhian and Hamsafar. He asked
Jaidev to be his assistant for the films. But the music was not a
commercial success. The films flopped. With that Ustad Akbar Ali Khan
packed his bags and left film music for ever.
Navketan invited S.D. Burman to compose music for their next film Taxi
Driver. S.D. Burman recognized not only Jaidev’s music arrangement but
also his enviable command on Hindi and Urdu. It was a time when S.D.
Burman, basically a Bengali, was struggling to come to terms with
Hindi and Urdu. From that time Jaidev continued as S.D. Burman’s
assistant for most of his films.
In 1955, Jaidev scored music for his first film. It was a small budget
film Joru ka Bhai in which Dev Anand’s brother Vijay Anand was in
lead. The song ‘Subah ka Intezaar Kaun Kare’ in this film is
considered a classic today. The film was a big flop. Then came other
small budget films like Samundari Daku and Anjali which had good songs
but failed at the box office. The film Anjali is remembered even today
for the great number ‘Kis Kis Ko Deepak Pyaar Kare’ sung by Lata
Mangeshkar.
Jaidev earned a reputation of a composer who did not compromise on the
quality of song to earn an instant applause. His songs always
maintained a high standard of excellence. It may be said that the
extraordinary attention to details that he brought to arranging and
recording intricate compositions kept him away from achieving mass
popularity. Many producers considered him a very great composer but
they thought him fit only for small budget films. Such are the
contradictions and ironies of filmdom!
But in 1961, Navketan finally gave him a big film Hum Dono starring
the then super star Dev Anand. All the six songs of the film turned
out to be huge hits. Film also went to become a super hit. Even the
light-hearted celebratory number ‘Main Zindagi Ka Sath Nibhatha Chala
Gaya’ had well-chiseled music arrangement. I have not heard another
film song that has used the age-old music aid Jal Tarang with such
extra-ordinary effect. Hum Dono was the greatest success in Jaidev’s
film music career. But that alone was the height of his life is the
saddest part.
What happened to Jaidev after Hum Dono is the kind of heart-wrenching
cruelty that film industry keeps inflicting on its best talents. This
particular tragedy was supposed to have played out something like
this. After Hum Dono Jaidev was the natural choice of Navketan for
their next film Guide starring Dev Anand. Jaidev composed and recorded
two brilliant songs and all persons in Navketan management were
extremely happy with the songs. But, ‘with the way things were going’
with his assistant, S.D. Burman feared that he will no more be called
by Navketan. He fleet-footed to Dev Anand’s bungalow and spent a few
hours ‘convincing’ Dev Anand. Tragedy that dogged Jaidev’s life saw
him thrown out of Guide.
It is said that Dev Anand’s ‘difficult to refuse offer’ pressurized
Jaidev to work as S.D. Burman’s assistant in Guide. It was a cruel
event where a sensitive creative genius like Jaidev was suppressed by
the heartless mighty. Jaidev was never again invited by Navketan to
compose songs. Dev Anand used both the Jaidev songs in his film Guide.
One was ‘Din Dhal Jaaye’, sung by Mohammad Rafi, composed by Jaidev in
his favourite Raag Bilawal. The other was ‘Tere Mere Sapne’ in another
Jaidev favourite, Raag Gara. These are now cited and celebrated as
S.D. Burman’s great achievements.
Being cast out of Guide was a very big setback in Jaidev’s film music
career. He never really recovered from the shock. This final stab had
come on the back of other ‘contributions’ of S.D. Burman who had used
another incomparable Jaidev ghazal ‘Hum Bekhudi Mein’ as his own in
Dev Anand starrer Kaala Pani. Jaidev used to frequently narrate such
incidents to his friends, wracked by inconsolable grief.
Film world has its own inviolable rules. It needs people who can
achieve mass popularity by shortest possible route. Its impatience
with geniuses is well known. Brilliant people like Salil Chowdhury,
Madan Mohan, Roshan, Vasant Desai and Jaidev failed in this race to
huge popularity. They did not have the talent to market themselves.
What complicated the matter was group politics that acted as a barrier
to fresh talent entering the industry. True talents that blazed their
own path overcoming all barriers in film industry are very few.
