Nasir's Eclectic Blog: 1003. Rafi's Romantic Song: aaj kii raat baRii sho...

Nasir's Eclectic Blog: 1003. Rafi's Romantic Song: aaj kii raat baRii sho...: Movie: NAYI UMAR KI NAYI FASAL (1965) Maiden release at Swastik Cinema, Bombay. Music: Roshan Lyrics: Neeraj Rafi’s Romant...

DID SOME MALE SINGERS COMPLAIN AGAINST MOHAMMED RAFI?

This was an impromptu letter I shot back to a FB Group Member  in response to the latter’s  assertions  regarding  Rafi Sahaab’s lean period  and to the statement, unbelievable as it may sound,  that a couple of  male playback singers made complaints  to the Playback Singers Assocation in   Nineteen Sixties alleging certain re-recording of their songs.  I thought it was worth publishing  on this Blog:

"Dear (name withheld):

With due respect and very briefly,  since you were or are on the inside, we would like to know: Was the Playback Singers Association established to protect a singer’s interest? What was the year of its establishment and when was it dismantled, if at all.   Was it established keeping the Royalty issue in view?   

As you know, between 1950 and 1970, Rafi was the most sought after singer in Bollywood, and  at the zenith of his career during 1960-1968.  Therefore, this must have definitely invited professional rivalries against him.   One such episode was the Rafi-Lata tiff over Royalty issue.      Lata Mangeshkar wanted Rafi to back her in demanding a half-share from the five percent song royalty that the film's producer conceded to select composers.  But Rafi Sahaab believed that a playback singer's claim on the filmmaker ended with the payment of agreed fee for the song.  It is not surprising therefore that he must have found himself all alone at one end, with the rest of the singers  backing   Lata Mangeshkar   since money was at stake.   When Lata Mangeshkar  chose to stop singing with Mohammed Rafi  then the  Music Directors,  who wanted Mohammed Rafi , had to get Suman Kalyanpur  and Asha Bhonsle for the duets (Check out the earliest April Fool and Leader, for example, both 1964 films).     We know that Rafi Sahaab never hankered after money or wealth.  He simply did not want anything over what the Music Directors paid him.  In fact, it is well-known that he never even  asked  what he was going to be paid for a song.  Apart from waiving off payments, he even helped producers financially. He’d help out the needy. He always gave without thinking of the returns.  If a producer was in a tight spot,  Rafi Sahaab   wouldn’t accept any money from him.  He was a God fearing man. He felt he was an instrument through whom God was singing."   [There are many instances of his philanthrophy and altruism which have already mentioned in several articles in this Blog.]

"You stated that it  is on record of the association that Mohd Rafi was twice warned in the General Body Meeting (GBM) not to do such re-recordings in future as the complaint was made by the singers Mahendra Kapoor and Talat Mehmood.  We would like to know what were those songs.  Again, how do we know whether  the concerned Music Director or Producer had apprized Rafi Sahaab of any such previous recording?  How can we be sure that the MD had not done a live recording?  As against this we have the history of Rafi Sahaab picking up Manhas Udhas from the Chorus and granting him opportunity for independent playback as it happened during RAJA SAAB (Kisi Mehrbaan kee nazar dhoondhte hain..) Or maintaining the dubbing of Anwar for his song in Mere Gharib Nawaz (Qasme.n hamm apnee jaan kee…).  Whenever he was extra busy, Rafi Sahaab would ask the producer to give the song to another singer and we just came across some evidence here in FB through Manasji  that MD Ravi confided to him during a show in Calcutta (2005) that Rafi Sahaab had asked him to give the HUMRAAZ (1966) songs to Mahendra Kapoor.   If such occasions arose then it should have arisen in case of PALKI, (1967) when the leading man Rajendra Kumar insisted upon Rafi Sahaab for the playback against Talat Saab.  This was the moment of embarrassments for Rafi Sahaab especially since Naushad Saab wanted him to speak over with Talat Saab who relented.  We don’t know whether Talat Saab had complained.  Then, why no complaint was lodged when Actor Manoj Kumar insisted upon Mahendra Kapoor giving the playback for Kaisee haseen raat aaj bahaaron kee raat hai – which is a duet with Rafi Sahaab who playbacked for Dilip Kumar?  Talat Saab had to remain satisfied  with the audio version only.  It is surprising to believe you when you say that Mahendra Kapoor had complained  against Rafi Sahaab whom, as we all know,  he acknowledged as his Guru and mentor!   As for the much earlier BHABHI (1957) song, Chal u.d jaa re panchee, it  was a background version and perhaps for that reason Chitragupt had the Talat version.  But it appears that Producer’s choice to have the version of Rafi Sahaab for the background version as well along with the Chali Chali re Patang meree…and Jawaan ho yaa Budhiya. 

"By 1970, the older   stars such as Dilip, Shammi, Rajendra Kumar and others were fading out.  Dev switched to Kishore Kumar for almost ten years or so, except for Gambler, Prem Pujari and Man Pasand (MEETHA MEETHA BOLO).  In 1970 onwards, Rafi Sahaab was engrossed in religious duties such as performance of Haj whereafter he voluntarily cut down his recording sessions and even shifted  to London.  Naturally this fuelled the myth of his “decline”.   There were other bitter things that cannot be told frankly here, except that JHUMRI TALAYYA became a centre for  the manipulated “Farmaish”.     Naushad Saab chastised Rafi Sahaab saying, `Is there any male singer today, who’s even a fraction as good as you are? You still have the ability to beat the daylights out of all of them’.  At the peak of the Kishore wave in the seventies O.P. Nayyar was quoted as saying. ‘How I wish I had just one film in hand to settle all this nonsense, they’re talking about Rafi. Always remember one thing.  That if there had been no Rafi, there would have been no Nayyar’.  The Thespian Dilip Kumar has gone on record to say that Rafi Sahaab was not at all insecure during those days.  Lata Mangeshkar herself recently stated that it was wrong to say that Kishore Kumar had overtaken Rafi Bhaiya who, according to her, was the greatest playback singer and a wonderful person.

