Seema : A peek into the lyrical colossus of Shailendra and Hasrat
                               Shashi hegde writes on lyrics of  Seema  - a Shankar jaikishan movie !

Dear friends,

In the times when it is hard to differentiate lyrics from dialogues, the lyricists of 50’s and 60’s are a study in contrast. Rajendra Krishna, Majrooh, Sahir, Shakeel Badayuni along with Hasrat and Shailendra really packed a punch with their words.

Seema, a Mars and Movies film, apart from being a masterpiece film with soul touching music, is a classic showpiece of the lyrical genius of Hasrat and Shailendra – the names without which banner Shankar Jaikishan is incomplete.
If one listens to the songs with lyrics and its relevance to the story in mind, each song seems better than the other with each of it being a gem on its own.
I am sharing the lines of each of the songs that touches me and touches anyone who listens to it.

HASRAT JAIPURI:

1. Humein bhi dedo sahara - Such a simple song with so much depth in its lyrics.

“Bhara ho pet to sansar jagmagata hai
Sataye bhook to imaan dagmagata hai”

What a way to describe the bitter truth about the ways of the world.
Philosophers and saints might have preached something else, but what Hasrat saab
has written is the real truth!

2. Baat baat mein rootho na – A lyrical marvel.
“Dhalti hai raatein lekar andhera; layi baharein naya sawera; jeevan safar mein
dukh ho ya sukh ho karna hai phir bhi basera”
“Phool khushi ke har koi lele; koi na dekhe aansoo ke mele;
tum jo hase to haslegi duniya rona padega akele”

What a lovely way of bringing out the virtue of optimism and stoicness (Sthitha prajna) through beautifully weaved words.

3. Suno chhoti si gudiya ki lambi kahani – this perhaps will rate among the most beautifully written hindi film songs of all time! The words are SEAMLESS. The words flow like silk with each word gelling so beautifully yet emphasizing the previous word.

“Dil mein arman ka ek chhota sa bangla ho;
chandi ki dharti par sone ka jangla ho;
khel ho jeevan ke yahaan mel ho jeevan ke”

“Chand ki dola ho aur bijli ki baja ho;
dole mein rani ho aur ghode pe raja ho;
pyar ke raste ho aur phool baraste ho”

If anyone could draw beautiful pictures with words, it was Hasrat Jaipuri.

SHAILENDRA:

A poet like Shailendra will never ever happen again. Every song of his has a soul of its own! His words can emote – they make us laugh, cry, introspect and ponder about the ways of the world. He is an epic, he was an era and he is the Everest if the lyricists were the Himalayan range!

1. Kahan ja raha hai tu aye janewale:
The lyrics are in the league of their own. One can identify oneself so much with the words that he/she starts feeling as if it was written for him/herself.

“andhera hai man ka diya to jala le”
“Yeh jeevan safar ek andha safar hai;
 behekna hai munkin bhatakne ka dar hai”

“Jo thokar na khaye nahi jeet uski;
jo gir ke sambhal jaye hai jeet uski”

2. Manmohana bade jhoote:

When it comes to the genre of such songs as this one, Ja ja re ja balamwa, Jao jao nand ke lala, Jao na satao rasiya, etc – there is Shailendra and only Shailendra.

Shailendra showcases another forte of his – chaste, unadulterated Hindi!
Many such songs of Shailendra like this one will easily qualify as “Cheez” for Hindustani classical vocal performances.

3. Tu pyar ka sagar hai:

A bhajan like this one has never been written or may be a song like this one?
Each line is a classic like the man who wrote it!

“tu pyar ka sagar hai; teri ek boond ke pyase hum” .
What a way to describe the expansiveness of almighty!
“ghayal man ka pagal panchhi udane ko beqarar;
pankh hai komal aankh hai dhundli jana hai sagar par”

“Idhar jhhomti gaye zindagi udhar hai maut khadi;
 koi kya jane kahan hai seema uljhan aan padi;
kano mei zara kehde ki aaye kaun disha se hum”

That was Shailendra and Hasrat Jaipuri!

Regards,
Shashi Hegde

Shankar jaikishan and Satyam Shivam Sundram

by Sh Chandra Shekhar

I am not sure how far the thought of Madan Mohan for Sathyam Shivam Sundaram had crossed in the mind of Raj Kapoor. Many of you might know that this movie was conceived long before it was actually made. The film was inspired from a story told by Lata to Raj. At some point RK even had thought of making the film with Lata as the actress to portray the main role, believe it or not, but that was long before it was made. I am sure RK was well aware of quality music that came out of this combination of Lata and MM..



Now I want to make a general comment regarding what possibly ruled with RK regarding selection of music directors post MNJ.

Jaisinh pictures, they were the distributors for RK films from Barsat to MNJ. It was almost like RK's own distribution company--only it was not. This was a loose association, because all RK films completed during this period were never sold to the distributor. If the film was a success, the margin of profit was huge for RK films, in the same token, if it failed it incurred a huge loss.

