Multiple Versions Songs (17): Haunting Melodies in Different Moods And Settings
Guest article by Ashok M Vaishnav
(As the SoY regulars are aware, the series on Multiple Version Songs has grown in dimension well beyond what was originally envisaged by Ashokji, about a year and half back. Fortunately, SoY family has some tremendously talented and knowledgeable people, and they chipped in with guest articles, on my request, to cover various aspects of this theme.
Following close on the heels of the last post on Rabindrasangeet-Pankaj Mullick, written by Venkaramanji, which was 16th in the series on the Multiple Version Songs, this post on Haunting Melodies in Spooky Films just shows the enormous range of MVS. The haunting melodies are meant to be repeated a number of times in the movie to create an effect of suspense, mystery, fear and eeriness. It takes an analytical mind with sharp observation, like Ashokji’s, to decipher the varied moods and settings of the different versions of such songs. I am happy to present this article by him which widens the exploration of MVS. – AK)
The journey exploring a definite genre of Hindi film songs – Multiple Versions of A Song – has had several streams till now.
‘Haunting Melodies’ is a genre in itself in the film songs. These types of songs are normally the cornerstone of a thriller or a suspense drama. Typically, the song either precedes ‘that’ event in the narrative which builds the suspense or helps build aura of suspense around a character or a set of events in the film. In that sense, quite a few of the haunting melodies simply repeat in relation to the flow of the story. But there are quite a few which have major, or sometimes subtle, variations in lyrics, rhythm or orchestration – to amplify the differing events / situations in the film narrative.
This genre has also been very effectively used in several other storylines like multiple incarnations.
Here is my take of such songs:
1. Aayega aanewala by Lata Mangeshkar from Mahal (1949), lyrics Nakhshab Jarachvi, music Khemchand Prakash
It is just a coincidence that one of the most iconic songs of an equally iconic film is the first in the roll here, but had I chosen these songs in some specific order, the song would still have been the one to open the innings.
The song has two very well-known versions – one a slow one and another fast. Both versions have been used quite tellingly in the film, both in terms of the development of the plot as well as characterisation of the principal characters.
2. Kahin deep jale kahin dil by Lata Mangeshkar from Bees Saal Baad (1962), lyrics Shakeel Badayuni, music Hemant Kumar
We have one more iconic song in the genre of haunting melodies in a suspense film. This is also a landmark song of Hemant Kumar- Lata Mangeshkar combination. The song has three versions and each version is filmed as a specific sequence to reflect a degree of variation in the composition, which, in essence, aims to capture subtle difference of the mood (as in these cases) or different settings in which the song is picturised.
3. Aye mere dil-e-naadan, tu gham se na ghabarana by Lata Mangeshkar from Tower House (1962), lyris Asad Bhopali, music Ravi
The first version sets the tone of it being a theme song of a suspense film. The song maintains its intrinsic character of the undercurrent of emotion of pathos as well.
The second version is a short clip, but seems to have a meaningful context in the film.
YT also contains apparently a third version. However, I could not make out much difference with respect to the said second version.
4. Naina barse rim jhim by Lata Mangeshkar from Who Kaun Thi(1964), lyrics Raja Mehdi Ali Khan, music Madan Mohan
We are clearly able to differentiate the variations in the different versions, used at different settings in the film. Madan Mohan, while venturing into a different genre, has retained his silken touch.
5. Jhoom jhoom dhalti raat by Lata Mangeshkar from Kohra(1964), lyrics Kaifi Aazmi, music Hemant Kumar
In the original story, Rebecca, from which the film is apparently inspired, every time the female protagonist comes up in (virtual) contact with the memories of her predecessor, the feelings evoked are subtly different. Director Biren Nag, in terms of picturisation, and the music director Hemant Kumar, in terms of the composition of a typical haunting melody, have put in their best efforts to invoke those psychological feelings in the way the song appears in the film several times.
6. Mere mehboob na ja by Suman Kalyanpur from Noor Mahal(1965), lyrics Saba Afghani, music Jaani Babu Qawwal
True to the tradition, each of the three versions has somewhat different settings and context every time this haunting melody is played. Incidentally, the song also remains a landmark in the career of Suman Kalyanpur.
The first version is a simple reflection of suspense, hence seems to be fast paced, as if to capture the faster pulse beat.
Part (1):
The second version has an underlying element of pensive mood.. the cheroot, unlit by a lamp, being quietly lit by the image of the heroine.. and all such sequences… hence a somewhat longer paced rhythm of the song.
Part (2):
By the time of the third version, the mystery has been deep rooted enough; mark the lengthening of a few notes higher in scale accompanying music.
Part (3)
7. Kisne mujhe sada di by Mohammad Rafi and Suman Kalyanpur from Saaz Aur Aawaz (1966), lyrics Khumar Barabanqvi, music Naushad
In this subcategory, we have an interesting variant, a duet. Naushad has gamefully tried his hands at this genre. The female voice echoes in the first part to create an eerie effect.
The second version is more on the side of pathos of the relationship.
8. Tujhko pukare mera pyar by Mohammad Rafi from Neel Kamal(1968), lyrics Sahir Ludhiyanvi, music Ravi
Here we have a haunting melody in the genre of films based on the theme of reincarnation. In the first version, the storyline of the film is fully introduced – an unfinished love saga of the previous incarnation.
Whereas, in the second version we are exposed to the poignancy of the male protagonist’s yearning, which keeps on haunting the female protagonist compulsively for his love who is wrenched away by a feudal mind-set.
The soundtrack of the film also has deftly used ‘aalap’ of the song not only in the male voice, but also in the female voice in the true style of a theme song.
9. Akele hain chale aao by Mohammad Rafi/Lata Mangeshkar fromRaaz (1967), lyrics Shamim Jaipuri, music Kalyanji Anandji
In the exacting sense in which we started this series, the present song may be considered a twin song – with a version by Rafi and Lata Mangeshkar. Obviously, the female version was considered mandatory for this kind of song. Since a male version song is not very common in a haunting melody, I am presenting the Rafi version here.
10. Akela hun main hamasafar dhoondhata hun by Mohammad Rafi from Jaal (1967), lyrics Raja Mehdi Ali Khan, music Laxmikant Pyarelal
And now we have an all-male version in this genre.
The first version is slightly fast paced, and seems to have been filmed more to set up the background on which the story seems to hinge upon.
The second version:
And, now the third version:
There are a good number of other haunting songs in suspense films, which appear several times in the film, but these variations are not full songs. It could be either a partial rendering of the song, or one version being actually performed by the protagonist, while the other version coming as a background song. Hence, I have refrained from classifying these songs as different versions.
Similarly, there have been versions where a few lines of the principal (haunting) song keeps on reappearing to emphasise the theme of the film (as in case of Neel Kamal mentioned above), but all such versions do not seem to have been captured on You Tube, hence I have not been able to put such songs as well.
SoY fraternity has considerable knowledge to hold a different view, and I would be very happy to be corrected.
So, we await a soulful discussion, till we embark upon the next stage of our journey………