Director: Bimal Roy; Producer: Savak B Vacha
Artistes: Dilip Kumar, Meena Kumari, Sohrab Modi, Nigar Sultana,
Nazir Hussain, Kamala Laxman, Helen, Cuckoo, Tiwari, Baby Naaz,
Anwar Hussain, Minoo Mumtaz, Murad, Indira Bansal, Munshi, Bikram
Kapoor, Romi, Adil
This is only film Shankar Jaikishan did for Producer Savak B Vacha, who died even before this film could complete. Also its SJ’s only film for Director Bimal Roy- a legend director, who happened to be producer also for many films- notable were Do Bigha Jamin, Parakh, Devdas, Madhumati etc. He normally worked with Bengali MDs like SDB and Salil Chaudhury, but I think, for Yahudi, Savak Vacha chose SJ.
This is based on historic theme of Romans and Jews (Yahudis) rivalary in Rome thousand of years ago. SJ, master of varieties as they are, blended their music perefectly with situation and time frame of story- lot of arabian touch in music. This movie is a masterpiece, not only for its music but also direction, acting,screenplay, sets, dialogues, acting and lyrics. Bimal Roy, as we know, was a master director. Film’s dialogues were very popular, eg. “Tumhara khun khun, hamara khun pani hai”. Two great actors of Hindi movies, Sohrab Modi and Dileep Kumar were at their best. The sets were very good and able to create scene of Rome hundreds of year ago. As usual SJ’s music was adding to magic- not only songs but background music too. On top of that simple but soulful lyrics by Shailendra- this film has 7 songs, in which 6 were written by Shailendra and he won first filmfare award for “Ye mera diwanapan hai”.
In the film title, Only Dattaram’s name appeared as Asst. Music Director, so I believe Sebastian was not assisting SJ in this particular movie. Movie start with instrumental music of song “ye duniya , ye duniya” alongwith titles. For a change, this movie doesn’t have any title song. Also there are only 7 songs and its pity, IMO it should have atleast 3 more songs because its romantic story in backdrop of roman-yahudi rivalary and there is only one song picturised on hero Dilip Kumar. Definitely hero deserved couple of more songs- IMO. Out of 7, only 4 songs are picturised on main stars, 3 went to supporting cast. But Bimal Roy used songs’ beautifully to support flow of story and nowhere they looked unnecessary or coming in the way of story.
Here are the songs and commentary on them:
1) ye duniyaa, ye duniyaa, haa_e hamaarii ye duniyaa. Singers:
Muhammad Rafi, Chorus; Lyricist: Shailendra
Picturised on supporting actor, only Md. Rafi song of film- lyrics and music give voice to pain of yahudis due to excesses by Romans. Md. Rafi did justice in expressing deep sorrow and pain.
2) bechain dil kho_ii sii nazar, tanhaaiyo.n me.n. Singers: Lata
Mangeshkar, Geeta Dutt; Lyricist: Shailendra
Dance song by Lata and Geeta Dutt- picturised on Helen and Cukoo (?). Its treat to see this for dance lovers. Energy of orchestra and of dancers competing to each other. Traditional orchastrisation of SJ and fast rhythem but still very melodious song. You may not impress with song in first go but after hearing few times, you will fall in love with this song. I feel SJ should have used Geeta Dutt for more songs in their films.
3) merii jaa.n merii jaa.n pyaar kisii se ho hii gayaa hai. Singers:
Lata Mangeshkar, Chorus; Lyricist: Shailendra
SJ were not getting best only out of singers but from chorus too and this is one of example. This is picturised on main heroine Meena Kumari who looks very young and beautiful and supporting actresses. Its a sheer melody and more you hear this song, more you will like it. And what a simple way to express feelings by Shailendra- “jinki nigahon ne ghayal kiya, unhi se lenge dil ki dawa, na ham muskurate na wo pas aate, uski mili hai saja kya kare….”
4) aate jaate pahluu mein aayaa ko_ii, mere dil batlaa na chhupaa.