"Otherwise, too, the mammoth myth of Rafi Sahaab's lean phase was amply exposed by a prestigious Indian weekly magazine named SCREEN in one of their publications: "The reduction in Rafi’s visit to the recording studios did not necessarily imply that Rafi was down. And ironically it was the high quantum of Rafi’s song in the pre-Aradhana phase that helped to fuel this myth. In actual fact it was during 1971-76 period that Rafi’s standing almost paralleled Mukesh’s.  For Rafi had greater than ever percentage of hits…” The weekly goes on to emphatically state how Rafi Sahaab’s impact gave a permanent place in Bollywood musicals to even smaller composers during that period.  It concluded triumphantly: 'Rafi and down? Haven’t we heard that titans go down only in history!' 

"Once Rafi Sahaab was persuaded by his own family members, he came back with a bang.  From 1970-1976, Rafi's output was less, but he sang many hit songs during this period. Some of his hit songs in early 1970s were with music directors like L-P, Madan Mohan, R. D. Burman and S. D. Burman. Some of Rafi's popular songs from this period include Gulabi Aankhen from The Train; Jhilmil Sitaron ka from Jeevan Mrityu; Yeh Duniya Yeh Mehfil from Heer Ranjha (1970), Chura Liya Hain Tumne from Yaadon Ki Baarat, Yeh Jo Chilman Hai and Itna to Yaad Hai Mujhe from Mehboob Ki Mehndi, Tum Jo Mil Gaye Ho from Hanste Zakhm;  Aaj Mausam bada Beimaan hai from Loafer (1973).   In 1974, he won the Film World magazine Best Singer Award for the song Teree Galiyon Mein Na Rakhenge Qadam (Hawas),   composed by Usha Khanna.  

"Post Laila Majnu (1976), many music-directors  sought out Rafi Sahaab.  The old faithfuls, Laxmikant-Pyarelal, had continued with Rafi Sahaab all along and were amply rewarded for their trust.  R.D. Burman came back to Rafi Sahaab in a big way with such movies as Balika Badhu, Chor Ho To Aisa, Hum Kisise Kam Nahin, Chandi Sona, Ghar, Devta, Shalimar, Phandebaaz, Kasme Vaade, Mukti, Naya Daur, Naukar, Abdullah, Shaan, Bulandi, Takkar, Phir Wohi Raat, Jal Mahal, The Burning Train, Heeralal Pannalal, Kaalia, Gehra Zakhm, Harjai, Jail Yatra, Daulat Ke Dushman, Ganga Meri Maa, Chameli Memsaab, Zamaane Ko Dikhana Hai, Biwi O Biwi, Aan Aur Shaan, Jaane Jaan (Nikamma), Shiva ka Insaaf, and Faisla. Rafi Sahaab's KYA HUA TERA WAADA  from Hum Kisise Kam Nahin won him the Filmfare Award as well as his second National Award in 1977.   Rafi did playback for Rishi Kapoor in films like Amar Akbar Anthony (1977), Sargam (1979) and Karz (1980). The qawwali Pardah Hai Pardah from Amar Akbar Anthony (1977) was a superhit. Rafi gave many other hit songs in late 1970s, notably for the films Laila Majnu (1976), The Burning Train (1977) Apnapan (1978), and Qurbani, Dostana, Abdullah (1980).  Thus, those who had come to scoff remained to pray. 

"Thereafter there was no turning back and we have mentioned before all those nominations of Filmfare Awards that this extraordinary singer was cited for. In 1980 three of his songs were nominated for the said Award. These songs were easily the best of the lot.   In 1980, the weekly Binaca Geet Mala programmes too reflected Rafi Sahaab's increasing popularity. For example, in the programme dated May 28, 1980 we had ten songs of Rafi Sahaab compared to the two of Kishore Kumar out of the total sixteen songs. Rafi Sahaab was all set to revive the glory of the early Sixties.  Rafi Sahaab gradually began over-taking Kishore Kumar and by 1980 he had clearly outstripped him in matters of sheer numbers and popularity.  According to an interview given by Nitin Mukesh sometimes after the Legend Rafi Sahaab had passed away, music directors were pursuing Rafi Sahaab to such an extent that at least the singers like Nitin could have been out of job for a number of years.  But it was the icy hand of death that snatched Rafi Sahaab away from our midst halting his triumphant march!"

Thus the letter ended. However, since there was no reply, it is safe to assume that it is possible that certain misunderstanding arose looking to the peculiar circumstances of those times.  But certainly there could have been no  complaint against the august personality of Rafi Sahaab and also looking to the high calibre of the alleged "complainants". 

NASIR

MOHAMMED RAFI'S SONGS CREATED THE DOSTI MANIA IN THE 1960s.

That it was Rafi Sahaab's Voice that led to the immortalization of the Bollywood movie, "Dosti", is only an under-statement.

Mohammad Rafi’s was a huge name when Laxmikant Pyarelal began their journey as music directors in 1963. Even then their musical venture, right from 1963 to 1965 atleast, was confined to the “B” grade movies such as Chaila Babu (late release 1965)), Parasmani, Harishchandra Taramati, Sati Savitri, Sant Gyaneshwar, Mr. X in Bombay, Lootera, Ham Sab Ustad Hain, and Aaya Toofan. The music of these films, however, is what makes the names of those movies appear in print today . The exception is the low-budget movie Dosti which was Rajshri Productions’ second Black and White movie.