Sunil Dutt was a Jaidev fan. When he made his dream Reshma Aur Shera
into a film in 1971 he chose Jaidev as its composer. But Jaidev’s
beautiful songs which brought out the sweetness of Rajasthani folk
music sank with the film. He had the magical touch that could so
beautifully blend the Hindustani classical with India’s rich folk
music and Reshma Aur Shera won him the National Award. And later he
won two more National awards for the films Gaman and Ankahi. But none
of these won him the commercial success that would have assuaged his
wounds.
Commercial success eluded him. But his films like Aalaap, Kinare
Kinare, Gaman and Gharonda are remembered even today because of his
songs crafted with intricate notes of music which stand out without
having to shout. Jaidev was able to create classic gems of songs in
these films in the company of hitherto unknown voices. Jaidev waited
for thirty years, more or less, for the attention of and recognition
from big producers and the general public. But he was mercilessly
ignored. Like his friend Madan Mohan, Jaidev too wanted to drown his
sorrows in liquor. But his continued ill health precluded even that
last resort to comfort!
When Madan Mohan died, Jaidev wrote: “I am tempted to believe that
Madan Mohan drank heavily because he wanted to commit suicide. He was
tortured by the way our film industry functioned and the unjust manner
in which one or two music directors snatched away all opportunities.
These music directors were themselves aware that Madan Mohan was far
and away much greater than them.” This was an obituary that would have
fitted Jaidev as well.
In the cold December of 1986, when Jaidev ascended the stage to
receive the award for Lifetime Achievement bestowed by Sur Singar
Samsad, he appeared very dispirited and disenchanted by life. A few
days later, he passed away at the age of 68. If he was ignored in his
life, after death, he was totally forgotten. Be that as it may but we
cannot talk of Hindi film vintage music at a higher level of
sensitivity by ignoring Jaidev’s songs.
Jaidev never married. Therefore, there was none to carry forward his
legacy. He lived in a shabby one room rented house. He drank water
from a mud pot and slept on the floor. When he died the only asset he
could call his own was his harmonium.
kcp
applauded & his sufferings well demonstrated - every accusation made
towards SDB, leading 2/3 MDs, film industry, etc. is shameful. A few
mistakes in the article also would take away the credibility of
"facts" put forth. A good article going to the regular RB way !!
Ketan
kcp says...
It's a better article than what Raju Bharatan would have written. It is not
incorrect to say that Roshan, Jaidev and Madan Mohan were never recognized for
their genius during their lifetime--maybe Roshan was at the most, but definitely
not the other two. It is also true that MD's like S-J did try to keep down
others, most notably Hemant Kumar. Let's also assume that SDB did exactly as is
written in the article regarding 'Guide'(I for one, don't think SDB was a saint,
but I am concerned with his music, not his personal life or his ethics). But why
not examine the flip side--that SDB actually let Dev Anand give "Hum Dono" to
Jaidev? SDB could have kept that for himself as well,(we have no records of him
having a heart-attack then), or asked that it be given to RDB. And this when (If
Raju Bharatan's version is authentic), SDB should have been hopping mad at
Jaidev for causing his rift with Lata. And what is the result--the biggest hit
of Jaidev's career is 'Hum Dono'. Isn't that what the article writer starts off
with and why he remembers Jaidev in the first place?
Couple of errors in the article: How can "Hum bekhudi main tum" be by Jaidev
when there exists an original Bengali version by SDB himself? Did Jaidev compose
that one too? The assistant MD for 'Guide' is RDB. Jaidev wasn't credited.
Ketan
surjit singh
> In article <5d9a7a4c-c394-428a-a1ae-93aeba517...@u19g2000prh.googlegroups.com>,
One more error. The famous Harivallabh Sangeet Sammelan happens in
Jullundhur, not Ludhiana where I spent 9 yrs of my life:
http://harballabh.org/thefounder.htm
>
> Ketan
vijay...@my-deja.com
Bhupinder made his first entry with Madan Mohan, didn't he?
And then Khaiyyam picked him for Aakhri Khat....Gharonda and
Alaap came much later. If I am not mistaken, RDB made pretty
good use of Bhupinder, too, before Jaidev did.
