Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Garjat barsat bheejat aailo

Posted on: November 20, 2012


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

The Shammi-Arjun starrer Malhaar (1951), which was conceived by S.K.Pal and directed by Harish, was first of the two films produced under the banner of Darling Films by singer Mukesh (the other being “Anuraag” in 1956). It had a young and largely inexperienced cast and crew, for many of whom it was their debut vehicle. The film was a showpiece of technical brilliance, especially the taut and precise editing by S. Prabhakar and deft cinematography by M. Rajaram, considering the equipment available to him in that era.

However, pièce de résistance of the film was its music score, with the Lata-Mukesh iconic evergreen duet Bade armaanon se rakkha hai balam as its centre-piece. Composer Roshan, the late grandfather of the present-day actor Hrithik Roshan, had made his debut just a year earlier in Bawre Nain (1950). Those who made debut in Malhaar included the lead pair of Shammi and Arjun – the former was to enjoy a long innings in Bollywood, mainly in side roles, but the latter with his wooden facial expressions and somewhat theatrical dialogue delivery never got any more lead role save in Daaku Ki Ladki (1954), nor perhaps even side-roles. Beset with similar deficiency, the other debutant lead-actor Moti Sagar (father of latter-day singer Preeti Sagar of the “My heart is beating” fame in Julie (1975), however, went on to do side-roles in at least six more movies.

Roshan, ably supported by debutant lyricists Shyamlal “Indeevar” and Kaif-Irfani – who penned sheer poetry in their maiden movie – truly arrived with his all-gems score, and Lataji and Mukesh immortalized them with their vocals – eight of which have already posted on this blog:

Bade armaanon se rakkha hai balam, Dil tujhe diyaa thaa rakhne ko , Hota rahaa yoon hi agar anjaam wafaa ka , Ik baar agar tu kah de , Kahaan ho tum zaraa aawaaz do , Koi to sune mere gham ka fasaana, Muhabbat ki kismat banaane se pehle and Taaraa toote duniyaa dekhe .

My big favourite from this all-gems music score is its classical opening score, Garjat barsat bheejat aaiilo – a traditional Gaud-Malhar bandish in teen-taal adopted from its traditional lyrics by Indeevar, and adorned by her vocals by the Sur-Sarswati Lataji, then still in her first years atop the Mount Everest of Bollywood singing which she was to make her abode. By the way, this is the same bandish that Roshan was to use nine years later in another much-acclaimed Suman Kalyanpur-Kamal Barot opening score Garjat barsat saawan aayo re in Barsaat Ki Raat (1960) – which too is already on this blog.

Movie connoisseurs may read more on this almost-forgotten movie, including on its story, in a 29 March 2012 article in The Hindu here.

Video clip:

Audio clip:

Song-Garjat barsat bheejat aailo (Malhaar)(1951) Singer-Lata, Lyrics-Indeewar, MD-Roshan

Lyrics

aaaaaaa
aaaaa aaaa aaaa
aaaaadanaa
dana-naa aaaa aaaa
aaaaa
garjat barsat bheejat aailo
garjat barsat bheejat aailo
tumhre milan ko apne prem piharva
lo garva lagaay
garjat barsat bheejat aailo
garjat barsat bheejat aailo
tumhre milan ko apne prem piharva
lo garva lagaay
garjat barsat bheejat aailo
garjat

jo lo ham tum ik dhing rahilo
jo lo ham tum ik dhing rahilo
to lo rahilo hiyaraa samaan
to lo rahilo hiyaraa samaan
saawan aailo laal chunariya
saawan aailo laal chunariya
de ho rangaay
garjat barsat bheejat aailo
garjat barsat bheejat aailo
o o o

15 Responses to "Garjat barsat bheejat aailo"

Indeed, Shekharji, now that you mention it, I realise that the songs of Malhar were really exceptional. What a beautiful song, and repeated with such effect in Barsaat ki Raat.

Maybe it is the recording that makes Lata’s voice sound different.

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Atul Ji, if i am not mistaken, with this song, all songs from Malhaar (1951) have now been covered. Only the song Kahan Ho Tum leads to a page 404 not found though.

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Glad you liked this and the other numbers of Malhaar, Thandapaniji.

I am not sure what does your comment “may be it is the recording that makes Lata’s voice sound different” point to. Lataji’s singing style evolved over the years and her vocals matured; recoding techniques improved considerably over the decades too. But one thing that did not change is her virtuosity. To quote the tabla maestro Ustad Zakir Husain: “To dear Didi sing is to know that God exists.”

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A marvelous rendition by Lata Mangeshkar of raag Gaud Malhar bandish despite time constraint.

I have the following comments to make :

1. This rendition of Lata Mangeshkar is a traditional bandish word by word. So in the tag,’ traditional bandish’ may be mentioned instead of giving credit to Indeewar. Check out the traditional bandish in raag Gaud Malhar sung by Malini Rajurkar :

2. Roshan’s debut film was ‘Neki aur Badi’ (1949)

3. Malhar (1951) was not the debut film of Kaif Irfani. I am aware of at least two of his earlier films for which he had written songs – ‘Naach’ (1949) and ‘Shaan’ (1950).

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Never heard of Malini Rajurkar. Thank you Sadanand ji for the introduction. I loved this traditional bandish. Is this artist still active?
– J Bhatt

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As far as I know, Malini Rajurkar had not been an actively undertaking concert tours like her other contemporaries. After graduation in Mathematics, she was teaching in a school and later in a college as a mathematics teacher. She learnt classical singing more as a hobby than for earning money. I find that her concerts are mainly confined to some annual events like Swai Gandharva festival.

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Thank you Sadanandji.

– J Bhatt

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Thanks, Sadanandji, for information and your kind comments.

I checked about Kaif Irfani; you are quite right that he did write lyrics for a couple of movies before Malhaar (1951). Besides ‘Naach’ (1949) and ‘Shaan’ (1950), he also wrote the lovely Lata-Rafi duet Zara tumne dekha to pyaar aa gayaa for Jal Tarang (1949).

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When I saw the heading, I assumed that you were discussing the “Barsaat Ki Raat” song. How much mistaken I was!! Many thanks for posting this number from “Malhaar” which I am hearing for the first time.

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You’re welcome, Sheshadriji. Glad you liked the number.

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kaif Irfani’s debut film was NAUTCH(Naach)-1949.

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Yes, Shekhar, this is my most favorite song in the film as well, and, undoubtedly, one of Lata’s best ever. Listening to this makes me wish, every single time, that there were more such bandishes by Lata in various raagas from the same time period (early 50s) when her voice was exceptional.

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Thanks, Nivedita. I am gratified that someone knowledgeable as you are liked my write up on this sublimely rendered number by Lataji. I am grateful for your kind comment.

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P.S. I also agree with you that the magic in Lata’s voice – that unsullied innocence, that अल्लड़-पना – was at its peak up to about mid-1950s. Then it started progressively maturing … till by the 1980s it started getting steadily metallic.

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What a lovely, divine voice….I found another gem….so as not to wander beyond early sixties!

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