The Maker of Mukesh: Anil Biswas
And the rest is history. A worn-out cliché, but nothing describes Anil Biswas’s role in the emergence of Mukesh better. Mukesh was a struggling singer-actor in the period 1941-1945, when his brother-in-law, Motilal, took him to his close friend, Anil Biswas, and requested him to try out the young boy. Impressed with Mukesh’s singing, Anil Biswas suggested that in Motilal’s forthcoming film, Pahli Nazar, the boy could be given a chance. The producer of the film, Mazhar Khan, was furious at the prospect of his film being ruined by this new singer. So, Motilal said, that in that case, ‘I would sing my songs’. Anil Biswas, who was familiar with Motilal’s singing for him earlier, told him in his inimical style, ‘Tu rahne de, ye gana main khud gaaunga’.
That would have been the end of Mukesh’s career – at least for the time being. Disappointed, he lamented with his friends, ‘what would happen to the singers if music directors started singing their own songs’. This reached the ears of Anil Biswas, who took an indulgent view of the young boy’s carping, and persuaded Mazhar Khan to let him try out Mukesh. Thus, it was decided to give Dil jalta hai to jalne de to him.
There were more twists in the story. On the day of the recording, Mukesh developed cold feet at the prospect of facing the greatest music director of the time, and hid himself in a bar, drinking away to glory. A furious Anil Biswas stormed into the bar, took him by the scruff of his neck, and after giving him a good slap, thrust him under a shower. Coming to his senses, Mukesh apologised profusely, and promised to come back the next day well prepared. Ignoring his protests, a still-angry Anil Da said, nothing doing, Tu abhi gayega. Thus was born Dil jalta hai to jalne de, and the rest, as they say, is history.
There is something special about Anil Biswas. Five years later, Talat Mahmood sang Ae dil mujhe aisi jagah le chal for him, and again, as they say, the rest is history. Venkataramanji mentioned that the total number of songs Anil Biswas composed for Talat Mahmood was 16. For Mukesh, the number is about 24 – not much larger, but Anil Biswas would, forever, be known as the Maker of Mukesh.
Continuing my series of tributes to Anil Biswas in his Centenary Year, let me present his songs for Mukesh on the latter’s 91st birth anniversary.
1. Tai kar ke badi door ki purpench dagariya from Pahli Nazar(1945), lyrics Dr. Safdar ‘Aah’
By now we are very familiar with Dil jalta hai to jalne de, and it has been discussed enough on this blog too earlier. Therefore, let me start with another solo from this film. I should acknowledge the contribution of Sudhir Kapurji, who has done intensive research on the early songs of Mukesh and posted a number of articles on Atul Song A Day. Many of Mukesh’s early rare songs are coming in public view because of him.
2. Pahli nazar ka teer re laga pahli nazar ka teer (duet with Naseem Akhtar) from Pahli Nazar (1945)
But the real gem is this vintage duet with Naseem Akhtar from the same film, composed in folk style.
3. Jeevan sapna toot gaya from Anokha Pyaar (1948), lyrics Zia Sarhadi
After a gap of a couple of years, Mukesh makes big impact in Anil Biswas’s remarkable score in Anokha Pyaar. He also comes out of the KL Saigal effect, and establishes his own identity as the most melodious and soulful singer. Naushad would take to Mukesh in a big way in 1948-49 in Mela, Anokhi Ada andAndaaz.
4. Wo teekhi nazaron se mere dil par from Veena (1948), lyrics Prem Dehalvi
We are now seeing what can be called the quintessential Mukesh. I recall this song has been mentioned by readers earlier, but it is so good and so rarely heard that it deserves to be repeated.
5. Mere sapnon ki rani re from Veena (1948), lyrics Narendra Sharma
Mukesh switches to a fast-faced song in the same movie effortlessly.
6. Zamaane ka dastoor hai ye purana (duet with Lata Mangeshkar),from Laajawaab (1950), lyrics Prem Dhavan
Anil Biswas crafts a honey-laden duet with two of his most favourite singers. This is a song you would like to listen in the tranquility of night when you are by yourself.
7. Ae jaan-e-jigar dil mein samaane aa ja from Aaram (1951), lyrics Rajendra Krishna
A Mukesh song on the piano became the ultimate in melody. This supreme melody by Anil Biswas is one of the best ever songs of Mukesh. This figures prominently in the discussion on the best male solos of 1951.
8. Dam bhar ka tha daur khushi ka from Maan (1954), lyrics Safdar ‘Aah’
Safdar ‘Aah’ was the person who wrote Dil jalta hai to jalne de. He again writes a beautiful song. He was also the director of Maan. A less-heard song, but ‘Aah’-Mukesh-Anil Biswas create a similar magic with this poignant song.
9. Nahi kiya to kar ke dekh tu bhi kisi pe mar ke dekh from Chaar Dil Chaar Raahen (1959), lyrics Sahir Ludhiyanvi
This atypical Anil Biswas-Mukesh song is interesting because its opening instrumental composition seems to be the inspiration for Ravi’s Tujhko rakhe Ram tujhko Alla rakhe and his other ‘beggar’s songs’ in later years.
10. Zindagi ka ajab fasana hai, rotey rotey muskurana hai (duet with Lata Mangeshkar) from Chhoti Chhoti Baatein (1965), lyrics Shailendra
When many years of creativity was still left in Anil Biswas, he found the film world had no need for him. This was his last film for which he composed music, before he packed his bags and joined the AIR in Delhi. But he seems to have poured everything in this movie. The film had an everlasting Meena Kapoor song, Kuchh aur zamana kahta hai. He composed another immortal song, this duet in the voice of his protégé, Mukesh, and his favourite singer, Lata Mangeshkar.
11. Zindagi khwaab hai tha humein bhi pata from Chhoti Chhoti Baatein
The film did have a Mukesh solo too, which is more a recitation in slow tempo. Shailendra’s melancholic lyrics seem to reflect the inner sadness of Anil Biswas. The recitation ends with ‘Alwida’, ‘Alwida’, marking the end of the great combination of the Maestro and his Protégé. I can’t help thinking that Anil Biswas asked Shailendra to pen his own farewell to the uncaring film industry.
ज़िंदगी ख्वाब है था हमें भी पता
पर हमें ज़िंदगी से बहुत प्यार था
पर हमें ज़िंदगी से बहुत प्यार था
दुःख भी थे सुख भी थे दिल को घेरे हुये
चाहे जैसा था रंगीन संसार था
चाहे जैसा था रंगीन संसार था
आ गई थी शिकायत लबों तक मगर
किसे कहते तो क्या कहना बेकार था
किसे कहते तो क्या कहना बेकार था
चल पड़े दर्द पीकर तो चलते रहे
हार कर बैठ जाने से इंकार था
हार कर बैठ जाने से इंकार था
चन्द दिन का बसेरा हमारा यहां
हम भी मेहमान थे घर तो उस पार था
हम भी मेहमान थे घर तो उस पार था
हमसफर एक दिन तो बिछड़ना ही था
अलविदा अलविदा, अलविदा, अलविदा
अलविदा अलविदा, अलविदा, अलविदा
Acknowledgements:
The anecdote about Mukesh’s first introduction to Anil Biswas is based on thisDD interview with Shikha Biswas Vohra and Sudhir Kapur. As the readers are aware, Shikhaji launched the Year of Anil Biswas on SoY with her guest article on January 1, 2014.