I have a feeling it was the Gulzar factor that gave
Bhupinder these opportunities, rather than the MD involved.
Vijay
Abhay Jain
"Ketan" <Ketan_...@newsguy.com> wrote in message
news:hm1al...@drn.newsguy.com...
composer
for Umrao Jaan and had ocmposed two songs for it. This is the first time I
am
hearing about Jaidev composing for Guide.
Robin had given me a tape of long (last) interview of.Jaidev where he cited
pressure
from SDB's wife to Dev Anand and not SDB himself. I have to locate and
listen to it
and write exact words later.
AJ
|
|
| Ketan
|
kcp
> In article <5d9a7a4c-c394-428a-a1ae-93aeba517...@u19g2000prh.googlegroups.com>,
As pointed out elsewhere, there are many errors, starting from the
release year of Hum Dono.
As told by RB - Hum Bekhudi Mein is "Aal-e-Rasol(d?) se jo
Mussalmaan" ( a Moharam elegy ). Jaidev was humming the same once and
Dada asked him whose tune was that and he wanted to make it in
Bengali. Jaidev said that it is not his but a traditional one.
Bharatan also says that Jaidev provided the basic tunes of these songs
to Dada and Dada gave them his "popular touch" : Jaayein To Jaayein
Kahaan, Jaanu Jaanu Ri, Na Main Dhan, Aankhon Mein Kya Ji & Banaao
Batiyaan.
We already have Goldie saying the following :
they had already decided on SDB for Guide. It was all fixed. But then
before the music direction started, SDB had an attack. Dev & Goldie ,
both convinced Dada that we will wait till eternity, but music will be
by him only. Dada was in tears , seeing the love of the Anand
brothers.
Goldie further said that Jaidev & Pancham were present when the song
"Din Dhal Jaaye" was created by SDB
Ofcourse the only Guide-musical re-take was one song which was already
recorded Everybody decided that a few wordings of Hasrat, in that
song, to be changed. Hasrat was not happy and remarked that "anyways
this song was sung by a Bhadwa in the film" - he was sacked by Anands,
after getting paid Rs 25000 for the full film.
My only question ( without going into more details ) is that where was
Jaidev, after Hum Dono music was a stupendous hit ? Where was he till
Dec 1965 ( when Guide vinyls were on sale ). Was Navketan the only
banner in Hindi Films ? One should stop this been of underutilized
music directors. I believe that it is their "karmon ka phal"
The problem with the article is that it praises one at the cost of
degrading other great personality. And this is fundamentally wrong,
while writing any article, IMO.
Ketan
kcp says...
>The problem with the article is that it praises one at the cost of
>degrading other great personality. And this is fundamentally wrong,
>while writing any article, IMO.
The problem with the article is that it bashes the wrong 'Anand'. Chetan Anand
produced/directed Jaidev's first film as MD-Joru Ka Bhai. As director he was
apparently pleased with Jaidev's music in "Kinare Kinare" as well. So why did he
dump Jaidev for his(Jaidev's) good friend Madan Mohan going forward? And why did
that "good friend and drinking buddy" Madan Mohan not insist on Chetan Anand
retaining Jaidev? Again, SDB may not be a saint, but it's incorrect to dump all
the blame on Dev/Vijay Anand when there were other players in the mix as well.
@KCP(bad habit picked up from Facebook): Jaidev did get a "Mujhe Jeene Do" on
the basis of his great score in "Hum Dono". I don't think that movie lit up the
box office, even though the score is amazing. And that's probably what led to
his saleability going down. Like MM and to a certain extent even Salil, he was
never really a part/team-member of a hit movie. S-J, L-P have given horrible
music for some movies, but they had a Shammi or a Jeetendra to sing the songs
and that worked for them. The public didn't accept "Mujhe Jeene Do" or atleast
Sunil Dutt in the role as a non-singing hero. And that's life isn't it. Dev
Anand knew full well the image the public had of him, especially since 'Johny
Mera Naam' was a huge hit--and hence he turned down the no-songs-on-hero movie
'Zanjeer'. The Big B, who was still finding his feet in filmdom, had already had
a "Anand" without any songs on him was not similarly constrained. Post 'Hum
Dono', if a Jaidev movie saw some commercial success, it was 'Gharonda', which
had a hero who was popular around that time and songs picturized on him. He
should have followed that formula but he didn't.