Singers: Lata Mangeshkar, Chorus; Lyricist: Shailendra
Meena Kumari sings and dances while Dilip Kumar looks at hiding. Shankar Jaikishan actually known for variety and no other MD gave so many different kind of songs so you can not associate a single style with SJ but nevertheless by hearing some songs itself, especially their orchestra, you can identify them as SJ song and this is one of them. Use of violins, mendolin, congo, bongo and dattu ka thheka (dattaram’s rhythem)- a distinctive SJ song. The tune of mukhada is not so ‘catchy’ but antaras’ tunes are more attractive, especially when Lata take alaap aa, aa, aa…..and goes back to Mukhada. The continuously playing rhythem instruments are the main attraction of this song.
5) dil se tujhko bedilii hai…ye meraa diiwaanaapan hai. Singer:
Mukesh; Lyricist: Shailendra
Most hit song of the film, Mukesh beautifully expresses romantic as well as sad feelings at same time! Only song picturised on Dilip Kumar, which is quite unusual given the stardom Dilip kumar was enjoying and looking into his fondness for songs. Mukesh used to be voice of Dilip Kumar in late 40s and early 50s when Rafi was not established- In Naushad’s 1949’s superhit Andaz, Mukesh sang 6 evergreen song for Dilip Kumar while Rafi gave playback to Raj Kapoor!!But then Rafi and Talat Mehmood became voice of him, and Mukesh started getting identified more as Raj Kapoor’s voice. In early 1950s, Mukesh volunteerly left playback to pursue Acting career but miserably failed commercially and was struggling literally to get back his foothold in playback singing. It is said that this song and same year’s “Suhana safar aur ye mausam hasin” again picturised on Dilip Kumar gave him fresh lease of life and after that he never looked back till his death. Ironically he never sang for Dilip Kumar again. It is well known fact that Dilip Kumar wanted Talat to sing this song but Shankar was putting his full weight behind Mukesh. It is said that few people associated with movie wanted Rafi for this song. Shankarji has confirmed on record that Mukesh’s name was finalised by toss but even then Dilip Kumar wanted his approval before song finally goes to film and when he heard recording in voice of Mukesh, he embraced Shankarji for his judgement- for Shankarji made this song keeping Mukesh’s vocal in mind. The moment mukesh starts with lines “dil se tujko bediili hai..” one get immersed in melody of song. Interludes of song are very good and no need to write about orchestra which is outstanding by default as per SJ standard. Two lines of song repeats at the end also.
6) aa.nsuu kii aag leke terii yaad aa_ii, jalte hu_e raag leke.
Singer: Lata Mangeshkar; Lyricist: Hasrat Jaipuri
Only Hasrat song of film, a very beautiful sad song, sang perfectly by Lata Mangeshkar. There is arabian touch to orchestrisation and instruments supporting singer like ‘chorus’. This is also one of the great feature of SJ songs, where musical instruments play such prominent role in some of songs, to such extent that without them song loose its sheen. Absolute melody- classic- what to say more?
7)dil me.n pyaar kaa tuufaan na samjhe ko_ii naadaan. Singer: Lata
Mangeshkar; Lyricist: Shailendra
Picturised on supporting actress, I could not recognise- may be Kamla Laxman. This is very good dance number with long prelude. SJ used big orchestra for this but still its nowhere become loud. Needless to say Lata’s rendition was very good.
In summary, this is a classic SJ album, definitely in best 15 of them. Everything in music department was great here- lyrics, orchastrisation, rhythem, background music, preludes and interludes of songs, rendition by singers and picturisation- absolutely fantastic!!! !!!!!
I have pasted lyrics of songs in devnagri lipi below. Also given the links, where by clicking you will get lyrics in english fonts too. My sincere thanks to RajPrakashji Ratnam for providing me DVD of Yahudi twice, without which this review was not possible. Due to my limited knowledge of musical instuments and raags, I have not touched that part and that is lacking in review, but hopefully our learned members will add that in their comments to make review more meaningful.
