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

Mujhko apna banaaya kisne

Posted on: May 27, 2015


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a 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.

THE VELVET MAGIC-TALAT DUETS
——————————

We are starting a New series-on Talat Mehmood’s film songs-especially the Duets. Talat songs are my favourites and I am in the company of a large number of music lovers on this issue. His soulful, sad and melodious songs and everlasting duets are heard all over the world even today. Some of his duets with Lata, Asha, Shamshad and Geeta are very famous, but not many people are aware that Talat sang a wide variety of duets with many singers. From Suprova Sarkar in Calcutta to Hemlata in Bombay,Talat’s range of singers included Mubarak Begum, Sudha Malhotra, Madhubala Jhaveri, Surinder Kaur, Suman Kalyanpur, Sulochana Kadam, Ameerbai Karnataki, Rajkumari etc among the females and Kishore Kumar, Manna Dey, Mukesh, Rafi, Balbir etc among the male singers.

Out of the total 450 songs that Talat sang, 325 songs are already posted in this Blog. That leaves us with just 125 more songs, but locating these songs is not that easy. Perhaps some C grade and stunt film songs may not have their songs issued on records. One will have to search with collectors ( I hope our Sudhir ji is reading this). Out of these 325 songs, there are 55 duets with Lata, 34 with Asha and 18 with Geeta Dutt.

Talat started his career as a singer first, then became an Actor, then a singer and again an Actor and then again a Singer. All this jumping around from one activity to another activity gave the impression that Talat is not serious about his career. This cost him dearly and he lost his place in film music sooner than in due course of time. Talat accepted this in several interviews. Here are some parts of one of his interviews, as found on Cineplot (it has been edited by me for this article)…

“He was born into a highly cultured, but conservative, family in Lucknow. Music interested him to such an extent that he studied it as a subject in Lucknow’s Morris College. Often, he sang for the All India Radio, Lucknow. Later, he signed on with HMV. He had to go to Calcutta in 1941 for the recording sessions, which was when he was spotted by the famous New Theatre bosses.

Talatsaab was an extremely handsome young man. ” P K Sanyal of New Theatres wanted me to sign me on as an actor,” Talatsaab recalled his early days in Calcutta. “I had no objections, really. But my father was a bit upset, though he came around finally.”

Calcutta was the scene of hectic filming during the early 1940′s. Talatsaab’s first film, Raj Lakshmi, co-starred Kanan Bala and Chhabi Biswas. Released in 1945, the film did fairly well and was followed by ‘Tum aur Main’with kanan Devi and Samapti with Bharati Devi . Talatsaab had never trained as an actor. He performed by instinct and picked up tips by watching his co-actors on-screen.

“I enjoyed acting,” recalls Talatsaab. “And these were soft, romantic roles in films that has a number of songs. The films of this era followed the singing hero concept very closely.” But the handsome actor, at 22, faced a peculiar problem. Most of his heroines like Kanan Bala and Kanan Devi were older than him and the pairing, at times, looked distinctly odd.

During the late 1940s, the focus of movie making shifted from Calcutta to Bombay. Like several other young aspirants, Talatsaab also made the change. He was warmly welcomed; his reputation had preceded him. Music director Anil Biswas gave him a break in Arzoo and his playback singing for Dilip Kumar proved to be a major highlight of the film.

During the early 1950s, Talatsaab was sought after by every leading music director. He lent his voice to every single top hero, from Dilip Kumar to Bharat Bhushan. In 1951, he made a guest appearance in the Dev Anand-Madhubala starrer, Aaram, sitting at the piano as he rendered that memorable number,Shukriya shukriya. The film was not much of a success, but the song is hummed even today.

His first role as a hero in a Bombay film, though, only came in 1953. “(A R) Kardarsaab chose me as the hero for his film, Dil-E-Nadaan,” explained Talatsaab. Newcomer Peace Kanwal, the winner of a beauty contest organised by Kardar and the Kolynos toothpaste firm, was the heroine.

Dil-E-Nadaan was a soft, romantic triangle with Talat, the singer, being wooed by two women, Peace Kanwal and Shyama. The music score by Ghulam Mohammad produced everlasting hits like Zindagi denewale and Yeh raat suhani raat nahi.
Dil-E-Nadaan’s music became the rage. And Talatsaab became a sought-after hero in Hindi films. Then followed Daak Babu (with Nadira), Waris, Raftar (Nadira and Naaz) and Diwali Ki Raat (Roopmala, Shashikala and Leela Mishra). In the last mentioned, the elegant Talatsaab played a taxi driver.

Well known director Satyen Bose directed him in the 1957 hit, Ek Gaon Ki Kahani (Mala Sinha). Producer S U Sunny – who had made the Dilip Kumar starrers, Babul and Udan Khatola – cast the singer-duo of Suraiya and Talat Mahmood in Maalik. The innovative Khayyam scored the music for Lala Rookh, a fantasy where Talatsaab starred with Shyama.