Ketan
Asif
> In article <4fe254bc-6283-4d49-8fb9-79cb150cb...@g8g2000pri.googlegroups.com>,
The making of Hum Dono and its music probably had a couple of others
players too in the mix leading to Jaidev scoring the film's music. I
have always wondered how Amarjeet got to direct such an important film
(double role for Dev and two fairly popular leading ladies) of
Navketan banner. Just like I do not believe Abrar Alvi directed all
of Sahib Bibi Aur Ghulam (1962), I do not think Amarjeet directed all
of Hum Dono. Did Amarjeet play a role in getting Jaidev on board? If
he did not, then was it Lata who got to sing that famous bhajan 'allah
tero naam'? It seems to me that the bhajan was going to be an
important and prominent feature of the film, and maybe, just maybe,
Anand brothers thought that only Lata could sing it. But SDB and Lata
were not on speaking terms then. That's why maybe SDB let the film
slip out to Jaidev. And who knows maybe that's why SDB, fearing more
such loss as Hum Dono, soon conspired with his son to patch up with
Lata.
As for 'abhi na jaao chhodkar', the song does not sound like Jaidev's
- he never subsequently composed any song that sounds even remotely
similar. Just like Vijay never took credit for the film's direction,
it is possible that SDB did not take credit for this duet in the same
friendly spirit. Plus, the duet has Asha. Lata could have sung it in
Jaidev's scheme of things, but then why Asha? Is that because SDB (if
he indeed scored this gem of a song) could not have Lata sing it?
Anyway, looking at Jaidev's career I find him to have limited range of
compositions that did not offer such spry songs as 'ham hain raahi
pyaar ke', 'maana janaab ne pukaara naheen', or 'aaja panchhi akela
hai' that were equally important in a Navketan film as such tender
songs as 'saathi na koi manzil', 'khoya khoya chaand', or 'din dhal
jaaye' were. That's why I tend to believe that Hum Dono fell into
Jaidev's lap just by chance and Vijay/Dev certainly did not have him
in mind for future films either. Why Jaidev only, they did not
consider RDB either throughout the '60s too.
About Jaidev possibly composing 'ham bekhudi mein tumko' (Kala Pani,
1958), Varsha Bhosle hinted (not claimed) in an article she wrote for
Filmfare in early-90s that "who else but Jaidev could have composed
it." I still have Filmfare issue with me.
Archisman Mozumder
>
> As for 'abhi na jaao chhodkar', the song does not sound like Jaidev's
> - he never subsequently composed any song that sounds even remotely
> similar.
Dear Asif-bhai,
Here is a song from a Nepali film Maitighar, composed by Jaidev:
http://www.youtube.com/watch?v=8sb6_VEoh2k
Very 'abhinaajaao'-ish. :). Specially in the antaras.
Regards.
Abhay Phadnis
> As for 'abhi na jaao chhodkar', the song does not sound like Jaidev's
> - he never subsequently composed any song that sounds even remotely
> similar.
Care to explain this a little better? Why must an MD compose a similar
song to prove that the earlier song was his?
> it is possible that SDB did not take credit for this duet in the same
> friendly spirit. Plus, the duet has Asha. Lata could have sung it in
> Jaidev's scheme of things, but then why Asha?
Lata's voice goes on Nanda in the film, Asha's on Sadhana. This song
is picturised on Sadhana. Where is the problem here? How does this
prove anything about it being Jaidev's or SDB's tune? Is it your case
that Jaidev didn't use Asha when Lata was available for a film? A
cursory look at his filmography proves this is not the case.
> About Jaidev possibly composing 'ham bekhudi mein tumko' (Kala Pani,
> 1958), Varsha Bhosle hinted (not claimed) in an article she wrote for
> Filmfare in early-90s that "who else but Jaidev could have composed
> it." I still have Filmfare issue with me.
Varsha Bhosle was two years old in 1958. Unless she is specifically
quoting her mother in the article, what value does her "hint" have?
