Mohabbat ka chhota sa ek aashiyaana
Posted on: January 18, 2014
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
This is the 21st song in the series ‘ VINTQAGE KISHORE “. It is from film Pyar-50. This is the last Kishore song from this film. The MD is S D Burman.
The period of 1947 onwards, it was a shower of melodies on the listeners in HFM. So many films having memorable, immortal songs were made and people equated Hindi films with good music. The year 1949 was full of excellent musical films like Andaz, Badi behan, Barsat, Dillagi, Dulari, Ek thi ladki, Girls school, Kaneez, Laadli, Lahore, Mahal, Patanga, Shaynaai etc. Even in 1950, films like Afsar, Aankhen, Arzoo, Babul,Baawre nain, Daastan, Mashal, Muqaddar, Nirala, Samadhi, Sargam etc were Musical hits.
Old stalwarts like C Ramchandra , Naushad ,Husnalal Bhagatram , Khemchand Prakash and Anil Biswas were on the Top and practically rolling out their best music ever. In all this, a comparative newcomer like S D Burman (he had just begun in 1946,and was dissatisfied with his own music by 1950) was not yet blooming actively. It was only after his film Mashal-50 that Dada must have got some self confidence and in the early 50s through early 70’s,there was virtually a “Burman Era” with plenty of melodious and memorable songs.
S D Burman also has the enviable record of having the maximum Hit songs to his credit, that was only after he joined Dev Anand’s Navketan from Baazi-1951.
Pyaar-50 was just the tenth film of Dada he had not yet freed his mind totally from his Bengal days, and his heart was not fully on his Bombay assignments. It was only after Mashal-50 clicked that he decided to make a clean break from his past and he was determined to make his own mark in the Bombay film industry.
That was the time when C Ramchandra and Naushad vied with each other for the No.1 slot. Both were talented, had many Jubilee films behind them and both were in great demand. The major difference was in their styles. While Naushad stressed on repeated rehearsals and took almost 10 to 15 days for just one song, C Ramchandra was very fast, sometimes taking just 8 to 10 days for the songs of entire film. There were occasions when till the last minute CR did not get the Lyrics in hand to set the tune and had just about 10-15 minutes. The Recording Studio and the musicians would be in waiting and he would still come up with masterpieces. He had that natural Gift of God.( The famous Lori of film Albela- ‘ Dheere se aaja ri nindiya’ was one such song tuned in 15 minutes flat.) In case of Naushad, such a thing was unimaginable !
Despite this major difference both had reached the Top slot because they were Talented. S D Burman had to operate in such a scenario. Being the No.1 in the industry was never the goal of Dada,but surely, he never left any stone unturned in making his songs melodious and memorable. Dada used many singers, but he had faith only on Kishore and Lata(whom he always called Lota-in his typical Bengali tone), because they were dependable and delivered exactly what Dada wanted.
As far as Raj Kapoor was concerned, this was the second time S D Burman was giving music to his film. The first time was in his 3rd film-Chitod Vijay and now in his 12th film-Pyar. Just an year back Raj Kapoor had shaken the film world with his new musical team of Shankar Jaikishan,Shailendra, Hasrat, Lata and Mukesh-in Barsaat-49. The industry understood that Raj Kapoor was not only a connoissuer of music but also a knowledgeable person and had a major contribution in the musical success of Barsaat-49.
As a true professional, Raj never interfered, suggested or opined in the work of the Director of the film or its Music Director when he worked for other banners, but I am sure his very presence in such films must have kept the music directors of the movies on their toes and they must have strived to give their best music in his films.
As Raj Kapoor got involved with Nargis,he started accepting outside films which featured them as the Lead pair. Raj was already married in 1946 well before his first film as a Hero-Neelkamal-47. He was married to krishna malhotra. Many people do not know that krishna was his Aunt,in relation-being the second cousin to Raj’s father !