After the failure of MNJ, there was a radical change with RK films. The association with Jaisinh pictures was gone. For the first time, the next film, Bobby, was sold to distributors. For example, Bobby was sold to Delhi and UP circuit for a sum of 45 lakhs to a distributing company part owner, of which was, in fact, Shashi Kapoor. It was sold to different areas at different prices. This being the customary practice of most producers to sell in this fashion. This was so much of a change for RK, but he realized the safety involved here. Very much so, after the commercial loss of MNJ. He could just not survive one more loss, it would probably have been the end of his filmmaking.

However, this change had a major STRING attached, distributors had a price tag on several factors like the stars and music directors in the film. In essence, they had a formula, the so-called "formula films". They bought the films based on this formula. Film with superstars with top billing got the highest amount of money and also current top MD's got the highest amount. Consequently, the majority of producers were at the mercy of the distributors who could easily dictate terms, because they were buying the films and, in doing so, were inheriting the risks that came with them. The producer was relieved of the risks as a result.

Post MNJ, RK was, to a large extent, dictated by these financiers and film distributors. He had understood the safety involved financially at that point. So his decision was strongly influenced from this point-of-view.

Going a little further back, there has been several comments about what a staggering amount SJ charged from Arzoo onwards. I have some comments on this:

The Hindi film industry went through a major transformation in the mid 60's and onwards. People involved, realized that they could make mega bucks with a successful film. Just to illustrate, with no intent to hurt anyone's feelings, a film like Leader with top star Dilip Kumar and Dil Diya Dard Liya both with music by Naushad made average money; whereas, several Rajendra Kumar films or other stars in films which had music by SJ brought in lot of money. The difference was huge in selling a film with SJ music to a non-SJ music. Producers were making so much money it was easy for SJ to realize this and ask for 5 lakhs, which truly was probably not much. The byproduct of this was it also weaned off quality, but non-selling MD's such as Naushad, Madan Mohan etc. from the mainstream
Then again this system that evolved out of SJ music had a backlash, the victim being S. Once J passed away, no matter how good S was, he lost the top billing. Here, in this context, even a small drop is a major or humongous drop. I would like to think that this translated to so many other top producers in switching from S to other MDs.

I think It was, as they say, purely a MATTER OF BUSINESS.

Welcome any criticism or comments. Apologize if needs correction, I have gathered this information at different times and different sources. Just tried to understand the mechanics of commercial aspects. Have tried to express in the interest of the forum, so it is subject to correction. What I think is authentic, most of which could be verified.

"We signed SJ for our film!"
Exploring the Producer-SJ-Competitor Relationship!
by Shahrukh

That is the subject and although a discussion is on
with a focus on the RK-SJ relationship, let us explore other
facets of this queer triangle of Indian popular cinema!
Fascinating, complex discussions are likely because this subject is such!
Let me initiate this discussion and we can touch on many an example as we go!

"We signed SJ for our film!"
was a HUGE statement in the 50s and 60s

To producers, it meant that their film was SOLD
& distributors would queue to buy it!
To audiences, a film with music by SJ meant ecstasy!
To heroes, it meant that their image and identity would be showcased
in inimitable style and with an unmatched elegance ... also the song
they would 'sing' on screen, would be on the nation's lips!

Take a case in point, Boot Polish!
A film which can almost be called non-commercial!

And the scene where Bhola shouts ...
"Arre Belu, woh dekho Raj Kapoor!"
Raj Kapoor is asleep by the window
with a cigarette on his lips, true Hollywood-Bogart style!
And the background music comes in ...
A harmonium plays out the 'Awara' Hoon tune with a pacy panache!

That was the SJ magic!

And Belu remarks ... "Arre aaj kal to sabhi Raj Kapoor ban ke ghoomte hain!"

This was a film sans Lata and was a RK production!
And was a huge commercial success too!
But what catapults that film into an all time great category?
The SJ magic!

Few other MDs or their creations had such a prowess or fate!

Most of Raj Kapoor's films & career!
Most of Shammi Kapoor's films & career!
Most of Rajendra 'Jubilee' Kumar's films & career!

All owe their success and image to SJ!
And these stars would insist on SJ!

Or the distributors would as Bharat Bhushan realized with
that other exception in the SJ ouvre - Basant Bahar!
These were also times when the stars would ASK for SJ to MAKE their career!

Manoj Kumar & Jeetendra owe their early career breakthroughs to SJ!
Later LP became their song smiths but could not catapult these stars
to the same dizzy heights!

And when this beautiful SJ story ran into turbulent waves a lot of things changed!
"We did not sign SJ for our film ... we signed so & so!"
became the line!

A Sanyasi Manoj Kumar preferred other MDs.
Jeetendra thought his Farz was to go with LP!
Even Shammi Kapoor found it Manoranjan to go with RDB!

Producers? They are in it for business alone!
And it is their business to take commercial decision!

Many dumped SJ without a thought or feeling ...
Some had pangs ...
Some did it after telling SJ ...
Some stuck on to SJ with a lot of hopes ...

Reminds me of that sublime SJ song which explores this sentiment ...

Preet Yeh Kaisi Bol Ri Duniya ...
Preet Yeh Kaisi Bol ... Ri Duniya ...
Bol Ri Duniya ...Bol!

Shahrukh