This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

My younger days were made more enjoyable by Talat’s songs. Though I was born and brought up in Hyderabad state- a Muslim ruled state(The Nizam was the king ruling on 85 % Hindu population….exactly opposite of Raja Harisingh of Kashmir ruling on 85% Muslims ! ), initially I was not much interested in Urdu Gazals etc. My interest in Urdu Gazals was ignited and further nurtured by by the way Talat sang them.

From his First Hindi Film Gazal- “Aye dil mujhe aisi jagah le chal” from Arzoo-1950 to “Humse aaya na gaya”a from Dekh kabira roya-1957, it was Talat’s reign in Hindi film music. People were mesmerised with his quivering velvety voice and the ‘ dard ‘ with which Talat sang his numbers.

His voice belongs to an era when gentleness was a virtue. His songs fall on ears like soft petals on wet earth. His melody was ‘ felt ‘ rather than ‘ heard ‘. If Madan Mohan is called the King of Gazals, then Talat was its Crown prince. Talat’s true contribution to Hindi music is in institutionslising a kind of music which was soft, quiet, polished and utterly melodious.

Talat cut his first record at 16 years of age and was already a rage before coming to films. After his “Tasveer teri dil mera”, New Theatres, Calcutta invited him in 1946 to join them. He did so and acted in few films, without much success. When it did not quite click, he came to Bombay in 1949 in search of his luck. That was also the time Hindi cinema was searching for a replacement to Saigal to articulate the Gazal.

Anil Biswas, having heard his fame in Calcutta gave him his first vital break in Arzoo-1950. This song became hughly popular and other composers, including Naushad lined up at his doorstep.

Talat got a flying start as Dilip’s voice in different composers’ films. ‘Mera jeevan saathi’ for Naushad(Babul-50), ‘seene mein sulagte’ for Anil Biswas(Tarana-51), ‘ye hawa ye raat’ for Sajjad(Sangdil-52), ‘Aye mere dil kahin’ for Shankar Jaikishan(Daag-52) and ‘Shaam e gham ki kasam’ for Khayyam(Footpath-53).

His flawless Urdu Diction and the way he articulated the poetry in the song enhanced the song’s appeal. Dilip Kumar insisted for Talat. However a slight misunderstanding with Naushad gave way to Rafi in Deedar, but wherever possible, Talat sang for Dilip as in Shikast-53 and Devdas, under Shankar Jaikishan and S D Burman respectively. The early 50s saw Talat’s voice matching for the tragedy king Dilip perfectly.

Talat was used for Dev Anand in Patita-53 and Taxi Driver-54, but soon Kishore Kumar took over for Dev. Madan Mohan used him for Raj Kapoor in Aashiyana-52, but the film flopped. Inspite of Roshan’s attempt again in Anhonee-52, Talat could not replace Mukesh for Raj Kapoor. Of course whether the film flopped or succeeded did not affect the popularity of Talat’s songs in these movies. Even for Bharat Bhushan, in Mirza Ghalib-54,Talat was superb.

Talat was slowly becoming a strong challenge to Rafi, but then the acting bug bit Talat. He wished to become a singing star like Saigal and acted in some films, but it did only damage to him. Song offers from composers dwindled. Shammi Kapoor, for whom he had sung in Laila Majnu-53 and Thokar-54 advised him to stop acting in films.

He too had realised that he was no match for Dilip’s talent, Dev Anand’s charm or Raj Kapoor’s innocence personified. But alas,it was too late !

His songs became sporadic like Dekh Kabira Roya-57 and Sujata-59-where only Bimal Roy’s insistance forced S D Burman to call him for singing in this movie.

Composer Salil Chaudhari gave him songs in Chhaya-61. Even Madan Mohan tried to bring him back for Jahan Ara-64(it seems the producer was against taking Talat and madan Mohan paid him from his own pocket.). Jahan Ara flopped.

The last straw was when Manoj Kumar replaced Talat with Mahendra Kapoor for ‘Kaisi haseen raat’ in Aadmi-68. Talat mehmood decided enough was enough and he retired from film singing.

