A tribute to Talat Mahmood on his 91st birth anniversary (24 February 1924 – 9 May 1998)
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There was every reason for Talat Mahmood to have a long innings with Naushad. Both coming from Lucknow, they represented a similar Urdu sensibility and cultural milieu. Talat’s entry into Bombay Hindi film music was spectacular with Ae dil mujhe aisi jagah le chal jahan koi na ho (Arzoo, 1950), composed by Anil Biswas, picturied on Dilip Kumar. Sure enough, Talat Mahmood became Dilip Kumar’s voice under Naushad’s baton in Baabul (1950) with great success. This was a perfect launch for a long career at the top, because Naushad had emerged as the undisputed No.1 and the preferred composer of Dilip Kumar – Naushad-Dilip Kumar notching at least a dozen films together hence. But in a twist which must be unparalleled in the annals of film history, Baabul became effectively the first and the last film in which Talat Mahmood could sing for Naushad. The reason given in popular writings is that Talat managed to give some offence to Naushad by his behaviour during the recording of a song for this film.
On the other hand, Talat Mahmood had a long innings with Naushad’s great rival, C Ramchandra. Was it on the rebound, or am I reading more into it? A commentator has written that C Ramchandra shared his mentor Anil Biswas’s ‘antipathy’ for Rafi. This is not exactly correct, because as has been mentioned before on this blog, Rafi’s earliest hit songs were given by CR. CR has used Rafi quite generously, mostly in duets (including some with himself), and in some very good solos too. However, you would not include CR in the same league as Naushad, SD Burman, Roshan, OP Nayyar or Shankar Jaikishan for Rafi’s greatest songs. But Talat Mahoomd’s best songs would include many compositions by C Ramchandra.
Does it mean that Naushad’s contribution to the career of Talat Mahmood was insignificant? Hans says that even with one film, Naushad’s importance for Talat is no less than that of Anil Biswas. I would not go to that extent, but I would say without hesitation that his five songs in Baabul (two solos, two duets with Shamshad Begum and a triad song with Shamshad and Rafi) are among Talat’s all-time greats.
We are discussing Naushad and CR in tandem. In a unique twist, in different circumstances, Talat had a song-that-could-not-be with both of them. In Azaad (1955), Dilip Kumar insisted to have Talat sing for him. As the latter was too busy those days, CR persuaded Dilip Kumar to let him sing instead, and assured him it would be no less. The result was the all-time great Kitna haseen hai mausam kitna haseen safar hai – one of the best Talat duets that he did not sing. In Aadmi (1968), Naushad recorded a Rafi-Talat duet Kaisi haseen aaj baharon ki raat hai (Rafi for Dilip Kumar and Talat for Manoj Kumar), but on Manoj Kumar’s insistence the Talat part was replaced by Mahendra Kapoor in the film – some indignity this for a singer who was at the top in the early 50s! Talat Mahmood was left with a poor consolation that by that time some records in his voice had already hit the market.
Naushad, C Ramchandra and Talat Mahmood make an interesting study in talent, success, fate and hubris. Let me pay a tribute to them with some of their best songs on the 91st birth anniversary of Talat Mahmood.
Naushad-Talat Mahmood: Baabul (1950), lyrics Shakeel Badayuni
1. Milte hi aankhen dil hua deewana kisi ka (duet with Shamshad Begum)
No one could sing a love song on the piano better than Dilip Kumar, whose pupil-lover Munawwar Sultana follows him diligently.
2. Duniya badal gayi meri duniya badal gayi (duet with Shamshad Begum)
It was not for nothing that Dilip Kumar was the Tragedy King. The producers had the capacity to convert any film into a relentless melancholia for Dilip Kumar and Munawwar Sultana. Naushad comes up with a great gem.
3. Mera jeevan saathi bichhad gaya lo khatm kahani ho gayi
The ultimate rub is when Dilip Kumar is asked to sing at the wedding of his beloved Munawwar to another guy. But the prelude – Khushi ke saath duniya mein hazaro gham bhi hote hain – followed by Mera jeevan sathi bichhad gaya lo khatm kahani ho gayi says it all. When I watched this film I felt they should have been a little more discreet to the bridegroom.
C Ramchandra-Talat Mahmood
There is a long list of films in which Talat sang for CR: Sagaai, Shabistan (1951); Parchhain, Saaqi (1952); Kavi, Meenar, Subah Ka Tara (1954); Duniya Gol Hai, Insaniyat, Yasmin (1955), Devta (1956); Baarish (1957), and finally after a long gap, Toofani Takkar (1978). In the detailed review of the songs of 1955 and 1951, some songs of this combo have been rated as among the best in their category, such as Bechain nazar betaab jigar (Yasmin, 1955) and his duet with Lata Mangeshkar Mohabbat mein aise zamaane bhi aaye (Sagaai, 1951). These songs would figure among Talat’s all-time greats. Avoiding repetition let me present ten other songs – almost all of them hugely popular among music lovers till today.
4. Kabhi tanhaaiyon mein ek aisi bhi ghadi aayi from Meenar (1954), lyrics Rajendra Krishna
I start with his incredibly beautiful song I have discovered while working for this post. The Ghazal King Talat Mahmood is at his velvet best. You can’t fail to notice the harmonium notes in the interludes. One is lucky to be living in the era of Internet.
5. Mohabbat hi na jo samjhe from Parchhain (1952), lyrics Noor Lakahanvi
Now I come to the familiar territory with one of the most well-known Talat songs. One of the leading ladies, Jayshree, play-acting a sitar player, you hear beautiful sitar music in this song, as well as some other songs in this film.
6. Main pee ke nahi aaya from Kavi (1954), lyrics Rajendra Krishna
CR now gives a faster and chirpy composition for Talat for a sharabi song – a delightful change.
7. Apni kaho kuchh meri suno (duet with Lata Mangeshkar) from Parchhain
Sandhya seeking to usurp Jayshree’s love-interest, Shantaram, by pretending she is the one who he remembers. Not a very laudable thing to do, but CR-Talat-Lata, all at their best, create this timeless melody.
8. Laagi laagi karejwa mein chot haaye Ram (duet with Lata Mangeshkar) from Duniya Gol Hai (1955), lyrics Rajendra Krsihna
This is a unique composition. The antaraas are in the style of ghazal recital, but the mukhada and the musical interludes are in folk style. Those familiar with Chitragupt’s songs for Bhojpuri films would recognize he must have taken inspiration from here for some of his songs.
9. Gaya andhera hua ujala (duet with Lata Mangeshkar) from Subah Ka Tara (1954), lyrics Noor Lakhanavi
Another sweet melody from CR-Talat-Lata.
10. Zara mud ke to dekho saajna (duet with Lata Mangeshkar) from Meenar (1954), lyrics Rajendra Krishna
It is clear this is a story of childhood friends growing into adult lovers. CR creates this perfect duet for the joyous lovers, Bharat Bhushan and Beena Rai.