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

Tumko fursat ho meri jaan

Posted on: February 15, 2013


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).

Audio

Video

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

11 Responses to "Tumko fursat ho meri jaan"

Although many may be knowing it but it still bears a mention that the music director Late A.R. Qureshi is none other than the Tabla-Nawaz Ustad Alla Rakha Khan, father of Ustad Zakir Hussain, and a frequent tabla accompanist of the late sitar-virtuoso Pandit Ravi Shankar.

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Good to be back reading the blog after a pretty long time. I was so missing it. Shekhar Ji, that is indeed a trivia I was not aware of. Thank you for sharing.

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Pradeepji,
Good to see you back and on perfect song – “tumko fursat ho…..” Aakhir mein aap ne “fursat” nikaal hi li. 🙂 Hope to see all your Yipppeee moments on all “missed moments” while you were away. 🙂

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Pradeep jee “Kahaan the” aap ???
Missed your comments a lot.

Regards
Prakash

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Thanks a ton Arun ji! As usual beautiful write up……I especially liked quote” 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 ‘. ” Unquote! I suppose it sums up feelings about Talat’s silken voice….many would share!

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Umesh ji,
Thanks for your appreciation.This will further encourage me to continue what I am doing.
-AD

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Thanks, Arunkumar ji,
Reading your write-up, I felt that you were exactly describing my experiences.
I had first heard Talat in the year 1955, when he had come to Bareilly for a live performance. The two ” Tasveer” ghazals, (Tasveer teri dil mera…) and (Tasveer banata hoon…) were the craze at that time just as they still are in the hearts and minds of Talat-lovers. I was totally mesmerised by his silky and resonant voice.
And I was just 8 years old at that time!
Do I need to emphasise that since that day, Talat has ( I am deliberately not using the past tense) been my most favourite singer?
This particular song from ‘Bewafa’ has been special as you have correctly placed it as one of the few times when Talat lent his voice to Raj Kapoor.
Talat has sung in so many films like ‘Patita’ for SJ, who were the first choice music director duo for Raj Kapoor. Now my query is: Is there any song composed by SJ where Talat has given play back for Raj Kapoor?
By the way, I could not listen to the song as the player simply refused to oblige despite my several attempts.
Once again thanks and regards,
A.B. Lal

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Avadh lal ji,
Thanks for your comments.
Talat Mehmood sang for RAJKAPOOR only in film AASHIYANA-1952. (mera karar le ja and main paagal mera manva paagal),but the MD was Madan Mohan.
S-J used Talat in Aas-53(Shekhar),Daag-52(Dilip kumar),Patita-53(Dev Anand),Shikast-53(Dilip kumar) and Roop ki Rani choron ka Raja-61(Dev Anand).
There was no Talat song for Raj kapoor in any S-J film.
-AD

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Talat sang for RAJKAPOOR in JAANPAHCHAAN but MD was KHEMCHAND PRAKASH.
There is no Talat-SJ-song in RAJKAPOOR film because MUKESH-RAJKAPOOR were perfectly matched for each other.R.K was very rarely
allowing any playback singer,than Mukesh.Hemantkumar only in DHUN-that too only one song,M.RAFI only in EK DIL SAU AFSAANE,MERA NAAM JOKER,JUST ONE SONG EACH.Manna de sang many song for R.K.is wellknown fact.need not to mention here.

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Reg.this song this is typical Radio Ceylone song,when I listen this song I enjoyed its piano very well,and remember OLD DOOR DARSHAN sunday evenings when BEWAFA was screened.Though another song DIL MATWALA LAAKH SAMBHALA was also Piano song.But paino played in TUMKO FURSAT HO…is more enjoyable.

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Thank you very much, Arun ji & Paresh ji for your comments.
Now the two experts have confirmed what I always thought.
No doubt, SJ, RK, Mukesh & Shailendra-Hasrat were a great and perhaps most long-lasting teams in the Hindi film history.
Bewafa may not have been a box-office hit in its initial screening. By the way, I had seen Bewafa sometime in 60s when it had been screened in Lucknow on one of the reruns. I liked the movie but then I was clearly biased because of the haunting music, especially the two pieces mentioned by Paresh ji.
Avadh Lal

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