Warm regards,
Abhay
Ketan
Abhay Phadnis says...
>> About Jaidev possibly composing 'ham bekhudi mein tumko' (Kala Pani,
>> 1958), Varsha Bhosle hinted (not claimed) in an article she wrote for
>> Filmfare in early-90s that "who else but Jaidev could have composed
>> it." =A0I still have Filmfare issue with me.
>
>Varsha Bhosle was two years old in 1958. Unless she is specifically
>quoting her mother in the article, what value does her "hint" have?
I first read that claim by Varsha in 1994 in an article she wrote following RD's
death. At that point, the Bhosle's--mother and daugther--were engaged knee-deep
in writing their version of history by claiming that hundreds of SDB songs were
not composed by him, but by RDB or his assistants. They didn't claim that it was
just the antara or mukhda that was composed by the assistant. The impression
they gave was that pretty much everything was being done by RD and Jaidev, since
atleast Pyaasa, and even after RD branched out on his own. The Bhosle's have
been very close to Jaidev and Asha was determined to be recognized as the true
inheritor of RD's legacy. I would be very hesitant to take anything said by
Varsha to be true.
Ketan
>
>Warm regards,
>Abhay
>
Srinivas Ganti
> The Bhosle's have
> been very close to Jaidev and Asha was determined to be recognized as the true
> inheritor of RD's legacy. I would be very hesitant to take anything said by
> Varsha to be true.
Reminds me of an anecdote which goes something like this. When Asha
had her baby, Jaidev visited her
at the hospital. It was raining at that time and Jaidev said 'dekho
kitini Varsha ho rahii hai" and Asha
decided to name her daughter Varsha ...
Ketan
Srinivas Ganti says...>> been very close to Jaidev and Asha was determined to be recognized as the=
> true
>> inheritor of RD's legacy. I would be very hesitant to take anything said =
>by
>> Varsha to be true.
>
>Reminds me of an anecdote which goes something like this. When Asha
>had her baby, Jaidev visited her
>at the hospital. It was raining at that time and Jaidev said 'dekho
>kitini Varsha ho rahii hai" and Asha
>decided to name her daughter Varsha ...
I had read that Jaidev had named 'Hemant'. Maybe your version is correct.
Ketan
kcp
> In article <4fe254bc-6283-4d49-8fb9-79cb150cb...@g8g2000pri.googlegroups.com>,
> kcp says...
>
> >The problem with the article is that it praises one at the cost of
> >degrading other great personality. And this is fundamentally wrong,
> >while writing any article, IMO.
>
> The problem with the article is that it bashes the wrong 'Anand'. Chetan Anand
> produced/directed Jaidev's first film as MD-Joru Ka Bhai. As director he was
> apparently pleased with Jaidev's music in "Kinare Kinare" as well. So why did he
> dump Jaidev for his(Jaidev's) good friend Madan Mohan going forward? And why did
> that "good friend and drinking buddy" Madan Mohan not insist on Chetan Anand
> retaining Jaidev? Again, SDB may not be a saint, but it's incorrect to dump all
> the blame on Dev/Vijay Anand when there were other players in the mix as well.
>
> @KCP(bad habit picked up from Facebook): Jaidev did get a "Mujhe Jeene Do" on
> the basis of his great score in "Hum Dono". I don't think that movie lit up the
> box office, even though the score is amazing.
> Sunil Dutt in the role as a non-singing hero.
So Ajanta Arts was a mega banner, you mean ? What about the music ?
Did the public accept that, like it did Hum Dono ? By no means that I
say that after Hum Dono, Jaidev did not produce good music !
Sukesh
Part I was telecast at 8 PM today.
Timings to watch out for 10 PM tonight and 2 PM, 8 PM & 10 PM on
Sunday.
Regards
Sukesh
kcp
Yup. Naqsh Lyalpuri did say that Jaidev never got a similar ( to Hum
Dono ) film later in his life !
did not know what he meant by similar...but....
kcp
>
> The making of Hum Dono and its music probably had a couple of others
> players too in the mix leading to Jaidev scoring the film's music.
It was Goldie who was closely associated with the music of HD. He was
one of the main promoter of Jaidev for this film, because he genuinely
felt for Jaidev.
