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An inadequate composition
Suveen Sinha / New Delhi May 14, 2008, 4:53 IST
After 1969, Mohammad Rafi sang in at least 58 films that were musical hits.
These include Gopi, Heer Ranjha, Jeevan Mrityu, Pagla Kahin Ka, Dastak, Mera
Gaon Mera Desh, Gambler, Caravan, Aap Aye Bahaar Aayee, Gora Aur Kala, Lal
Patthar, Yaadon Ki Baarat, Loafer, Hanste Zakhm, Dost, Kunwara Baap,
Bairaag, Charas, Nagin, Dharam Veer, Main Tulsi Tere Aangan Ki, Badalte
Rishte, Suhaag, Jaani Dushman, Gautam Govinda, Aap To Aise Na The, Abdullah,
Qurbani and Aasha. In the 1970s, Rafi sang for the first superstar (Sachcha
Jhutha, Mehboob Ki Mehandi) as well as the next (Shaan, Dostana, Mr
Natwarlal). He is also the voice of the young hero (Amar Akbar Anthony, Hum
Kisi Se Kum Nahin, Laila Majnu, Karz, Sargam, Zamane Ko Dikhana Hai).
It is therefore incomprehensible that Ganesh Anantharaman, on page 179
of his book, says, "… the end of the Rafi era in 1969 saw the end of melody
in music for good measure." In fact, the 1970s attained a musical high with
Laxmikant Pyarelal and R D Burman reaching their peaks as composers. For
L-P, Rafi was a perennial favourite. RD had to use him for songs Kishore
could not do justice to. Interestingly, six pages later, the writer talks
about Rafi in a way that seems to contradict his observation about the end
of the Rafi era.
Page 179 is not an isolated example. The book has a liberal sprinkling of
contentious statements made with perplexing grandeur but offering little
justification to the reader. "Asked to choose between Manna's Sur Na Saje
and Rafi's Duniya Na Bhaaye, one is in no doubt that the latter is more
arresting, though Sur Na Saje is the better composition," says page 181.
Anantharaman explains the rationale for neither the "more arresting" nor the
"better". He perhaps expects the reader to take his word for it. The
constraint is that, at least to this reader, the writer is an unknown
commodity, certainly not in the league of someone whose word would be final.
One begins to wonder how Raju Bharatan, noted music critic, would have said
this. This reviewer does not know Bharatan personally but would expect him
to delve into the ragas and aroh and awaroh and each singer's handling of
them to back up his observation. Anantharaman, on the other hand, is high on
opinion but low on insight and perspective.
Reading this book, one cannot shake off the troublesome thought of what
might have been. Hindi film music (the writer prefers the term Bollywood) is
fodder for epics. In the beginning, there was no playback. Songs were
recorded during the shooting of the film as actors sang and musicians tried
to stay out of the range of the camera. Often, grains of rice were dropped
on a tin surface to create the sound of falling rain. *Compare that with
today's synthesiser, a small box that packs in all the sounds of the world,
and A R Rahman's way of recording, which cans just the voice of the singers
and fills music later. *
Unfortunately, this book covers this long journey in the manner of a sprint.
The first chapter packs several decades into just 18 pages. The result is
breathless narration, which is reminiscent of the first reel of the films
made in the 1970s and 1980s that showed the hero's childhood until he grew
up in one dramatic flash.
That growing-up scene never unfolds in this book, though it does lurk in
some of the pages — a line here, a line there, especially in the chapter on
music composers. There are bits about Naushad that raise the level of the
book. But the author's unexplained observations, such as the one dubbing the
great Madan Mohan a "luckless composer", peg it back.
The best aspects of the book are where the author withdraws: the interviews,
especially the one with Manna Dey. There is a heart-wrenching moment in
which Dey talks of Kishore's voice quality, something that is not possible
to cultivate through training. With a touch of helplessness, the redoubtable
singer recalls how his own voice seems to have something lacking when it
comes after Kishore's in Sholay's Ye Dosti. These were the things to build
on, for which Anantharaman needed to catch his breath, relax and write with
more feeling and passion.
--
regards,
Vithur
Whatever God wants to give, no one can deny; Whatever God wants to deny, no
one can give. Be happy always
