I am not worried about the world for myself, but I have your soul in front of my eyes. I shall never be a reason for a censure or reproach being cast on you, never. I dont feel apart from you, you are always with me. Your seperation is fated for me, the bittersweet pain you gave me is the reason for my exsitance. Mujhe khauf e duniya nahin, magar mere ruu-ba-ruu teri zaat hai Mere vaaste tere naam par, koi harf aaye nahi nahi Again, an unconventional voice, his is an unhurried melody, which forces you to stop and take notice, and once you stop, you are hooked, unable to escape the snare, and to be honest, quite unwilling too. Kabban Mirza, that wonderful singer (is the word sufficient for the pain, the pathos he brought out in the lyrics, the way he was able to imbibe the music?), was handpicked by Khayyam Sa'ab for this movie, and specially for the song which I shall talk about later. Mujhe teri doori ka gham ho kyon, mujhe teri doori ka gham ho kyon, Tera hijr mera naseeb hai, tera gham, tera gham hi meri hayaat hai Listen to this one at night, all alone, and you will feel as if its being sung for you, designed to make you sleep, so you can meet your beloved in your dreams. The song is all about Lata's voice, mischevious while teasing the damsel who refuses to go to sleep, and there is a dreamy quality to the song which is further enhanced by the lack of musical instruments. Now only the lure of seeing him in the dreams shall let her sleep. the eyes refuse to close, the consciousness refuses to lose even one waking moment, which could be spent in thinking about the beloved, remembering him. Love, sigh!!!!! Somehow, when you know you are about to meet the beloved, when the anticipation is at its peak, the sleep just goes away for a toss. Khwaab ban kar koi aayega to neend aayegi Jaane kab raat dhale, subah tak kaun jaleĪnd the lyrics, provocative, yet elegant, set to music so so beautifully, its as if the desire is a tangible being, out to ensnare the beloved, the object of one's affections.ĭekh jal jaayenge ham, is tabassum ki kasamĪb nikal jaayega dam, teri baahon mein sanamĭil pe rakh haath ki tham jaaye dil ki dhadakan In fact, having read about Lata's refusal to sing songs she deemed improper, I am amazed how she sung this song, suffusing it with an earthy desire and the pure physical feel which the lyrics impart. Rather it represents sensuality at its best.
An outright mujra song, this one had none of the gauchy attributes one normally associates with them. Ishq se kah do ki le aaye kaheen se saavanĪh Lata!!! How does one escape the magic of your golden voice. Pyaas bhadaki hai sare shaam se jalta hai badan Again, its a nice song, but pales in comparison to others. Sung by Mahendra Kapur is again a marriage song, which is sung by the groom's friends, thanking the Gods for this beautiful occasion. Ki mera yaar chala baandh kar sar par sehra.
If you note carefully, Urdu and Hindi words have been carefully interspersed, showing the harmony between the two communities in a way which makes my heart glad. Its raw, earhty, slow paced and entirely enticing. I find a special earthy quality in Jagjit Kaur's voice. The groom is at the door, and the bride, all decked up, is waiting to be united with him with the blessings of mortals as well as the Gods. Hariyaala banna aaya re, hariyaala banna aaya reĪ quintessential song which celebrates the marriage rites, the voices of Asha and Jagjeet Kaur have wrought their special magic here. The music and the lyrics have a royal, silken feel about them, not to forget the voices of Asha, Lata, Jagjeet Kaur and the unforgettable Kabban Mirza, which again made the songs immortal.The songs are all gems as individual entities, however I shall, as they say, leave the best for the last. Set to music by Khaiyyam and with immortal lyrics penned by Jaan Nisar Akhtar, the music fared much better than the film itself.
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Razia Sultana, a movie that took a long time in making, was one of Kamal Amrohi's ambitious ventures. Would he have felt pain, would he have felt tortured, surrounded by mediocrities around him? For brilliance requires company, who else will praise you or admonish you?
I often wonder about how he would have felt, composing music in late 70s and early 80s when Hindi film music was reaching its nadir. and what an understatement that is! One of the few composers whose music has the power of transporting you from your dreary routine life. *As stated elsewhere, Khayyam Sa'ab is one of my favorite composers. And the night shall be filled with music. Caution : As always, this is self indulgence at its best, and has turned out to be a bit long.
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