> I
> have always wondered how Amarjeet got to direct such an important film
> (double role for Dev and two fairly popular leading ladies) of
> Navketan banner.
Amarjeet ( head of publicity of Navketan and assistant of Chetan A )
did a lot of seva of Goldie when Goldie had a Kidney attack ( after
Kaala Baazaar ). He was so much involved in serving Goldie , during
the recuperation period ( 45 days in Ooty ) that they became great
friends. Goldie offered him to go to America and learn more about
publicity. But Amarjeet wanted to direct a movie. When they were in
Bangalore, they went to an astrologer ( Pushpa-naadi science ) and
Amarjeet had asked a question on a chit of paper and the answer was
that the man next to him ( Goldie ) would help Amarjeet in future.
Goldie was quite a believer in astrology and decided to help Amarjeet
somehow. He even wrote a story in that period ( about a couple who are
not of the same caste and get rebirth ) for Amarjeet to direct. Since
Dev was not suitable as a hero, Goldie decided that he will act. After
Dev heard the story he told Goldie not to act and that the subject was
outdated. Also that Amarjeet was not a director. But Goldie said that
he had already promised Amarjeet to give a chance as a director. Dev
told him to change the subject. Dev in the meantime got an idea of a
double role and told Goldie to write a script on the same. Goldie then
said that he will write only if Amarjeet will direct and that he will
guide Amarjeet all along.
> Just like I do not believe Abrar Alvi directed all
> of Sahib Bibi Aur Ghulam (1962), I do not think Amarjeet directed all
> of Hum Dono.
Yup, you are right. As the film started, Amarjeet was facing problems
at every step. Goldie did not feel it nice to direct on the set. So he
started giving lessons to Amarjeet at the home in the evening ( shot
preparation, camera angles, etc ), including drawing sketches. First
day Amarjeet held the sketch upside down and had a fight with the
cameraman. Next day same thing happened. Goldie was called on both
days to sort things out. Third day same !! Goldie was also not very
satisfied with all this and always thought that Amarjeet will learn in
the due course of time. When they saw the rushes after 3/4 days of
shoot, Dev asked if they all should throw out Amarjeet ? But Goldie
denied. He said that he will sit in the corner of the set and give
tips to Amarjeet. They completed the film by facing many such
problems.
> was it Lata who got to sing that famous bhajan 'allah
> tero naam'? It seems to me that the bhajan was going to be an
> important and prominent feature of the film, and maybe, just maybe,
> Anand brothers thought that only Lata could sing it.
It seems that Lata had a tiff with Jaidev, too during that period. But
Dev had got them together. Lata was prepared to sing only if Jaidev
cancelled his original plan to rope in M S Subbalaxmi for the 2
bhajans. Lata wanted to sing them at all costs.
> Plus, the duet has Asha. Lata could have sung it in
> Jaidev's scheme of things, but then why Asha?
Lata was interested only in the 2 bhajans.
Ketan
kcp says...
>Yup, you are right. As the film started, Amarjeet was facing problems
>at every step. Goldie did not feel it nice to direct on the set. So he
>started giving lessons to Amarjeet at the home in the evening ( shot
>preparation, camera angles, etc ), including drawing sketches. First
>day Amarjeet held the sketch upside down and had a fight with the
>cameraman. Next day same thing happened. Goldie was called on both
>days to sort things out. Third day same !! Goldie was also not very
>satisfied with all this and always thought that Amarjeet will learn in
>the due course of time. When they saw the rushes after 3/4 days of
>shoot, Dev asked if they all should throw out Amarjeet ? But Goldie
>denied. He said that he will sit in the corner of the set and give
>tips to Amarjeet. They completed the film by facing many such
>problems.
I have read this before which is why it is astonishing that Amarjeet was
nominated for the 'Golden Bear' award at the Berlin International Film Festival
for 'Hum Dono'. It is also puzzling since the Golden Bear is given for Best
film, so it would be the producer who would be nominated. The director is
nominated for the Silver Bear.