Looking to the plot of Dosti, most of the music directors had rejected the assignment as they did not want to do anything with the story of friendship between a blind boy and a lame boy suffering life’s privations. The main roles were enacted by unknown faces and even the romantic lead, if it could be called as such, was provided by the tall, lean and handsome Sanjay Khan who was a rank newcomer and an unknown face. So it was music that was the source of strength for this movie. But then who could give life and expression to the efforts of Majrooh Sahaab and Laxmi-Pyare? Only Rafi Sahaab could do that. His was the only voice that looked natural to the known or unknown actors lip-syncing songs on the screen. Then those songs required "Soz" pathos as well as ebullience, plus the power to render high octave. The compositions of the songs were mostly in Raag Pahadi which were fine-tuned to appeal to the masses. All the songs were rendered by Rafi Sahaab, except one which was sung by Lata Mangeshkar:

-Chaahunga Main Tujhe Saanjh Savere... Mohammad Rafi

-Mera To Jo Bhi Qadam Hai.. Mohammad Rafi

-Koyi Jab Raah Na Paaye.. Mohammad Rafi

-Jaanewalo.n Zara Mud ke Dekho Mujhe... Mohammad Rafi

-Raahi Manwa Dukh Ki Chinta.. Mohammad Rafi

-Gudiya Hamm Se Roothi Rahogee .. Lata Mangeshkar


Rafi Sahaab’s magical rendition of the songs breathed life and spirit in the movie for without it, the movie would have just been a lifeless exercise in morality. Rafi Sahaab himself was so impressed with the songs that he refused to take any remuneration. However, to honour the dignity of the duo, he took just One Rupee as a token amount. To think of it, Laxmikant-Pyarelal had very nearly rejected the "Chaahonga Main Tujhe Saanjh Savere" number but for Rafi Sahaab. It was Rafi Sahaab who predicted the success of this song. He knew pretty well how a little more than a decade ago Naushad Sahaab had composed O Duniya Ke Rakhwaale...in Baiju Bawra. That song has been considered a landmark achievement in Rafi Sahaab's career. Thanks to the magical voice of Rafi Sahaab and his own touch of nuances to the lyrics, "Chaahoonga Main.." became the nation's craze fulfilling the prophecy of Rafi Sahaab. Laxmikant-Pyarelal won the Filmfare Award for Best Music Directors and Rafi Sahaab himself was awarded the Filmfare Lady for the Best Singer of 1964. Majrooh Sultanpuri won the Filmfare's Best Lyricist Award, while DOSTI was also awarded the Best Director, Best Film and Best Story Awards.   Incidentally, Dosti also won the President’s Award. 

Yes, the songs of Dosti sent the nation in tizzy. Luckily for most of us then, that was also the time when Juke Boxes had been installed in most of the restaurants in Bombay and as such were a great source of listening to the songs of one’s choice. In my many personal surveys, I used to sit with a cup of tea in a cosy corner of restaurants and watch every customer walking up to the juke box and selecting ALL Rafi Sahaab's Dosti songs almost to the exclusion of all other songs though that year we had amazing number of hit songs from other movies as well. In pure joy I used to witness the scene as the listeners in the cafe went into raptures on hearing those songs of Rafi Sahaab. We just couldn’t have enough!

It will be pleasant for Rafi Sahaab's admirers and fans to know that even the Dosti songs have spawned other singing legends in their own right. S.P. Balasubramanium, before he landed his career as a playback singer, always used to sing JAANE WAALON ZARAA MUD KE DEKHO MUJHE in various musical competition. It was the Telegu music director, Kondapani, who gave SPB the required break after hearing him sing this song. No doubt, then, that SPB considers Rafi Sahaab "The Ultimate."

This success of Dosti is to be viewed in juxtaposition with the following great musical movies of 1964: Sangam, Woh Kaun Thi, Leader, Kashmir ki Kali, Zindagi, Dooj Ka Chand, Sharabi, Beti Bete, Ghazal, Shabnam, Jahan Ara, April Fool, Aap ki Parchhaaiyaan, Door Gagan ki Chhaon mein, Kohra, Cha Cha Cha, Dulha Dulhan and Chitralekha to name just a few. Those who know the melodious songs of these pictures will realize how intense must have been the craze for Rafi Sahaab's Dosti songs. The only sad part to the episode was that Rafi Sahaab's "Yeh Mera Prem Patra Padh Kar..." which was from Sangam and easily the most romantic song of 1964 lost out in internecine competition.

"Dosti" had cemented the bond of friendship between Rafi Sahaab and Laxmi-Pyare in real life as well. The bond of respect and friendship between Rafi Sahaab and Laxmikant-Pyarelal grew day by day lasting till the great legendary Rafi Sahaab breathed his last on 31st July 1980. Even on this very day Rafi Sahaab had recorded his last song for Laxmikant-Pyarelal for a film called Aas Paas.

NASIR.

A SUFI IN BOLLYWOOD - 3

                   The moral of the Sufi is beneficence:


“….but never refuse to bless and help the needy and the poor,
the widow, and the orphan, if they come to your door.”
Khwaaja Moinuddin Chishty.

Rafi Sahaab could be called a great philanthropist because within the limited income from his playback singing career and despite the responsibility of his huge family and relatives, he donated substantial sums of money to the needy who were not necessarily poor but still deserving whether in the film industry or elsewhere.

Whenever some music directors approached him for help and a request that if he sang for them the film producer would hire them for his film, he always acceded to their requests. In order to preserve their moral integrity and also give a boost to their nascent career, he would nominally charge just a Rupee, and give them his blessings too. To top it, he always gave out his best renditions even when he was not paid at all. His song, Chanda kaa dil TooT gaya hai (KHOJ) for Music Director, Nisar Bazmi, who finally migrated to Pakistan in 1962 is a case in point. The truth is that if Rafi Sahaab had not have been generous or made “adjustments” in his fees, we would have missed many lovely songs that Rafi Sahaab sang for such Music Directors as Iqbal Qureshi in CHA CHA CHA (Subha naa Aayee); Sonik-Omi (of Dil ne Phir Yaad Kiya fame) in MAHUA (the thundering Donon ne kiyaa thaah pyaar magar); Dulal Sen for in BLACK PRINCE (Nigaahen naa phero chale jaayenge hamm ); Lala-Assad-Sattar in SANGRAM (Main toh tere haseen Khayaalon me.n ); Sardar Malik in BACHPAN (Mujhe tumse mohabbat hai); G.S. Kohli in ADVENTURES OF ROBIN HOOD (Maanaa mere haseen sanam): C. Arjun in MAIN AUR MERA BHAI (O Gori zulm kare zulf ka bikhar jaana); or in PUNARMILAN the song filmed on Jagdeep as the hero (Paas baiTho tabiyat bahal jaayegee); Pandit Shivram in OONCHI HAVELI (Daulat ke jhooThe nashe mein ho choor); Babul in NAQLI NAWAB (Tum poochhte ho ishq bala hai ke nahin hai; and Chhedaa jo dil kaa fasaana); and for his colleague Bipin Datta whom Rafi Sahaab helped produce KYA YEH BAMBAI HAI and also sang for him the cruising waltz of Yeh bambai shahar ka baDaa naam hai par gaDbaD  ghoTaale kaa har kaam hai... filmed on comedian Maruti (father of Guddi Maruti); Prem Dhawan in Pavitra Paapi (Allah hi Allah kar pyaare bhayy ); Sapan-Jagmohan’s maiden musical venture in BEGAANA (Phir voh bhuli si yaad aayee hai) and in TERI TALASH MEIN (Teri aawaaz ki jaadugaree se).

