Hum tum ye rang roop ye raaten
Posted on: January 13, 2024
This article is written by Sadanand Kamath, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today, January 13, 2024, is 94th birth anniversary of music director, Sardar Malik. In his childhood, he had wished to be a singer, but the fate turned him toward music direction. He did not have a prolific career. He never got opportunity to work with top film banners in spite of talents which was reflected in most of the songs he composed. Recently, I had gone through his interview on Vividh Bharati which was probably conducted after his ‘retirement’ from the film world. From his talk, I could visualize him to be a man of principles, a man of least resistance and a man of self-respect which will not allow him to indulge in networking. Lastly, he was a sensitive person who refrained from hurting anyone even if he had suffered from wrongdoings.
Sardar Malik (13/01/1930 -27/01/2006) was born in Kapurthala in a middle-class family. From the childhood, he developed interest in singing. Seeing his interest in music, his father put him under the tutelage of Ustad Mubarak Ali who was a percussionist. One day, he saw an advertisement in the newspaper from Uday Shankar’s India Cultural Center, Almora, inviting applications for admission to the Center. He was keen to join but his parents could not afford the fees. Knowing his interest in music, Maharaja of Kapurthala sponsored him to the Center.
In India Cultural Center, Almora, Sardar Malik learnt from visiting faculties which consisted of poet Sumitra Nandan Pant, Shankaran Namboodiri (Kathakali), Guruji Pillai (Bharatanatyam), Amobi Singh (Manipuri), apart from ballet dance from Uday Shankar. He also learnt music from Ustad Allauddin Khan and Vishnudas Shirali. Mohan Saigal and Guru Dutt were his classmates. Guru Dutt was his room mate also. After the completion of 5-year course, they joined Uday Shankar’s dance troop and traveled all over India performing dances. Sometimes, Sardar Malik gave solo dance performance in place of Uday Shankar whenever the latter was not available due to his illness.
During 1945, due to the after-effect of the World War II, the financial strain compelled Uday Shankar to close down his dance academy. Sardar Malik along with Mohan Saigal and Guru Dutt came to Mumbai to become choreographers in Hindi films. While Prabhat Films took Guru Dutt as choreographer, both Sardar Malik and Mohan Saigal jointly become choreographer for Nanabhai’s Bhatt’s film ‘Chaalis Karod’ (1945). After this, they both decided to give up choreography. While Mohan Saigal become director, Sardar Malik decided to pursue his interest in singing.
Jayant Desai and Ramesh Sehgal, the producer and director, respectively for ‘Renuka’ (1947) heard Sardar Malik singing in a programme. Impressed with his singing and his background, they offered him to compose songs for the film. So, Sardar Malik debuted as the music director for the film, ‘Renuka’ (1947) besides singing 4 songs. The film failed at the box office. But his song compositions for the film got attention from other film makers. His next two films, ‘Raaz’ (1949) and ‘Stage’ (1951) did not fare well either. By this time, Sardar Malik realised that Mohammed Rafi, Mukesh and Talat Mehmood were far superior singers than him. So, he gave up singing and concentrated on Music Direction.
In 1953, Sardar Malik came into limelight with his song, “Ae Gham-e-Dil Kyaa Karoon in ‘Thokar’ (1953) and “Bahaaron Ki Duniya Pukaare Tu Aa Ja” in ‘Laila Majnu’ (1953). In ‘Chor Baazaar’ (1954), “Hui Hai Humse Naadaani Teri Mehfil Mein Aa Baithhe” and in ‘Aab-e Hayaat’ (1955), “Main Gareebon Ka Dil Hoon Watan Ki Zabaan” became very popular. Sardar Malik was getting 2-3 film every year till about 1960. Sardar Malik got real recognition as a music director in ‘Saaranga’ (1960) and ‘Mera Ghar Mere Bachche’ (1960). The songs, “Saaranga Teri Yaad Mein” and “Bahaaron Se Poochho Mere Pyaar Ko Tum” from respective films became very popular. He signed a good number of films after these two films’ musical successes.
While everything was going fine in his career, an incident involving the heated arguments between a top lyricist and a top female playback singer at the time of recording of a song under his baton, destroyed his musical career. The female singer left the recording studio in a huff. Her entire anger fell on Sardar Malik because she felt that he had not supported her during her arguments with the lyricist. Suddenly, he stopped getting booking for recording studios. In the circumstances, he lost almost all the films which either he was working on or were lined up.
Sardar Malik never revealed the names of the top lyricist and the top female singer involved in the arguments. But it was apparent that they were Sahir Ludhianvi and Lata Mangeshkar. Both of them continued to work together but Lata stopped working with Sardar Malik after this episode. During 1960-65, he got mostly B Grade films in the genre of mythology, fantasy and action. During this period, Suman Kalyanpur and Asha Bhosle were his main female singers.
