It will be more than three decades since the demise of Madan Mohan. It is ironical that the composer has been showered with encomiums after his death than during his lifetime. Thanks to his son Sanjeev Kohli, currently CEO at Yash Raj films for his constant endeavor in keeping alive the memories of the composer. As a part of this effort a CD has recently been released titled ‘Tere Bagair’ containing unreleased songs of Madan Mohan.
Madan Mohan started his career in the early fifties .Unlike Naushad and Shanker-Jaikishen who tasted success early in their career through ‘Rattan’(1944) and ‘Barsaat’(1949) respectively followed by a continuous succession of Silver Jubilees ,Madan Mohan was unlucky on this aspect. In an era where record sales and radio popularity were the benchmark of success for a composer, Madan Mohan has to be contented with nondescript and unsuccessful films. It was more so in the fifties wherein the legendary composer gave Music for forty and odd films.
However, this is the period which has been the least discussed with the focus being given to the Composer’s music of 60’s and 70’s.But by that time Madan Mohan has evolved into a stylized composer earning the epithet of ‘King of Ghazals’ which stifled his style in contrast to his songs from 50’s which included a wide variety starting from frothy numbers to Ghazals which is a requirement for Hindi movies.
His first film released in 1950 ‘Ankhen’ however did not featured Lata, rather the sweet number ‘More Atariya pe kaga bole’ has been done justice by Meena Kapoor. Mukesh sang for the melancholic ‘Prit lagake humne’ in this Bharat Bhusan-Nalini Jaywant starrer. His second film ‘Ada’ released in 1951 introduced Lata in his compositions. ‘Saanwaree Soorat Man Bhaaee Re Piyaa’ and ‘Preetam Meree Duniyae Mein Do Din To Rahe Hote’are the numbers where Lata weaves the magic. The dipped-in-honey voice of Lata combined with the brilliance of the compositions is to be endeared forever. The film also had a Ghazal by Talat ‘Jise Dil Mein Basaanaa Chaahaa Thaa’ penned by Behzad Lucknavi a renowned name in Urdu poetry .Talat went to render many memorable numbers under the baton of Madan Mohan in the years to come.
Meena kumari starrer ‘Madhosh’ released in 1951 saw the emergence of Lata-Madan combination in full swing. All the five Lata numbers are a delight presenting a whole spectrum of emotions. The notables are ‘Mere Dil Kee Nagariyaa Mein Aanaa Na Aa Ke Jaanaa Balam Pardesiyaa’/ ‘Chhod Mujhe Na Jaanaa, Dil Ko Na Mere Dukhaanaa’/ ‘Jab Aanewaale Aate Hain Phir’. Talat on the other hand sang one of his best numbers for the film ‘Meree Yaad Mein Tum Na Aansoo Bahaanaa, Na Jee Ko Jalaanaa’.Coming to lyrics Madan Mohan settled for nothing but for the best in poetry and aesthetics. Raja Mehdi Ali Khan and Rajinder Krishen were his favorite.
Next notable composition that came in his way was the Raj-Nargis starrer ‘Aashiana’.Unfortunately the movie fared badly and the efforts went unnoticed. The songs however left an indelible mark for its perfect compositions to be treasured. Rajinder Krishen was the lyricist. Again Talat was fortunate for getting to sing these two all time favorites – ‘Meraa Qaraar Le Jaa, Mujhe Beqaraar Kar Jaa, Dam Bhar To Pyaar Kar Jaa’/ ‘Main Paagal Meraa Manavaa Paagal, Paagal Meree Preet Re’. Lata’s ‘Mere Piyaa Se Koee Jaa Ke Kah De Jeevan Kaa Sahaaraa Teree Yaad Hai’/ ‘Tum Chaand Ke Saath Chale Aao Ye Raat Suhaanee Ho Jaaye’ bore the inimitable stamp of Madan Mohan.
In the early fifties Madan Mohan gave Music to films as Shabistan/Khubsurat/Chacha Chowdhury/Nirmohi/Ehsaan/Mastana/Baaghi etc. but without any commercial success. But the spark of the genius was embedded in his compositions to be discovered. Lata’s ‘Dukhiyaare Nainaa Dhoondhe Piyaa Ko’/ ‘Yeh Kahe Chaandnee Raat Sunaa Do Apne Dil Kee Baat’ from Nirmohi(1952) and Majrooh’s ‘Hamaare Baad Ab Mehafil Mein Afsaane Bayaan Honge, Bahaarein Hamko Dhoondengi’ from ‘Baaghi’ are the heart-stoppers. This number from ‘Baaghi’ has been used frequently as oeuvre for the composer in later times. (Contd...)