Regarding the last-named song above, an interesting anecdote was related by Sapan-Jagmohan over the Vividh Bharati Radio Station. The musical duo wanted to record a song in a male voice but definitely not in Rafi’s since they knew that the producer would not be able to afford the Legend’s fees. On the other hand, the producer being a die-hard fan of Rafi Sahaab told them that he would be able to arrange the money for Rafi Sahaab. So they scheduled a recording session for Rafi Sahaab who promptly attended the studio in time. However, the worried look on the faces of the producer and the musical duo told Rafi Sahaab that something was amiss with the team. On enquiry he learnt that the producer had not been able to arrange for his payment. Had there been anyone else in place of Rafi Sahaab he would have there and then gone away.  But not Rafi Sahaab!  The saint that he was, he put the entire team at ease and recorded the song giving out his best as usual.  He left wishing them all the best. No one remembers the movie but only the song.  Such was the “Jaadugaree” of his voice and generosity.

According to Pyarelal, Rafi Sahaab was the only singer who never took money for the first song that he recorded for a new composer. It is known that Rafi Sahaab did not charge Laxmikant-Pyarelal for their maiden venture CHHAILA BABU (1960)(Tere pyaar me.n mujhe Gham milaa) and for PARASMANI that was released first (1963). Even for DOSTI (1964), he had just a token payment. The musical duo acknowledged that “Har dukh mein Rafi Sahaab ne hamaaraa saath diyaa.”

Now, unlike others, Rafi Sahaab would go for the recording at the appointed time or even before, so that producers may not be saddled with extra costs. After the job was done he would go back home without ensuring that his fees had been paid or not. A film-producer knew this habit of Rafi Sahaab. So when the song recording was over, the producer absconded without paying or even saying thank you. Once it so happened that one day the producer found himself in the same studio as Rafi Sahaab. He tried to flee. However, the generous soul that he was, Rafi Sahaab asked him to take it easy. He told him not to worry since there were many others in line before him, who had yet to pay him. Rafi Sahaab, in fact, used to “forget” if someone owed him money.

It also happened that when some such film producers paid him the fees he returned the same to them as gifts for their children. Once after finishing the recording of a song Rafi Sahaab came out of the studio and made his way towards his car. There he found the producer standing by the car. He had kept the money wrapped in a handkerchief. He handed it over the bundle to Rafi Sahaab. Rafi Sahaab found the handkerchief contained soiled and crumpled notes of various lower denominations. Rafi Sahaab understood that the producer had collected the money from various sources in order to pay him. Acknowledging the payment which was not even half of what the producer had promised him, he handed it back to the producer.  Rafi Sahaab told him that he should consider it as a gift from him for his children. It is difficult to say whether the film-producer was more astonished or more grateful - or both!

Of course, as far as the commercial film-makers were concerned, they could afford to pay his price and Rafi Sahaab did insist on the payment from them. However, money was not the criterion for him to accept any movie. Once C.V. Nagaiah, the famous personality of the Telegu films, invited Rafi Sahaab to sing in his new venture BHAKTA RAMADASU which had been considerably delayed for want of funds since Mr. Nagaiah's benevolence had been selfishly exploited by unscrupoulous people.   Rafi Sahaab recorded the song Dil ko hamaare darshan dena that was to be picturised for the character of Kabir in the film. Considering the background, he refused to take the payment. Instead, he selflessly asked Mr. Nagaiah whether he needed any financial help for completion of his movie. Rafi Sahaab had known Mr. Nagaiah only cursorily through the Hindi screen version of MEERA and yet he took the pains to travel down South at his cost with the aim of helping out Mr. Nagaiah.

As the yester-year’s popular Bollywood hero, Jeetendra, stated during the recent launch of the Rafi Academy in Mumbai, Rafi Sahaab sang hundreds of songs free for film producers who were not able to pay him money. Accompanying Jeetendra on that occasion was Rakesh Roshan, and this reminds me that the latter had started out as actor and then graduated as producer-director. For his AAP KE DEEWAANE, Rafi Sahaab sang the title song for free just because he himself liked the song and it was a one liner anyway. How many singers would do that?  Thus it was that Rafi Sahaab helped film producers and upcoming music directors who could not afford even his reasonable fees.

At this juncture, it is also essential to apprise the dear readers that it is not that all such producers are innocent of mal-practices.  It is a well-known fact that some of them deliberately delay payments to the staff and artistes so that if the movie flops, they can wash their hands off,  citing the loss.  Of course, this can never be the ground for not paying the artistes but this is being done.  Mohammed Rafi Sahaab definitely knew about all this hanky-panky business.  However, he never worried on that account because he was happy when someone succeeded and was grieved when someone suffered a loss.   A concrete example can be cited:  Everyone remembers HUMSAYA (1968) for Rafi Sahaab's soulful song:  Dil kee aawaaz bhee sun.  Joy Mukherjee was the producer and director and also the movie's hero along with Mala Sinha and Sharmila Tagore as his heroines.  I remember that the movie was premiered at the Maratha Mandir Cinema.  Despite the lilting compositions  of O.P. Nayyar the movie bombed at the box-office.  Joy Mukherjee was devastated.   When this news reached Rafi Sahaab he at once met Joy and handed him an envelope that contained Ten Thousand Rupees that he had received as his fees.   Joy was reluctant to accept it.  Seeing his reluctance, Rafi Sahaab sang: Dil kee aawaaz bhee sun to him.  Hearing this, Joy couldn't refuse Rafi Sahaab!    Now how many singers or artistes can go to that extent in this dog eat dog world!

