Kaana kubda langda loola buddha doctor aayega
Posted on: February 1, 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.
TALAT MEHMOOD- ” God gave emotions to Human beings and to make him emotional, He sent Talat Mehmood ! ” so said a Music expert. And I agree with him. Talat, with his velvety voice and a God given “LARGISH” (a technical term for the tremor in his voice) regaled soft music lovers with his inimitable songs. he was not only incomparable but he was also Unique and I am sure there will not be another Talat in future.
1951 to 1955 was the core period in the ” Golden Age ” of Hindi Film Music. It was dominated by Talat. Talat sang in 180 films in the 50s, dropped to 39 films in the 60s and a paltry 4 films in the 70s. Then he dropped out of films, but continued with his NFS, Gazals and stage shows all over the world, earning much more than ever. He sang about 800 songs in Hindi, Bangla and other languages, except Telugu.
In an interview, Talat had listed 3 reasons why he was discarded by composers. One-changed trends in music. He was an expert in ‘soft’ music and melodious songs, which had diminished giving way to orchestra-dominated ordinary lyrics as songs. Two-his blunder of working in films (” I should have learnt a lesson when ‘Samapti’ flopped in Calcutta”), which spread a wrong message that he was no more interested in singing. Three- his self respect and dislike for groupism. He never approached anyone for getting songs- while that had become the trend then.
During the recording of the songs of “Baabul” (1950), an intentional rumour was being spread by some about the ‘tremor’ in Talat’s voice, creating a doubt in composers’ minds. In 1951, when he was recording his famous song “Meri yaad mein tum na aansoo bahana” for Madan Mohan’s Madhosh, composer C.Ramchandra was also present there. After the recording he said with great surprise,” Arrey,your voice is so good. Why are so many rumours spread unnecessarily ? “. He then and there booked Talat for 4 songs in his film ‘Parchhaain’-52. Madan Mohan used Talat in films like Chhote Babu, Ashiyana, Bahaana, Dekh kabira roya, Ada, Mohar, Pocketmaar, Jahan Ara and Suhagan. C.Ramchandra used him in Yasmin, Subah ka tara, Kavi, Sagai, Meenar and Saaqi.
Talat had a beautiful bungalow,” Sunbeam ” on Perry Road, Bandra,in Bombay. This sea side bungalow was demolished and a Tower was built there, with the same name. Talat had a Pent House in the Tower. By that time his time had gone. Rati Agnihotri lived in one of the flats there and so, it was known as Rati Agnihotri’s building, more specifically,’behind Rajesh Khanna’s ‘Ashirwad’ bungalow’ ! Talat’s name was not known to many in that area. But then,this is Life. Once you are out of circulation, you are quickly forgotten.
Talat acted in 13 films-Rajlaxmi-45, Tum aur main-47, Samapti-49, Aaraam-51, Dil e Nadaan-53, Daak Babu-54, Waaris-54, Raftaar-55, Diwali ki raat-56, Ek Gaaon ki kahani-57, Lala Rukh-58, Maalik-58 and Sone ki chidiya-58. He worked in 2 films each with Kanan Devi, Suraiya, Nadira and Shyama.
Talat was born in Lucknow, but studied in Aligadh, living with his Aunt (father’s sister). This Buwa (aunt) encouraged his singing talent and he joined Bhatkhande school of Music, together with his regular school. Due to his singing ability, he was called in small functions, marriages etc to sing Saigal songs and gazals.
Once he was called in a function of Aligadh University. He was to sing Galib’s, ‘ Nuktachin aye ghame dil’. he started singing and after some time forgot the lines. He started perspiring in that winter night and students started heckling and shouting. Finally, he was taken off the stage and he was almost in tears.
After schooling, Talat came to Lucknow for college education and joined Islamiya College in Ameenabad area of Lucknow. With Buwa’s recommendation, he enrolled in Morris school of Music in Lucknow, for a 6 year course of singing. He always stood First in practicals, but in Theory of Music, he drew blank. He would only sign and give the Blank paper. After 3 years, he left Morris College of music too. Later on he went to Calcutta A.I.R. and his career began from there..
(Thanks for some information from ” Aapki Parchhaiyan” by Shri Rajnikumar Ppandya ji and ” Gaaye chala jaa” by Shri Shirish Kanekar ji).
EK GAON KI KAHANI-1957 was produced by Satyen Bose productions and the director was Dulal Guha.
Dulal Guha was born on 2-4-1928, at Barisal,East Bengal. After graduation, he went to Calcutta and worked with Satyen Bose. When a big lot of Bangla cine artists migrated from Calcutta to Bombay in the early 50s, he too came here along with Bimal Roy group. In Bombay he again assisted Satyen Bose for few years in direction. Finally, Satyen Bose gave him a break in his film ‘Ek gaaon ki kahaani’-57 as an independent Director. Later on Dulal Guha directed many successful films. He directed about 20 odd films like, Do Anjaane, Dost, Pratigya, Dushmun, Jyoti, Chand aur sooraj etc. His favourite Hero was Dharmendra.
Dulal Guha retired from films in 1991 and stayed on his Farm house in Nashik, Maharashtra. He suffered from Jaundice and severe Diabetes and breathed his last in Lilavati Hospital,Bombay on 15-2-2001. He left behind wife, 3 daughters and a son.
The Music Director was Salil Chaudhari. There were 7 songs in the film, including 2 solos and a duet for Talat mehmood. Talat sang for Salil da first time in film Awaz-1956, giving a hit song-dil deewana maane na,with Lata. This was his second film with Salil da. They knew each others from their Calcutta days.