During his two decades of active musical career in films, Sardar Malik composed songs in about two dozen films. ‘Panch Ratan’ (1965) was virtually his last film though he later did ‘Gyaani ji’ (1977) jointly with Premnath.
Post 1965, when Sardar Malik had no work, he faced financial hardship. In a fit of depression, he threw all his collections of 78 RPM gramophone records of his songs in the Arabian Sea. He became a recluse and avoided going out of his house. Hasrat Jaipuri, his brother-in-law and Vishnudas Shirali, his music teacher at India Cultural Center helped him. He started music classes for young children, including his three sons, Anu Malik, Daboo Malik and Abu Malik.
With his eldest son, Anu Malik’s musical career taking off in the 90s, Sardar Malik was a satisfied person. After many years, Sardar Malik traveled outside Mumbai to witness his son, Anu Malik getting National Film Award for the best music director for the film, ‘Refugee’ (2001) in New Delhi.
Sardar Malik passed away on January 27, 2006 at the age of 76 as a happy person with all his sons and grandchildren, Anmol Malik, Armaan Malik and Amaal Malik doing well in their respective music fields.
As I mentioned earlier, ‘Panch Ratan’ (1965) was Sardar Malik’s virtually the last film for which he composed songs. The film was produced by Vinod Doshi and was directed by Kamran. The cast included Randhawa, Parveen Chaudhary, Kamran, Kamal Mehra, Shyam Kumar, Amarnath, Randhir, Meenaxi, Joginder Singh, Saudagar Singh, Madhumati, Laxmi Chhaya, Aruna, Jeevankala etc.
The film had an usual story which most of the ‘B’ grade costume action-drama films would have in Hindi. The film has all the ingredients of this genre of films like sword fights, free style wrestling, horse riding chase and a host of dancers for entertainments. Additionally, this ‘B” grade film had some ‘C’ grade antics by some of the side actors. The gist of the story of the film is as under:
After overthrowing the king of Shamgarh with the help of a treacherous Senapati (Amarnath) of the king, Sangram Singh (Kamran) becomes the ruler with a brutal force. The people are fed up with his oppressive rule. The people of Shamgarh under the leadership of Raja (Randhawa) rise against his rule. Sangram Singh has not only to crush the rebellion led by Raja, he has to settle his personal score also as Raja is in love with his sister, Chandralekha (Parveen Chaudhary).
Sangram Singh kidnaps Raja’s mother (Meenaxi) and as a tit for tat, Raja kidnaps Chandralekha. After kidnapped persons are exchanged, Sangram Singh announces the engagement of Chandralekha with the Prince of Vijaygarh (Randhir). Now Raja has one more reason to fight Sangram Singh for the sake of Chandralekha. Raja successfully leads his fight against Sangram Singh with the help of his other four ‘ratan’ – Birju (Shyam Kumar), Tingoo (Kamal Mehra), Balwant (Saudagar Singh) and one more (I am not able to identify him), to end his brutal rule and brings back the ousted King of Shamgarh.
‘Panch Ratan’ (1965) has 5 songs written by Anjaan (4) and Upendra (1) which have been set to music by Sardar Malik. Two songs from the film have been covered on the Blog. I am presenting the 3rd song, “Hum Tum Ye Rang Roop Ye Raaten from the film to appear on the Blog. The song is rendered by Suman Kalyanpur on the words of Anjaan. It is a dance song picturised on Madhumati.
The occasion is the engagement ceremony of Princess Chandralekha with the Prince of Vijaygarh. It is a ploy by Sangram Singh (Kamran) to capture Raja (Randhawa) and his gang knowing that they would come in disguise. And they do attend the ceremony in disguise. First, Kamal Mehra dances with Madhumati followed by Shyam Kumar. Kamran and Amarnath can be seen during the dance performance.