Once a Reporter asked Raj kapoor if he considered Krishna and Nargis on the same level,Raj replied, ” Krishna is my wife and Not a Heroine in my films,and Nargis is my Heroine in films and Not my wife !”
After the break up with Nargis, Raj could never forget her, but Nargis totally immersed her in the role of a doting wife and mother. She met Raj kapoor only at the time of Rishi kapoor’s marriage-12 years after they met last !
Here are some Trivia about Raj kapoor-
1. Raj Kapoor began as a clapper-boy. When Kidar Sharma was filming Vishkanya (1943), Raj would always comb his hair and pose in front of the camera before giving the clap. When Kidar Sharma was shooting a close-up as the sun was going down, Raj caught the hero’s beard in the clapperboard and it came off. Sharma lost his temper and reportedly slapped young Raj in front of the whole unit.
2. Raj’s real name was Ranbir and he shared this name with his grandson. Raj was the middle name of all the Kapoor brothers. Shammi’s real name was Shamsher Raj and Shashi was really Balbir Raj.
3. Raj Kapoor first wanted to become a music director before making it big as an actor. He became the youngest film director at 24.
4. Raj Kapoor set up R K Films in 1948. The first film from the banner was Aag, directed by him and the first starring himself and Nargis. But it was Barsaat that brought the studio success, and a scene featuring Nargis, Raj and a violin became the R K Films’ logo.
5. The success of Barsaat allowed Raj Kapoor to buy R K Studio in Chembur. The first scene shot in the studio was the dream sequence from Awaara.
6. At Dilip Kumar’s wedding, one of the most glamorous of it’s time, the baraat was led by Prithviraj Kapoor, Raj Kapoor and Dev Anand.
7. Hrishikesh Mukherjee was inspired to make Anand after he became haunted by the thoughts of close friend Raj Kapoor’s death after the actor-director fell ill.
8. The scene where Rishi meets Dimple in her house in Bobby was inspired by the real life meeting between Raj Kapoor and Nargis.
9. Awaara (1951) was the first movie to feature three generations of Kapoors in its cast – Diwan Basheshwarnath (Raj Kapoor’s grandfather), Prithviraj and Raj. In 1971, Randhir Kapoor repeated the formula with Kal Aaj Aur Kal starring himself, dad Raj and grandfather Prithviraj.
In the film Pyaar-1950,Kishore Kumar had 5 songs-2 solos and 3 Duets. Today’s song is the last Kishore song from this film. These are the only occasions of Kishore giving playback for Raj Kapoor. They never came together ever again in this capacity.
Let us enjoy this solo by Kishore from Pyaar-1950.
Rajinder Krishan is the lyricist.
Lyrics of this song were sent by Nitin Shah.
Song-Mohabbat ka chhota sa ek aashiyaana (Pyaar)(1950) Singer-Kishore Kumar, Lyrics-Rajinder Krishan, MD-S D Burman
Lyrics (Provided by Nitin Shah)
mohabbat ka chhota sa ek aashiyaana
kisi ne banaaya
kisi ne mitaaya
bade shauk se do dilon ka gharaana
kisi ne banaaya
kisi ne mitaaya
mujhe yaad hai ae ae
tera chhup chhup ke aana
zamaane ki nazron se nazren bachaana
jahaan hum miley thhey wo o
pehla thhikaana
kisi ne banaaya
kisi ne mitaaya
tujhe yaad hai ae humne
dekha thha aa sapna aa
kahaa tha mujhe toone
sapne mein apna ss
wo sapna thha sapna
hansaana fasaana
kisi ne banaaya
kisi ne mitaaya
mohabbat ka chhota sa ek aashiyaana
kisi ne banaaya
kisi ne mitaaya
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
January 18, 2014 at 7:44 pm
Raj could play most of the musical instruments as can be seen in Jis Desh.. Daff Sarangi in aansoo bhari hai jeewan ki raahe, accordion etc
He would really make his MDs MAD. How he came to play with such aplomb could be matter for research
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