“I never did more than one or two films at a time,” Talatsaab recalled. “I also noted the difference between filming in Bombay and filming in Calcutta. Unlike the more artistic Calcutta where movies were made at a slow pace, Bombay was commercial. Life was hectic. Everyone was in his own world and was, of course, very professional.”

What kind of an impact did Talat Mahmood make as an actor?

The great singer thought a while and then candidly admitted, “Listen, I was not competing with stars like Dilip Kumar, Dev Anand or Ashok Kumar. But, in those days, soft, romantic films were appreciated and singing hero like me could do well.” His films were not box office bonanzas. Neither were they disasters which disappeared without trace, days after their release. Three of his films – Waris, Sone Ki Chidiyaand Ek Gaon Ki Kahani – were much-appreciated hits.

Talat Mahmood’s major drawback was that, quite often, he held himself back in crucial romantic scenes. His self-consciousness showed. He could not essay violence and comedy. But he was adequate as an emotional actor. And he had a large female following.

From 1956, Talat Mahmood regularly went on foreign tours. The concerts – held in the UK, the US, the Gulf and even the distant West Indies – were superb. But as he acted in films and spent months abroad on concerts, music directors and producers had to look for other playback singers. As a result, Talatsaab lost out on some memorable films like Madhumati.

Some of the music directors felt that, having turned actor, he would not be easily available as a playback singer. As Talatsaab’s son, Khalid, explained, “Also, Father would never ask for favours. Not would he undercut anyone. He was, and is, a thorough professional and a gentleman.”

By the mid-1960′s, film music had changed. Shammi Kapoor, with his boisterous Yahoo image, had arrived. There were fewer opportunities for a voice like Talatsaab’s. But the concerts continued, so did the recording of private ghazals. The government honoured him with a Padma Bhushan and Doordarshan made a documentary on him . ”

When Talat started ha acting career in Calcutta his first film was Rajlaxmi-1945. he was given a role of a Sadhu in this and he sang his Debut Hindi Film song “Jaago musafir jaago”. His acting in this film was below par. His second film was Tum aur main-1947. here too he had a side role and just one duet with Suprova Sarkar. In his 3rd film at Calcutta- “Samaapti”-1949 he became a singing hero first time.,opposite the veteran Bharati Devi. Talat had 2 solos and 2 duets with Suprova Sarkar again. In the period 45 to 47 and 47 to 49 he sang some Hindi and Bangla NFS. He sang in Bangla with the name Tapan Kumar.

We begin this series with his duet with Suprova Sarkar in film Samaapti-1949. Actually in his both the earlier 2 films, he worked along with Kanan Devi,but he has no song with her. Suprova Sarkar’s name is not much widely known outside Bengal,because she stayed put in Calcutta and sang in only Hindi films made there.

Suprabha Ghosh was born on the 25th of September, 1919. Her father was Upendranath Ghosh and her mother Champaknalini. Suprabha’s first training in music was from her parents, both music lovers. Champaknalini gave her lessons in devotional songs. Formal training started from Dhrupadia Shishir Guha and thereafter from Tarapada Chakraborty. Her entry into music world as a professional happened when she was only thirteen, with her participation in Galpadadur Asar in All India Radio, Calcutta. In the forties she was a regular in the live early morning programme Mahishashurmardini from A.I.R. and her association with the radio was almost life long. In the last years of her life Suprabha Sarkar was associated as trainer of Nazrul songs.

In 1942, Suprabha Ghosh got married to Advocate Sudhir Chandra Sarkar but unlike many singers of her time Suprabha did not have to quit singing after marriage even after becoming the mother of two sons. 1942 onwards all her records carried the name Suprabha Sarkar. Her first gramophone record was published from Senola Musical Products Company in February, 1936.

In 1949, Suprabha Sarkar turned composer and set to tune Rodana Tomar and Jibane Amar Na Bola Katha, both written by Manik Basu. However, after this she never did the job of music direction. Suprabha’s association with Kaji Nazrul Islam dates back to the days of making of the N.T. film Sapurey (1939).

Earlier, in 1935, Suprabha had the historic opportunity to sing in the first playback song in Indian films along with Parul Biswas and Miss Harimati in Bhagyachakra (1935), the song being Mora Pulak Jachi Tabu Sukh Na Mani and the Hindi version Dhoop Chhayon (1935), the song Main Khush Hona Chahoon. Some research workers give the name of Umashashi as one of the singers.

The other singers in this quite long song were Krishna Chandra Dey and Ahi Sanyal. Their names as playback singers have not been included probably because they sang for themselves. The popularity of the Jiban Maran (1939) song gave Suprabha Sarkar a permanent place in Bengal’s playback singing. Kundan Lal Saigal was so moved by her voice that he presented a harmonium to her. A very precious gift indeed and Suprabha preserved the instrument and used it all her life.