Rafi Sahaab’s beneficence is also borne out by the fact that he did not charge for the songs in case the movie was produced by a colleague such as Kishore Kumar. For his songs in CHALTI KA NAAM ZINDAGI, (Band muTThee laaakh kee) released 1981, he just charged One Rupee.

Then, who does not remember, Madhuban mein radhika naache re (Kohinoor – 1960)!  When Rafi Sahaab heard the tune that Naushad Saab had composed in Raga Hamir, Rafi Sahaab got so much carried away that he only took a token-payment of One Rupee for his masterly rendition. He let go of the bet amount that he won from S.U. Sunny, the film producer who initially wanted to delete this number but retained it after Rafi Sahaab predicted the thundering success of the song.

Similarly, he refused to take money from Naushad Saab for recording the ghazal, Jis raat ke Khwaab aaye (in the unreleased HABBA KHATUN). Incidentally, this was his last work with Naushad Saab for soon thereafter, Rafi Sahaab was no more. Naushad Saab recounts that after hearing the composition in Raga Patdip Rafi Sahaab began to weep. He had liked it immensely. After the recording of the song, he started to weep again out of the sheer impact of the ghazal. When Naushad Sahaab insisted to pay him, Rafi Sahaab refused saying that the joy that he had derived from singing the ghazal was much more than what the money could give him. He went away saying: “Main paise naheen loonga, main paise naheen loonga…”

Music Director Anu Malik (son of Sardar Malik of SARANGA fame) remembers Rafi Sahaab as the kindest human being he ever knew and as the “Giving Person” who often refused to accept money.

There are also instances when he left huge sums of money in his bag for the benefit of some older singers who had fallen on bad days, without even letting them know about it. At times he recommended them to music directors. He also encouraged new talents without bothering in the least that they would be a competition for him.  But this merits a topic by itself and is not being dealt here. 

Rafi Sahaab would distribute sweets after every recording session and would also ask the musicians if they needed anything. This scene was witnessed and committed to memory by at least one person who had attended the recording of the Rafi-Manna Dey duet in ABHILASHA:  Ek jaanib shamme mahfil. While his colleague had gone away after the recording, Rafi Sahaab spent lots of time with the musicians,  asking them if they needed any help.

Rafi Sahaab never publicized his charity. He used to mail cheques to the deserving lots of filmy people regularly without mentioning his name or address. The veil of secrecy was lifted only after Rafi Sahaab went to meet his Lord. When the cheques stopped coming, the beneficiaries realized that it was Mohammed Rafi Sahaab who had been helping them monetarily by sending them the cheques down the years. Additionally, every month a queue of the needy people formed outside his house. Rafi Sahaab would then hand over Rupees 100 or Two-Hundred to the people without bothering for their names.

During the holy month of Ramadan, it was usual for Rafi Sahaab to pay the Zakaat (i.e. compulsory tithe of two and a half percent of the income) annually to the deserving and the needy. Packets of money were prepared in advance of this month and the names or a designated numbers of each of the hundreds of the recipients were written down on the packet in order to ensure that none was left out. The packet would be given to the recipients when they gave out their names and numbers. The distributor of Rafi Sahaab’s zakaat generally happened to be his Secretary, Zaheer, who was also his brother-in-law. There was no pomp or show and no hassle.

Rafi Sahaab’s was well-known for his munificence even to the ordinary folks in the vicinity and other cities. They knew that if anyone approached him, he would give them the needed assistance. There was this lady from Hyderabad who was related to Fazal Nawaz Khan Jung Bahudur (d.1964), the Finance Minister of the erstwhile Nizam’s Hyderabad. She had the cancer of thyroid and came down to Mumbai for surgery at the J.J. Hospital. She went from door to door of film personalities and businessmen for financial assistance. When she approached Rafi Sahaab, the latter donated Rupees Ten Thousand without bothering to ask for any receipt. This was the highest amount she had received from any individual. This was in the early Seventies – the so-called “lean period” of Mohammed Rafi Sahaab. Remember that as we near the year 2011 in two weeks’ time, the sum of Ten Thousand Rupees can still be considered as a substantial amount for charity. Then, it is also a well-known fact that it was Rafi Sahaab who was the first person who had got dialysis equipment imported from abroad for donation to the Bombay Hospital for the kidney- patients.

Next, I may briefly point out that there was this man who had four daughters. How he, a total stranger, approached Rafi Sahaab for monetarily help and how Rafi Sahaab gave him money for getting not one but all his four daughters married goes to prove beyond the pale of doubt that he was a man with a golden heart, and a “Sakhi Hatim”.  Rafi Sahaab had told the man that he should not reveal the matter to anyone.  However, that grateful man revealed this fact only after the passing away of Rafi Sahaab. (For details please see the Philanthropic Side of Rafi – Part 1 in this Blog at http://tinyurl.com/3yc7bjm)

Rafi Sahaab also used to give something more: Anup Jalota remembers Rafi Sahaab teaching him how to maintain his posture before the microphone and how he should throw his voice into it. As such Anup Jalota also learnt to make distinct pronunciation of each of the words that he sang. To his ardent fan, Mahendra Kapoor who used to copy Rafi Sahaab’s singing style and even the way he talked, walked and dressed, Rafi Sahaab advised him to learn classical training and forge his way ahead with original singing voice. Even Bhupinder benefitted from Rafi Sahaab during the recording sessions of Haqeeqat. Rafi Sahaab introduced Mahendra Kapoor to the Chopras, while he instructed Kalyanji of Kalyanji-Anandji musical duo to remove Manhar Udhas from the chorus singing while recording Kisi mehrbaan ki nazar DhoonDhte hain (RAJA SAAB), to the latter’s shock. He, however, felt relieved to learn from Kalyanji that Rafi Sahaab had recommended him as a full-fledged playback singer.  In fact, extra lyrics were written to the same song to accommodate the solo rendition of Manhar Udhas whose career saw a rising graph. Mubarak Begum recollects how accommodating Rafi Sahaab was! Though it was in 1963 that their duet, Mujh ko apne gale lagaa lo (HAMRAHI) became famous, a decade earlier when they were recording a DAERA song, Devta tum ho meraa sahaaraa, she couldn’t match Rafi Sahaab’s pitch and requested him to lower it, which he willingly did. Nitin Mukesh recently disclosed that his dad, the legendary playback singer Mukesh, had advised him: “Tuu Rafi ke gaane gaa. Gaanaa seekhna hai, Gaane waala banna hai, achchaa Gulukaar banna hai, Mohammed Rafi ke gaane gaa.” He adds that his father was right! According to Yesudas, "Studying Mohammed Rafi can help a budding singer more than any textbook on music can do."