बेचैन दिल खोई सी नज़र तन्हाइयों में शाम\-ओ\-सहर तुम याद आते हो दिल नहीं पहलू में रह गईं दो आँखें जाने क्या\-क्या हमसे कह गईं दो आँखें सुनसान रातों में अक्सर जब चाँद पे जाती है नज़र तुम याद आते हो दिल तो दीवाना था हम भी क्या कर बैठे मर्ज़ जाने क्या था क्या दवा कर बैठे इक आह ठंडी सी भर कर उनसे कोई कह दे जा कर तुम याद आते हो हम तो ये समझे थे ख़त्म है अफ़साना उठ चुकी है महफ़िल रह गया वीराना हमको न थी लेकिन ये ख़बर ख़ुद हम कहेंगे रह\-रह कर तुम याद आते हो बेचैन दिल खोई सी ...
आँसू की आग लेके तेरी याद आई जलते हुए राग लेके तेरी याद आई शिक़वे हज़ार ले के तेरी याद आई हाय रे कैसी जुदाई रोता है गुँचा\-गुँचा आँगन उदास है अब दिल की आरज़ू को जलवों की प्यास है आँसू की आग लेके ... दोनों जहान तेरी चाहत में छोड़ दूँ प्यार का नाज़ुक रिश्ता कैसे मैं तोड़ दूँ आँसू की आग लेके ..
आते जाते पहलू में आया कोई मेरे दिल बतला न छुपा आज से मैं तुझे दिल कहूँ या दिलरुबा तेरी सुनूँ और सुनती रहूँ मैं अपनी तड़प छुपा लूँ फिर भी कहाँ तक सब्र करूँ मैं खुद को कितना संभालूँ आते जाते ... मस्त नज़र तूने ये क्या किया लिया ये कौन सा बदला है ये शराब\-ए\-नज़र का असर कि मुझे दिल भी न संभला आते जाते ... तेरा तसव्वुर तेरा ही ग़म लबों पे अब तेरा तराना नींद से भी अब कहती हूँ मैं तू उनको ख़्वाब में लाना आते जाते ...
- दिल में प्यार का तूफ़ान ना समझे कोई नादान – dil me.n pyaar kaa tuufaan naa samajhe ko_ii naadaan ( Yahudi – 1958)
दिल में प्यार का तूफ़ान ना समझे कोई नादान ज़ालिम घूर\-घूर के देखे दूर\-दूर से दिल में प्यार का ... जिसके लिए मैं सारी रात जागी उसने ही देखो मेरी ख़बर न ली छेड़े मीठे राग मेरे दिल में जागे आग दिल में प्यार का ... ये बेरुख़ी न दुआ न सलाम मुझको वफ़ा का मिला ये ईनाम वादा करना था आसान जा देखा तेरा ईमान दिल में प्यार का ..
- दिल से तुझको बेदिली है … ये मेरा दीवानापन है – dil se tujhako bedilii hai … ye meraa diivaanaapan hai ( Yahudi – 1958)
दिल से तुझको बेदिली है, मुझको है दिल का गुरूर तू ये माने के न माने, लोग मानेंगे ज़ुरूर ये मेरा दीवानापन है, या मुहब्बत का सुरूर तू न पहचाने तो है ये, तेरी नज़रों का क़ुसूर ये मेरा दीवानापन है ... दिल को तेरी ही तमन्ना, दिल को है तुझसे ही प्यार चाहे तू आए न आए, हम करेंगे इंतज़ार ये मेरा दीवानापन है ... ऐसे वीराने में इक दिन, घुट के मर जाएंगे हम जितना जी चाहे पुकारो, फिर नहीं आएंगे हम ये मेरा दीवानापन है ...