Suprabha got less work for films and basic discs and she withdrew herself from the show business. However she could never detach herself from music and continued to serve as a teacher in institutions like Rabindra Bharati University, Surtirtha Sangeet Bidyalay and above all All India Radio where she was appointed trainer of Nazrul songs. Apart from official associations, she gave regular music lessons to a host of students.

Suprova sang in Hindi films like Dhoop chhaon,Maya,Mukti,Anath Ashram, President, Dushman, Kapalkundala, Wapas, Amiri, Hamraahi, Baap, Tum aur main, Anjangard and Samaapti.

Jovial by nature, Suprabha Sarkar was also famous for her short temper. However, she was popular with her colleagues and juniors and was Bardi , meaning elder sister, to all. In the seventies, Suprabha Sarkar was interviwed on television by poet Pulak Bandyopadhyay. She rendered several songs, some in bits and some full showing what control she had over her voice even at that age. She breathed her last on 23rd of September, 1989.

Let us now enjoy this early song of Talat. Can you notice that the famous tremor or ‘kampan’ (it is called LARGISH technically. लार्जीश ) is almost absent in this song. may be it became pronounced later in his Bombay stay.
(My thanks to Cineplot and Dr. J.P.Guha for information used herein).


Song-Mujh ko apna banaaya kisne (Samaapti)(1949) Singers-Talat Mehmood, Suprova Sarkar, Lyrics-Pt Bhushan, MD-Timir Baran

Lyrics

Mujh ko apna banaaya kisne
toone sajaniya toone ae
mujh ko apna banaaya kisne
toone sajaniya toone ae
dil mein dard uthhaaya kisne
toone sajaniya toone
dil mein dard uthhaaya kisne
toone sajaniya toone
toone sajaniya toone ae
mujh ko apna banaaya kisne
toone sajaniya toone ae
toone aankhon se aankh milaayi
mere man mein aag lagaai
toone aankhon se aankh milaayi
mere man mein aag lagaai
toone meethhi boli boli
toone meethhi boli boli
mere man ki duniya doli ee
mere man ki duniya doli

preet ka rog lagaaya kisne
toone sajaniya toone
toone sajaniya toone ae
mujh ko apna banaaya kisne
toone sajaniya toone ae

o phoolon sang hansne waali
dil ki kali khila jaa aa aa
o phoolon sang hansne waali
dil ki kali khila jaa aa
sun ja meri raamkahaani ee
sun ja meri raamkahaani
apna geet suna jaa aa aa
apna geet suna jaa aa

mujhko yoon tarsaaya kisne
toone sajaniya toone
toone sajaniya toone ae
mujh ko apna banaaya kisne
toone sajaniya toone
dil mein uthhaaya kisne
toone sajaniya toone
toone sajaniya toone ae
mujh ko apna banaaya kisne
toone sajaniya toone

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4 Responses to "Mujhko apna banaaya kisne"

Wonderful write-up, Arunji.
And a very nice song too. Never heard Talat without that “tremor” in this voice. 🙂

Raja ji,
Thanks for your comments.
Indeed, the very purpose of writing this series (or any other series,for that matter),is to acquaint the readers with something unique,different,new and interesting information on the subject discussed.
I hope you have also read my another recent article on a song “O shehar ke baanke babu” from film Girls school-1949, dated 19th May,on this Blog,wherein I have discussed some less known controversies involving Chitalkar,Anil Biswas,Lata and Pradeep.
Thanks again.
-AD

Raja ji,
I just remembered.
There is another song. “Bharam teri wafaon ka”-Armaan-1953,MD-S D Burman.
In this song also Talat’s voice has no tremor. This was ofcourse by design,as Burmanda wanted this song by Talat without his tremor and he had to strive hard to sing it. Here is the link,if you want to listen to it…https://atulsongaday.me/2012/08/07/bharam-teri-wafaaon-ka-mita-dete-to-kyaa-hota/.
This is mentioned in the book ” äap ki parchhayiyan” by Shri Ranjikumar Pandya ji.
-AD

Timir Baran>Devdas-35, Adhikar-37, Raj Nartaki-41, Badbaan-53,
Bloggers can add more if any

Suprabha Sarkar>>
Rangeen Baharen Hai
with Talat Mahmood Timir Baran Pandit Bhushan Sampatti (1949)
Aaj Balam Ki Teekhi
K P Sen Rangesh Shadi Ke Baad (1949)
Mai Nayi Naveli Dulhan Hu
Timir Baran Pandit Bhushan Sampatti (1949)
Mai Unse Kuchh Bhi Keh Na Saki
Timir Baran Pandit Bhushan Sampatti (1949)
Mujhko Apna Banaaya Kisne
with Talat Mahmood Timir Baran Pandit Bhushan Sampatti (1949)
O Ruth Ke Jaane Wale
with Jaganmay Mitra, K P Sen Rangesh Shadi Ke Baad (1949)
Bloggers can add more if any

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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

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