He continued with live shows and recording NFS gazals till mid 80s.

He breathed his last on 9-5-1998, leaving his fans with ” Meri yaad mein tum na aansoo bahaana……..”

(thanks to information from ‘Bollywood melodies’ by Ganesh Anantraman)

BEWAFAA-1952 was produced by Nargis under the banner of Art centre, Bombay. It was directed by M L Anand. The cast was Nargis, Raj Kapoor, Ashok Kumar, Neelam, Advani, Nizam etc.

There were 9 songs in the film. One song “meri chunni dig dig Paindi” was recorded on 25-5-50,i n Asha’s voice but was not included in the film.

Rupa ( Nargis ) is a poor orphan girl staying with her useless drunkard uncle in a chawl. Her neighbour Raj ( Raj Kapoor),tries to help her from time to time and reluctantly, she takes it. One day the uncle,fully drunk misbehaves with her and she leaves the house to commit suicide. She meets Ashok (Ashok kumar) a poor but talented artist. He sees her and is impressed with fer face and features. He offers her a job and brings her to his room. Ashok then makes a Portait of Rupa. Th painting sells for a high price. Encouraged, they make many more and all are sold at high value.

Both Rupa and Ashok become rich.

One day Raj comes to meet her. She is very happy to see him. Raj has become a polished gentleman with nice clothes and style. Ashok however does not like Raj and the feeling is mutual. Slowly Raj tries to impress her and Rupa starts falling in love with him. Ashok warns Rupa that Raj does not love her, he is after her money. Raj however declares his pure love. Ashok convinces Rupa to take Raj’s test.

One day Rupa and Ashok fight with each others and Rupa tells,in presence of Raj ,to Ashok that she does not care for his wealth, and Raj’s love is enough for her. Hearing this Raj tries to tell Rupa not to say so, but Rupa leaves everything behind and asks Raj to take her away. Raj is not very much impressed with the change of circumstances and somehow gives lame excuses and leaves.

Rupa realises her folly and rests in the arms of Ashok for her future life.

the film showing Raj-Nargis in such type of roles was contrary to their image in the people’s minds and it was not accepted by the audience who felt let down. The film flopped miserably.

Today’s song is Talat’s “Tum ko fursat ho…” from Bewafaa-1952. The lyrics are by Sarashar Sailani(real name Bheem Sen) and the Music Director is A R Qureshi (assistant Prakash Haleem).

Song-Tum ko fursat ho meri jaan to idhar dekh to lo (Bewafaa)(1952) Singer-Talat Mehmood, Lyrics-Sarshar Sailaani, MD-A R Qureshi

Lyrics

tum ko fursat ho o o
tum ko fursat ho meri jaan to idhar dekh to lo
tum ko fursat ho
tum ko fursat ho meri jaan to idhar dekh to lo
tum ko fursat ho
chaar aankhen na karo,
chaar aankhen na karo,
ek nazar dekh to lo
tum ko fursat ho

baat karane ke liye, kaun tumhen kehtaa hai
baat karane ke liye, kaun tumhe kehtaa hai
na karo hamse koi
na karo hamse koi baat magar dekh to lo
tum ko fursat ho o o
tum ko fursat ho meri jaan to idhar dekh to lo
tum ko fursat ho

apne beemaar-e-mohabbat ki tasalli ke liye
apne beemaar-e-mohabbat ki tasalli ke liye
haal-e-dil poochh to lo
haal-e-dil poochh to lo
zakm-e-jigar dekh to lo
tum ko fursat ho o o
tum ko fursat ho meri jaan to idhar dekh to lo
tum ko fursat ho

dil-e-barbaad ko aabaad karo yaa na karo
dil-e-barbaad ko aabaad karo yaa na karo
kam se kam tum meraa
kam se kam tum meraa ujdaa huaa ghar dekh to lo
tum ko fursat ho o o
tum ko fursat ho meri jaan to idhar dekh to lo
tum ko fursat ho