- मेरी जाँ मेरी जाँ प्यार किसी से हो ही गया है – merii jaa.N merii jaa.N pyaar kisii se ho hii gayaa hai ( Yahudi – 1958)
मेरी जाँ मेरी जाँ प्यार किसीसे हो ही गया है, हम क्या करें \-२ हम क्या करें, और कोई क्या करे, दिल जो दिया है कोई क्या करे (भोली थी मैं, हाय क्या थी खबर लूटेगी यूँ मुझे उनकी नज़र) \-२ न होते मुक़ाबिल न दिल हारते हम ये अपनी ख़ता है, ग़िला क्या करें मेरी जाँ मेरी जाँ... (जिनकी निगाहों ने घायल किया लेंगे उन्हीं से दिल की दवा) \-२ न हम मुस्कुराते न वो पास आते उसकी मिली है हमको सज़ा, क्या करें मेरी जाँ मेरी जाँ ... =========================================================================================
The legacy that Bimal Roy left behindThey say a picture speaks a thousand words. Nothing seems truer to describe Bimal Roy's works. One of the most acclaimed film directors of all time, Bimal Roy is particularly noted for his realistic and socialistic films like Do Bigha Zamin, Parineeta, Biraj Bahu, Madhumati, Sujata and Bandini. The book, The Man Who Spoke in Pictures: Bimal Roy, showcases the director like never before, as seen from the eyes of various film personalities like directors Shyam Benegal and Jahnu Barua, film critic Khalid Mohamed, lyricists Prasoon Joshi and Gulzar and actors Naseeruddin Shah, Nutan and Shashi Kapoor. Edited by Roy's daughter, Rinki Roy Bhattacharya, the book boasts of some interesting pictures as well. We present a chapter from the book, written by Naseer. Take a look: Assessing an actor's contribution to a film is tricky business. Unlike in the theatre where an individual actor can mesmerise an audience by his very presence, in cinema the most skilful actor in the world can appear false when playing a faultily etched character. In cinema it is not possible to talk of 'acting' as an end in itself, and thus to judge the actors on the basis of their individual virtuosity would be wrong. The value of the acting must be assessed on how successfully or otherwise the actors performed their jobs as messengers of whatever the writer or director wished to convey. This is true for the theatre as well, but it provides far too much opportunity for the kind of narcissistic showing off by actors that often dazzles audiences but upstages the content of the play, and, when transformed into a film, appears terribly excessive. Further, the hollowness of an actor acting 'for its own sake', show up much more in films than in the theatre, and in either medium the case gets highly aggravated when the character is put into an unconvincing context. But whereas in the theatre an actor can, by personal magic, transcend a poorly written part, in cinema one cannot separate the actor from the way the character is written, and the way the actor is guided. The tradition of acting that has perpetuated itself in Indian cinema via the films made in the early 1930s was of the nautanki gharana. No surprise then that the early talkies, made in Urdu, drew almost their entire performing talent from the theatre of that language, and were little more than filmed plays performed in the style of the naatak tolis (theatre groups). This quaint theatrical form, considered the folk drama of Uttar Pradesh, had in turn borrowed generously from the myths and folklore of ancient Iran and mythical Arabia, and had probably drawn inspiration, at least as far as the demonstrative acting went, from the tradition of dastangoi (literally: storytelling), a performance in which a single storyteller recounted tales of resourceful heroes outwitting villainous sorcerers and wicked demons; about potions with magical powers, about damsels in distress and miraculous last-second rescues, about flying horses, fire-breathing serpents and bridges made of smoke. Though the facility with language in these narratives is astounding there is hardly a shade of grey in the delineation of the people. Every character is representative of an idea, and has barely more than a single dimension. The story often stops in its tracks for a musical interlude underlining what has already happened, and the tales always end with righteousness triumphant and villains annihilated. Sounds similar? The form of the nautanki in Indian drama enlarged upon this premise, and later, apart from the writer Agha Hashr Kashmiri's adaptations of Shakespeare, included into its repertoire age-old tales of valour, misunderstandings, estranged lovers, warring families and so on. Add to this the fact that these predominantly wordy pieces were performed to mammoth audiences, in rustic settings with rudimentary staging and lighting facilities and non-existent acoustics, and it becomes immediately apparent why bold gestures and the emotional outbursts were standard tools for Urdu actors to communicate with their audience. Such dramatic devices are used even today in our movies, technical advancement notwithstanding. It also explains why dialogue-driven dramatic pieces have always been of such importance to us as audiences, and to our actors and subsequently to our film-makers. And why does the flawless hero always had to be larger than life, and the villain blacker than night? Excerpted from The Man Who Spoke in Pictures: Bimal Roy, edited by Rinki Roy Bhattacharya, published by Penguin Books India with the publisher's permission, Rs 499. LINK:http://movies.rediff.com/slide-show/2009/aug/18/slide-show-1-bimal-roys-actors.htm