There are too many such incidents, but all of them cannot be recounted here. Many we would never know. Thus Rafi Sahaab essentially practised the morality of Sufism.

To conclude, Rafi Sahaab was a God-fearing man who maintained an impeccable conduct and behavior in his dealings with God and man. He was of a spotless character and free from anger, lust, greed, and egotism. Simple living and high thinking were natural to him. What emerges unequivocally is that Rafi Sahaab was sensitive and full of feelings for others. He had the betterment of others at heart. He was generous to a fault and considerate towards every person he came in contact with. He was active in rendering help whether in cash or kind to the people around him and even to the total strangers. Expecting no returns for his favours , he remained as humble as ever to the last despite his legendary status of the most revered and greatest playback singer in the Indian sub-continent. Indeed, wherever he went his presence brought a whiff of fresh morning breeze even to the dark pockets of the filmdom, serving them as a role-model, so that the people benefitted from his association, altruism, philanthropy, charities, and devotion to work.

Indeed, Mohammed Rafi Sahaab was a true Sufi who graced the Indian film industry called Bollywood.

CONCLUDED

NASIR

A SUFI IN BOLLYWOOD - 2

The charm of Sufi is his humility!


The servants of the All-Merciful are those who walk on the earth in modesty, and if the impudent offend them, they continue their way saying: “Peace” (Qur’an: 25:63)

This one is a very well-known trait of Rafi Sahaab. According to Rafi Sahaab, humility is a must for one to be successful in any field. He took care never to hurt someone’s feelings for whoever does that will never be successful in life:
“Hamne kisi ka dil dukhaayaa naheen. Jo kisika dil dukhaata hai voh zindagi mein kabhi tarakki naheen kar saktaa.”

As Pyarelal of the Laxmikant-Pyarelal duo stated, Rafi Sahaab always looked down while talking and no matter with whom he talked he did so in the same tone. I must make it clear for the western readers that keeping the eyes lowered is a sign of humility and a great virtue recommended by the Holy Quran. For him everybody was the same. “He was the ‘Farishta’.” Once after he had recorded Woh jab yaad aaye (Parasmani), both Laxmikant and Pyarelal touched his feet. Rafi Sahaab told them he does not sing well out of his own volition but that Allah makes him sing well.

Rafi Sahaab’s voice has been called the “Voice of God” by his fans. For some his voice was a miracle; for some it was magic. Easily, he was the most mellifluous playback singer in the film industry with a voice that could move mountains. The powerhouse of his voice was such that he could easily sing in three octaves without veering out of control. As Naushad Saab stated, even after scaling highest notes he would stay at that peak without shaking his voice, remaining firm there. He was also the most versatile singer. His repertoire included the peppy and energetic songs, Rock ‘N’ Roll numbers, romantic and sad songs, lullabies, ‘bidai’ songs, ‘Heer’, folk-songs, semi-classicals, ghazals and nazms, bacchanalian songs, patriotic songs, devotional songs including bhajans, shabads, bhangras, naats, munajaats, and qawwalis and what not! He could sing in many Indian languages, including Urdu, Hindi, Marathi, Bengali, Punjabi, Kannada, Telugu, Bhojpuri, Assamese, Konkani and even English. He won 23 Filmfare nominations and won 6 times. Of course, if the Awards for singing had been constituted earlier than 1959, he would have won many more awards. He won three Bengal Film Journalists’ Association Awards, each in 1957, 1965 and 1966. He won the National Award twice, one in 1968 and the other in 1977. Though he deserved better, in 1965 he condescended to accept the Padma Shri Award from the Government of India. As early as 1948, he had won a Silver Medal that was handed to him by Jawaharlal Nehru, the first Prime Minister of the newly independent India,. In 2001, he was posthumously honoured as the Best Singer of the Milleneum by Hero Honda and Stardust film magazine. However, as has been stated before, Rafi Sahaab attributed the magic of his voice to God. Therein lies his true humility which is one of the characteristics of a real Sufi.

In the film industry we do come across instances of humility but mostly they are phoney or cultivated with the aim of satisfying personal interest. Once the interest is served then the do-gooder is forgotten. Here, one can cite the big names in Bollywood by way of examples but we won’t. Rafi Sahaab’s humility was such that he gave respects not only to the seniors but also to the juniors. He was eager to learn and despite his immense knowledge of songs and music and his stature in Bollywood, he considered the music director whose songs he sang as his Guru.

For example, during the Dil Deke Dekho days, Usha Khanna, who had made her debut as music director with this movie, fought shy to suggest some nuances to Rafi Sahaab in certain song. How could she! She was just two years old when from 1944 to 1959, i.e. when that movie was released, Rafi Sahaab had sung songs the number of which was more than combined number of songs of all the other male singers during the period. However, Rafi Sahaab put her at ease by telling her that she had not learnt the song from him but that he had learnt the song from her. Now, how many famous people can crush their ego to such an extent, and that too, before a novice? Hardly! That was Rafi Sahaab.

This had happened earlier too with Shankar-Jaikishan who had made their debut in Barsaat (1949). The young Rafi had already made waves post Saigal-Age, when he went on the spree of matching his voice to the cinematic content, reaching the perfection in the Nineteen Sixties. He, along with Suraiya, was a hot favourite of their Gurus, the first musical duo, Husnlal-Bhagatram. Rafi Sahaab told the debutants that they were the composers and he would sing their composition the way they wanted. Hence, Main zindagi mein hardam rotaa he rahaa hoon was recorded. The trio of Rafi-Shankar-Jaikishan was to rule the Bollywood music for two decades and bring a romantic flamboyance to the way the music was composed.