Dev Anand has also said in one interview that although Jaidev was the MD for
'Hum Dono', SDB was very much around during the music sittings. It seems that
Dev as a producer did not have much faith in either Amarjeet or Jaidev. Although
he never worked with Jaidev as an MD again, he did work for Amarjeet who
directed him in 'Teen Deviyan' although it wasn't a Navketan film. BTW, since
SDB was around for the music sittings for 'Hum Dono', can we now in a
reverse-swing give credit to him for the compositions of 'Hum Dono'? Or does
this MD-Assistant thing work in only one direction? :)
Ketan
hobokie
SDB was in the peek of his career. Although his health failed, he
still had a lot of films to make songs. Indeed, many of his greatest
hits were produced at that time. He should not have the time to do
songs which he could not get the fame.
On Feb 27, 4:27 pm, Ketan <Ketan_mem...@newsguy.com> wrote:
> In article <58fce488-90ad-4e89-ba7c-8a2dfb1b6...@t9g2000prh.googlegroups.com>,
> kcp says...
>
> >Yup, you are right. As the film started, Amarjeet was facing problems
> >at every step. Goldie did not feel it nice to direct on the set. So he
> >started giving lessons to Amarjeet at the home in the evening ( shot
> >preparation, camera angles, etc ), including drawing sketches. First
> >day Amarjeet held the sketch upside down and had a fight with the
> >cameraman. Next day same thing happened. Goldie was called on both
> >days to sort things out. Third day same !! Goldie was also not very
> >satisfied with all this and always thought that Amarjeet will learn in
> >the due course of time. When they saw the rushes after 3/4 days of
> >shoot, Dev asked if they all should throw out Amarjeet ? But Goldie
> >denied. He said that he will sit in the corner of the set and give
> >tips to Amarjeet. They completed the film by facing many such
> >problems.
>
> I have read this before which is why it is astonishing that Amarjeet was
> nominated for the 'Golden Bear' award at the Berlin International Film Festival
> for 'Hum Dono'. It is also puzzling since the Golden Bear is given for Best
> film, so it would be the producer who would be nominated. The director is
> nominated for the Silver Bear.
>
> Dev Anand has also said in one interview that althoughJaidevwas the MD for
> 'Hum Dono', SDB was very much around during the music sittings. It seems that
> Dev as a producer did not have much faith in either Amarjeet orJaidev. Although
> he never worked withJaidevas an MD again, he did work for Amarjeet who
kcp
> I have read this before which is why it is astonishing that Amarjeet was
> nominated for the 'Golden Bear' award at the Berlin International Film Festival
> for 'Hum Dono'. It is also puzzling since the Golden Bear is given for Best
> film, so it would be the producer who would be nominated. The director is
> nominated for the Silver Bear.
I am surprised as to Hum Dono ( Amarjeet or anybody ), being nominated
for Golden Bear.
If Amarjeet was nominated for Golden Bear, then it must be some
additional foreplay by him. Because there is an interesting story when
Amarjeet, Goldie and Dev went to Berlin. In the venue premises
Amarjeet handed over visiting cards to Goldie which read "Story
Writer" and Amarjeet had "already" printed for himself in India, a
card which read "Director". Goldie was devastated with all this sudden
drama at the venue !
Foll films were the nominations till 1970 :
Spring Comes to Kashmir - 56
Kaabuliwaala - 57
Do Aankhein Baarah Haath - 58
Raadha & Krishna - 59
Mahanagar - 64
Charulata = 65
Shakespeare-Wallah - 65
Nayak - 66
Through The Eyes of A Painter - 67
kcp
Just found out that Film Federation of India & Censor board had chosen
3 films to be represented to BFF that year. Other 2 were Jis Desh Mein
Ganga Behti Hai & Ganga Jamuna
Ketan
kcp says...
>Just found out that Film Federation of India & Censor board had chosen
>3 films to be represented to BFF that year. Other 2 were Jis Desh Mein
>Ganga Behti Hai & Ganga Jamuna
Interesting. This seems like a ploy to please and stay in the good books of the
big 3-Dilip, Dev and Raj. As movies (not soundtracks), I prefer Hum Dono and
then G-J to JDMGBH. As soundtracks, I like all 3, but I would give them the same
rankings as the movies.
Ketan
