Can anyone forget S D Burman’s classic songs in Devdas, Sujata and Bandini?
Legendary music director Sachin Dev Burman created numerous popular songs over three decades from the 1950s to the 1970s. Remarkably, an inordinately high number were showcased in films that are now certified classics.
On S D Burman’s 50th death anniversary on October 31, we explore how Bimal Roy, Guru Dutt, Dev Anand, Shakti Samanta and Hrishikesh Mukherji chose the composer to express their landmark films’ musical language.
The first of a multi-part series:
S D BURMAN WITH BIMAL ROY
IMAGE: S D Burman, Suchitra Sen, Bimal Roy and Dilip Kumar during the making of Bimal Roy’s Devdas. Photograph: Kind courtesy Film History Pics/X
Devdas (1955)
IMAGE: Suchitra Sen and Dilip Kumar in Devdas.
S D Burman crafted sublime soundtracks for as many as three Bimal Roy classics — Devdas, Sujata and Bandini.
After carving out his place as Dev Anand’s permanent music director with Baazi and Taxi Driver, S D Burman sought fresh worlds to conquer.
This was when Bimal Roy first chose to team up with S D Burman (instead of his regular composer collaborator Salil Chowdhury) for Devdas — the definitive version starring Dilip Kumar, Vyjayanthimala and Suchitra Sen. The result was a timeless score.
The maestro anchors the Devdas soundtrack with three melodious mujras which elevate the genre. Jise Tu Kabool Kar Le, Ab Aage Teri Marzi and O Janewale Ruk Ja are embellished with Lata Mangeshkar’s soul-piercing vocals, Sahir Ludhianvi’s deeply sensitive lyrics, Bimal Roy’s imaginative shot compositions and Vyjayanthimala’s ada.
Talat Mahmood and Dilip Kumar’s last hurrah together is unironically represented by Mitwa Lagi Re Yeh Kaisi soaked in loss and melancholy. And seeped in folk and Baul sangeet while fragrant with the loamy soils of Bengal are two beautiful Manna De-Geeta Dutt duets: Aan Milo Shyam Sanwre and Sajan Ki Ho Gayi Gori.
S D Burman lavished such an embarrassment of musical riches that the film plays only a snatch of Talat’s Kisko Khabar Thi and also of Woh Na Aayenge Palat Kar which has Mubarak Begum vocalising Chandramukhi’s last lament. But this proves, just like the film’s minimalistic score does (the songs are devoid of grand orchestrations), that presenting just the optimum amount can make a big impact.
Sujata (1959)
IMAGE: Sunil Dutt and Nutan in Sujata.
Though a heartfelt message film about caste discrimination, Bimal Roy’s Sujata is anything but dry and didactic thanks, in a large part, to S D Burman’s glittering music score.
S D Burman strongly believed in roping in the right voice for his compositions. He wisely recalled the by-then-sidelined Talat Mahmood to impart his satin-soft magic to Jalte Hain Jiske Liye, a slow-burning serenade which its lyricist Majrooh Sultanpuri goes on to aptly describe as Geet Naazuk Hai Mera, Sheeshe Se Bhi.
Asha Bhosle was, at this stage, Burman’s primary female singer and she adds zing to the ever-popular Tum Jeeyo Hazaron Saal and to heroine Nutan’s brilliantly portrayed joyous self-actualisation in Kali Ghata Chhaye Mora Jiya Tarsaye.
Asha also does some inspired humming in Geeta Dutt’s Bachpan Ke Din that eloquently captures Nutan’s suppressed emotions. And Geeta pours her heart into the lullaby Nanhi Kali Sone Chali.
A noteworthy milestone in this score is that it provided a breakthrough for S D Burman — the singer. His unique voice made the boatman’s song Sun Mere Bandhu Re a trendsetter.
Curiously, the song’s antara is written from the female point of view (Hota Tu Peepal Main Hoti Amar Lata Teri) but the raw emotionalism in S D Burman’s voice saves it from sounding incongruous.
Bandini (1963)
IMAGE: Dharmendra and Nutan in Bandini.
An unfortunate heart attack in the early 1960s proved but a temporary hiccup in S D Burman’s musical odyssey. It moved even home banner Navketan to switch to Jaidev for Hum Dono but Bimal Roy waited it out for Bandini.
Meanwhile, son R D Burman decided that the six-year-old fallout between his father and Lata Mangeshkar had gone on long enough. The 22 year old persuaded Ms Mangeshkar to sing five songs for his composing debut, Chhote Nawab (1961), and helped his father mend fences too.
Bandini marked Lata’s re-entry into S D Burman’s musical universe but it’s not that Asha got sidelined either.
Lata’s songs for leading lady Nutan expressed the emotions of a girl tingling with romantic anticipation (Jogi Jabse Tu Aaya by Shailendra and Mora Gora Ang Lai Le often cited as Gulzar’s first song). But Asha got the more emotional songs, O Panchhi Pyare and Ab Ke Baras Bhej Bhaiya Ko Babul, albeit filmed on backdrop actors.
Bandini‘s score shines brightest in it unforgettable background songs penned by Shailendra: O Janewale Ho Sake To Laut Ke Aana feelingly sung by Mukesh and the anthem of eternal love Mere Saajan Hai Uspaar vocalised by S D Burman himself.
Next week: Don’t Miss! What Magic S D Burman Created With Guru Dutt, Dev Anand…
Photographs curated by Manisha Kotian/Rediff