In regard to money matters, Rafi Sahaab gave donations or charities through his Secretary as we shall see later. Naushad Saab, the ace music director once asked him why he did so. The answer he received from Rafi Sahaab was typical of a saintly humility: “Main denewaaale kaun hoon? Denewaalaa to Allah hai.” (i.e. Who am I to give? The Giver is God). Thus he did not assign charity to himself but to God. He believed in the deed – not in Glory.

It is interesting to note that it was the humility of Rafi Sahaab that made the mega-star Amitabh Bachchan bow down with respect and touch the feet of the singing legend. This happened before the recording of the Rafi-Amitabh duet, Chal mere bhai, for Naseeb (1980). A day before Laxmikant-Pyarelal , the music directors for Naseeb, told Amitabh Bachchan that Rafi Sahaab was very punctual and therefore he should report for recording on time. The next day both Rafi Sahaab and Amitabh Bachchan reported at almost the same time at 12.30 p.m. Rafi Sahaab noticed that Amitabh was shaky and his eyes were bloodshot.  On asking him the reason, Amitabh revealed that he had been listening to Rafi Sahaab’s voice from the time he was ten years old. And now that he was scheduled to sing with him he had spent a sleepless night. Hearing this Rafi Sahaab laughed. He let him into his own secret. He told Amitabh that he too had spent a sleepless night thinking that he will be singing with a much taller superstar. Amitabh Bachchan was deeply touched by the answer of Rafi Sahaab and he spontaneously bowed down to touch Rafi Sahaab’s feet for blessings.

In an interview of Amitabh Bachchan by Rahul Bajaj on Sahara TV Channel of 20th August, 2007 the former was asked to say something about Rafi Sahaab. Speaking about Rafi Sahaab, Amitabh Bachchan said:

"Rafi Sahaab bahut hee sajjan insaan theh, itna sajjan insaan maine aaj tak naheen dekhaa.”

He then went on to narrate an incident where he was on a tour for two days. Rafi Sahaab was the main attraction and he was to sing on Day One. Another singer was to sing on Day Two. After finishing his assignment on the first day, Rafi Sahaab left for the airport. In the meantime, to their shock, word reached them that the other singer was not coming. This would have definitely marred the show on Day Two. They were nervous. They dashed to the airport only to learn that Rafi Sahaab had already boarded the plane. They were granted the permission by the authorities to emplane and speak to Rafi Sahaab for a few seconds. They informed Rafi Sahaab about their predicament. After hearing them out, Rafi Sahaab did not utter a word. Without any fuss he simply got up and disembarked from the plane. Such was the grace and personality of Rafi Sahaab. After narrating this incident Amitabh added: “And on the top of this, what a voice! What a singer!”

Amin Sayani, the very popular compere and radio-host of yesteryears pointed out the sense of justice and quality of Rafi Sahaab. If he travelled with the artistes or troupe, he would insist on sitting with them in the economy class, rather than choose the luxury of the executive class. He followed the same trend of lodging in the same hotel as them.

Film star Nanda too fondly recalls her recording stint with Rafi Sahaab. This was for Jab Jab Phool Khile (1965) and the song was Ek thaah gul aur ek theeh bulbul. The readers will remember that the song contains laughter and certain utterances of Nanda. Someone introduced her to Rafi Sahaab as “Baby Nanda.” We know that she began her career as a child artiste in her father’s home production, Mandir, and the word “Baby” continued to be tagged after her name despite her attaining the womanhood and stardom. Babies grow up but the habit dies hard and we cine-goers used to continually call her as Baby Nanda. This was also the case with “Baby” Naaz. Anyway, she was a great fan of Rafi Sahaab and told him so. Instantly, Rafi Sahaab too said that he was a great fan of hers. According to Nanda, “I couldn’t believe it. I was flabbergasted. It was the biggest compliment of my life!”

Next, an incident was narrated to a friend of mine by an eye-witness which does proud to the word, Humility, itself:  During a concert at Calcutta some four decades ago, this person heard an eminent playback singer shouting that “If you have Rafi for the show, why bring me in!” Later that person  followed the singer to the Green-Room where he saw that singer having a cup of tea.  In walked Rafi Sahaab for tea.  When a cuppa was brought to him, he ignored it. Instead, he  just picked up the cup of that singer who had been sipping tea from it.  Putting that cup of to his lips he began to sip tea saying: Perhaps, I will get the ‘Sur’ (note of the musical scale) by drinking the remainder of the tea (‘jhuThaa’)from this cup!”  On hearing what Rafi Sahaab said, tears welled up in the eyes of the singer for he was a good man at heart.  From that onwards he himself became a great fan of Rafi Sahaab.

Lata Mangeshkar, the Nightingle of Indian Melodies, while paying him a tribute on the occasion of his 30th death anniversary, stated: “"Rafi bhaiya was not only India's greatest playback singer but also a wonderful person. I am yet to come across another artist so modest, dignified and unassuming.”

According to Thespian Dilip Kumar: “Is shakhs me.n kabhee ahankaar kee, naa ghamand kee, koee boo baas nahee.n theeh. Kabhee kisee ne Mohammed Rafi Sahaab ko kisee par naaraaz hote nahee.n dekhaa naa koee baat sunee….”

To conclude.

NASIR

A SUFI IN BOLLYWOOD -1

His Inner Nobility and Spiritual Awareness:

A Humble Tribute by Nasir Ali: 

 When we speak of Sufi or Sufism we are faced with a formidable gamut of religion and philosophy that has come down to us for centuries either in the form of writings of scholars and/or the ascetic practices of sages and saints in the sub-continent of India and elsewhere. Sufi is a God-fearing person who not only worships his Creator but also serves the mankind, carrying on his vocation with a sense of worship and devotion without obstructing or manipulating his fellow-creatures. We don’t want to go into the origin of Sufism and examine its religio-philosophical aspects. Suffice it to say that the aim of the Sufi is to spread peace, love and happiness in his environment and among all the creatures for the sake of pleasing that Supreme Creator who is known as Allah, God, or Ishwar . Thus a Sufi is shorn of all the negative traits that act contrary to divine love and command but which are usually common among us –the ordinary human beings. The spirit of Sufism has to be reflected in the personal character and the day to day activities in relation to God and the human beings.