Video Clip:
Song-Hum tum ye rang roop ye raaten (Panch Ratan)(1965) Singer-Suman Kalyanpur, Lyrics-Anjaan, MD-Sardar Malik
Lyrics:
hum tum
ye rang roop ye raaten
dil jawaan
aur pyaar bhari ye baaten
hum tum
ye rang roop ye raaten
dil jawaan
aur pyaar bhari ye baaten
haaye haaye mehfil ye suhaani
ho na jaaye koi naadaani
haaye haaye mehfil ye suhaani
ho na jaaye koi naadaani
hum tum
ye rang roop ye raaten
dil jawaan
aur pyaar bhari ye baaten
badli badli hai hawaayen
bahki bahki hai fizaa
badli badli hai hawaayen
bahki bahki hai fizaa aa
aaj kya hai hone waala
kyun machalti hai adaa
kyun machalti hai adaa
ham tum
ye rang roop ye raaten
dil jawaan
aur pyaar bhari ye baaten
haaye haaye mehfil ye suhaani
ho na jaaye koi naadaani
ham tum
ye rang roop ye raaten
dil jawaan
aur pyaar bhari ye baaten
kyaa qayaamat unke tewar
kyaa haseen andaaz hai
kyaa qayaamat unke tewar
kyaa haseen andaaz hai…
yaa ilaahi khul na jaaye
dil mein sau sau raaz hain
dil mein sau sau raaz hain
ham tum
ye rang roop ye raaten
dil jawaan
aur pyaar bhari ye baaten
ham tum
ye rang roop ye raaten
dil jawaan
aur pyaar bhari ye baaten
haaye haaye mehfil ye suhaani
ho na jaaye koi naadaani
haaye haaye mehfil ye suhaani
ho na jaaye koi naadaani
ham tum
ye rang roop ye raaten
dil jawaan
aur pyaar bhari ye baaten
——————————————
Hindi script lyrics (Provided by Sudhir)
—————————————-
हम
तुम
ये रंग रूप ये रातें
दिल
जवां
और प्यार भरी ये बातें
हम
तुम
ये रंग रूप ये रातें
दिल
जवां
और प्यार भरी ये बातें
हाय हाय महफिल ये सुहानी
हो ना जाये कोई नादानी
हाय हाय महफिल ये सुहानी
हो ना जाये कोई नादानी
हम
तुम
ये रंग रूप ये रातें
दिल
जवां
और प्यार भरी ये बातें
बदली बदली
हैं हवाएँ
बहकी बहकी
हैं फिज़ा
बदली बदली हैं हवाएँ
बहकी बहकी हैं फिजा
आज क्या है
होनेवाला
क्यों मचलती है अदा
क्यों मचलती है अदा
हम
तुम
ये रंग रूप ये रातें
दिल
जवां
और प्यार भरी ये बातें
हाय हाय महफिल ये सुहानी
हो ना जाये कोई नादानी
हाय हाय महफिल ये सुहानी
हो ना जाये कोई नादानी
हम
तुम
ये रंग रूप ये रातें
दिल
जवां
और प्यार भरी ये बातें
क्या क़यामत
उनके तेवर
क्या हसीन
अंदाज़ है
क्या क़यामत उनके तेवर
क्या हसीं अंदाज़ है
या इलाही
खुल ना जाएँ
दिल में सौ सौ राज़ हैं
दिल में सौ सौ राज़ हैं
हम
तुम
ये रंग रूप ये रातें
दिल
जवां
और प्यार भरी ये बातें
हम
तुम
ये रंग रूप ये रातें
दिल
जवां
और प्यार भरी ये बातें
हाय हाय महफिल ये सुहानी
हो ना जाये कोई नादानी
हाय हाय महफिल ये सुहानी
हो ना जाये कोई नादानी
हम
तुम
ये रंग रूप ये रातें
दिल
जवां
और प्यार भरी ये बातें
4 Responses to "Hum tum ye rang roop ye raaten"
January 13, 2024 at 3:15 pm
Sir,
Egos and interpersonal dynamics can sometimes overshadow the talent of artists in the entertainment industry.
Sardar Malik should not have succumbed to the pressure but rather focused on creating successful work without relying on A-list artists.
Robin Banerjee gave good music without using a top singer. OP Nayyar was known for his exceptional talent and ability to dictate terms in the industry.
These are my personal views.
Gandhi Vadlapatla
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January 13, 2024 at 6:35 pm
Gandhi Vadlapatla ji,
It all depends upon the personality traits. O P Nayyar was successful without LM becuase he was a fighter and was good in networking. I remember to have read an anecdote as to how he successfully convinced Shakti Samanta and Shammi Kapoor to take him for ‘Kashmir KI Kali’ (1964) as music director instead of Shankar-Jaikishan as was originally planned by composing tunes for as many as 12 songs in one sitting. Finally, they selected 9 tunes and remaining 3 tunes were used in Shakti Samanta’s next film.
Sardar Malik on the other hand was a low profile man. He was not good in networking. He would not meet any film makers to take him as music director. Despite Guru Dutt being his room mate and studied together for 5 years in Uday Shankar’s India Cultural Centre, Almora, he did not meet Guru Dutt for work despite Sahir Ludhianvi suggesting him to do so. This was revealed by Sardar Malik in his Vividh Bharati interview.
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January 14, 2024 at 11:26 pm
Very sad to read about Sardar Malik. How he must have lived his life post 1965… Not everyone can do networking. Sometimes people value their self respect more than money. If LM had done this to him, then what is the justification for this? Just because you are the best singer in the world, can you kill people and their careers? Will Maa Saraswati endorse this? Will God Mangeshi approve this?
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
January 13, 2024 at 11:04 am
Sadanand Ji,
Thanks for writing in detail about Sardar Malik. Sad his career was cut short because of feud between third parties.
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