The cast of the film was Talat Mehmood, Mala Sinha, Abhi Bhattacharya, Nirupa Roy, Lalita Pawar, I.S.Johar, Dhumal, Dulari etc.
The story of the film was-
A village called Chandangaon has a Government Dispensary, where no doctor has stayed for more that a month. For their medical needs, the village people go to Gokul (I S Johar), the compounder, who likes to be called ‘Doctorsaab’. For every illness he has only one homeopathic medicine, but he is quite popular. He is a widower and has a young and beautiful daughter, Jaya (Mala Sinha). Gokul has plans to get Jaya married to one Shiv-a half deaf boy- son of the president of Village panchayat, a moneylender Dayashankar. There is also Ratan (Abhi Bhattacharya), a popular young man,who is married to Maya (Nirupa Roy). Maya has not yet borne a child for him in the last 8 years and so her mother in law (Lalita Pawar) wants Ratan to marry Jaya so that he will get a ‘Waris’ for their clan. Ratan, however,is not ready as he loves Maya.
With this kind of situation in the village, enters Dr. Tapan, the new doctor to run the dispensary. Contrary to everybody’s expectations, he is young and has dreams in his eyes to serve the people. Soon he becomes quite popular and dutifully falls in love with Jaya, the compounder’s daughter. However,Gokul fixes the date of her marriage with Shiv. On the day of marriage, Jaya is kidnapped from the marriage pandal by the good soul-Ratan, who gets her married to Dr. Tapan. Gokul is very happy. Dr.Tapan and Jaya leave the village for a better and brighter future.
Here is a fun song from this film,sung by Asha Bhosle and filmed on Mala Sinha. Talat Mehmood is also seen in the last few parts. Jaya (Mala Sinha) is singing about the expected doctor, imagining that he will be an old man-langda,loola, kaana, kubda…..
Song-Kaana kubda langda loola buddha doctor aayega (Ek Gaaon Ki Kahaani)(1957) Singer-Asha Bhonsle, Lyrics-Shailendra, MD-Salil Chaudhary
Lyrics
kaana kubda langda loola buddha doctor aayega
kaana kubda langda loola buddha doctor aayega
dawa to kya dega wo zaalim rog lagaake jayega
kaana kubda langda loola buddha doctor aayega
dawa to kya dega wo zaalim rog lagaake jayega
kaana kubda langda loola buddha doctor aayega
ek thha pahle raat raat bhar jo khaansa karta thha
ek thha pahle raat raat bhar jo khaansa karta thha
bhoot ke jaise jiski shakal se
saara gaanv darta thha
bhoot ke jaise jiski shakal se
saara gaanv darta thha
saare din jhaadu lagwa kar naak mein dam karta thha
saare din jhaadu lagwa ke naak mein dam karta thha
ek se peecha chhoota hai
ab dooja naach nachaayega
kaana kubda langda loola buddha doctor aayega
dawa to kya dega wo zaalim rog lagaake jayega
kana kubda langda loola buddha doctor aayega
chapti naak naak par chasma
surat bandar ke jaisi
chapti nak nak par chasma
surat bandar ke jaisi
bakre jaisi daadhhi hogi mooch muchandar ke jaisi
bakre jaisi daadhi hogi moonch muchandar ke jaisi
gadhe ke jaisi boli hogi chaal chachundar ke jaisi
gadhe ke jaisi boli hogi chaal chachundar ke jaisi
piyega paani matka bharke
tees chapaati khaayega
kaana kubda langda loola buddha doctor aayega
kaana kubda langda loola buddha doctor aayega
dawa to kya dega wo zaalim rog lagaake jaayega
kaana kubda langda loola buddha doctor aayega
3 Responses to "Kaana kubda langda loola buddha doctor aayega"
February 1, 2014 at 9:28 pm
I will reveal a beautiful moment we shared with Talat in 1969. Talat had come to give a live performance at Dhanwatey Rang Mandir in Nagpur. The organizers had some other program first, Talat was just waiting at the back. My friend and I were ( and still are) fanatic admirers of Talat.. I had just bought a spool type tape recorder and decided that the very first spool we recorded should be Talat’s live performance! We went to the venue early and seized a moment to go to him direct and sought his permission to make the recording. He told us plainly that he was not getting many chances in films and he was mainly depending on such live performances and sale of records.. So he would not like such tape recordings to be made which would be copied. We told him that this was strictly for our personal use and that we would never share it with any one else.. He was still hesitant and gently shook his head. Then my friend suddenly did something unexpected: Talat was sitting on a chair with his legs crossed; my friend suddenly bent down and touched his feet, simply saying , ‘Sab, you have to permit us” Talat quickly withdrew his legs, his face showed some emotion, patted my friend, and said ‘acha, acha’. So we recorded that perormance. I still remember he began with ‘Bechain nazar, betaab jigar’ from Yasmin. He went on to sing many gems including ‘Mera pyar mujhe lauta do’ and ‘Aye dil mujhe aisi jagah le chal’. In the 70s compact cassettes came, spool tapes disappeared, it became increasingly difficult to get the old recorder serviced. But to honour the assurance we had given him, we never made another copy nor converted it into compact cassette. Over the years, the spool was affected by fungus and so we lost that precious recording. But we cherish the memory of his gentle heart.
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February 2, 2014 at 10:33 am
Thanks for this very touching episode.Your love for Talat was/is great indeed.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
February 1, 2014 at 1:25 pm
In the very first paragraph of your write up you have summed up what you have to say about TALAT. I immensely liked it and appreciate the presentation.
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