As for Bollywood, it is not just glamour, glory and grandeur. To a greater extent, it is known for such evils as vulgarity, gossiping, bitching, unhealthy grind, envy, rivalry, swipes, insults and brawls, hypocrisy, groupism, devastating usury, drinking, gambling, greed, bribery, black-money laundering, casting couch, fornication and adultery.  No, I wasn’t referring to the reel life but real life where these aberrations abound but which nevertheless need to be pointed out if one wishes to know about the other side of positive Bollywood. This was the place where Rafi Sahaab worked for almost four decades.  As I stated in my earlier posts, “He far exceeded the moral standards of the Bollywood film industry in comparison with which he clearly emerges as a saint. Yes, if one has to name a saint in Bollywood, then Rafi Sahaab’s is the only one name.”

For brevity’s sake, we will examine only a few aspects of Rafi Sahaab’s character which amply demonstrate how a Sufi strayed into Bollywood and made a lasting impact not only as the greatest playback singer but also as one of the greatest human beings ever to grace the Hindi film industry.  In fact, Rafi Sahaab’s first brush with a Sufi began when he was just seven years old when a faqir used to frequent his neighbourhood singing hymns and devotional songs. The child was attracted to what he heard and began following the faqir almost daily. In the process he learnt to sing and surprised many who later heard him reproduce those hymns. No one in the least could even imagine that one day the same child would attain a lasting fame as the world renowned singer and a great human being.  However, just singing devotional songs or Sufi songs does not make one a Sufi. In other words, a cowl does not make a monk.

Strictly speaking,  the word “Sufi” can only be attributed to a high-ranking Muslim saint (Awliya) but figuratively the word is being used for a person who in addition to following the code of Islamic conduct and prohibitions and commands, also practices the inner dimensions of Islam and not just its outer aspects. By such practices that person purifies his heart from the filth and beautifies it with exemplary traits, including love for God and his creatures. This is what we find in Rafi Sahaab. His good nature was evident from the fact that he observed the divine commandments such as the daily ritual prayers, compulsory fasting, paying the compulsory tithe, i.e. Zakaat – all without hypocrisy! He paid respect to his seniors and behaved with kindness with the juniors and with justice to his equals. He did not follow the flesh nor the devil.  Rafi Sahaab was a devout Muslim who knew that law without truth is mere display, truth without law sheer hypocrisy. As such, he concentrated on ‘Namaaz’ and till his dying day he never let go of the shariat or the outer aspects of Islam. In fact at the time of his fatal heart attack, he had been fasting for the entire month of Ramadan and refused to take medicines on that fateful day.

It has been said that a person who remembers God despite facing the day to day grinds of daily life is far superior to the one who gives up the worldly life to offer full-time prayers. His spiritual consciousness drew him closer to God since he regarded everything, including the wealth, his well-being, and his voice, as belonging not to himself but to God.

During the time of his tremendous output of songs and the height of popularity, the success never went to his head. At the same time when his output declined in early 70’s in comparison with his previous outputs that did not deter him at all. He faithfully continued with his ‘Riyaaz’ and still giving hits one after the other. For Rafi Sahaab, both the conditions were the same, and he remained contented. At about this time, he was more occupied with performance of the compulsory obligation of the Haj and complying with the spiritual aspects of pleasing his Creator at the cost of his job. He had also been advised by no less than his brother Hamid – the same person who had put him as a kid on the stage to sing in Saigal Saab’s presence – to give up singing and settle down in Canada.

As a matter of fact, Rafi Sahaab had even gone to the U.K. and had been staying there where Kishore Kumar and Amit met him at his residence in London in 1972 and were treated to exotic meals and time-travel down the years. And, as stated, we know that even during that period Rafi Sahaab provided a number of hit songs which are still popular today, such as Aaj mausam badaa beimaan hai (for LOAFER 1973) to name just one!

As Dilip Kumar mentioned in an interview to a Marathi Language newspaper, Sakal, of 28th July, 2005:

“In late 60s (i.e. 1969) and early 70s, people in the industry were gossiping about how Kishore Kumar has dismantled Rafi's position. But Rafi was not even slightly affected by it. I myself never liked any sort of comparison between Rafi and Kishore Kumar. But Rafi preferred to remain quiet. He never tried to answer the criticism that was being thrown at him with words. It was always his voice and his songs that used to do all the talking. Rafi is not amongst us today but his voice and his songs are still there with us.” (English Translation courtesy Prince2a of Hamara Forums)

However, Rafi Sahaab was prevailed upon by his children to continue what he was best at, namely, playback singing. Once he decided to come back to the recording studios, the pendulum began shifting in his favour once again beginning 1976 (Laila Majnu) so that later in 1977 he won the Filmfare Award in the Best Singer Category as well as the National Award for Kyaa huwaa teraa waada in Hum Kisise Kam Nahin. For the remainder of his life, Rafi Sahaab remained the busiest and the most popular playback singer. He regained his position with the triumph of the returning emperor or like the rising of the phoenix though not completely from the ashes. Thus like a true Sufi, Rafi Sahaab was never swayed by the ups and downs of life.

Let Fate be cool as water, hot as fire,
Do thou live happily whichsoever it be!

He respected all religions and human beings. We are informed by one of his fans that when Rafi Sahaab was asked how does Islam view other religions, he replied: “All are vehicles and a path to God’s Divine Presence.” He thus respected the unity of religious ideals.  The colour of the water is the same. However, it's the colours of the vessels that give the water a different hue.

There can be no denying the fact that Rafi Sahaab has rendered the filmy or non-filmy devotional songs with such soulful sweetness and heart-rending pathos and over-powering emotions that they send the listeners into raptures. Pointing out to a Bhajan of Rafi Sahaab which he rendered for Kalyanji-Anandji in GOPI (Sukh ke sab saathee), Pyarelal of the LP musical duo says: “There’s so much ‘Apnapan’ in the Bhajan though he belonged to a different religion.”

Check out a few filmy and the non-filmy devotional songs: Parwar-digaar-e-aalam (HATIM TAI); Ibtedaa tuu hai intehaa tuu hai; Kaali kamli waale tujh pe laakhon salaam (a duet of HATIM TAI KI BETI); Agar mil gayee mujhko raah-e-madinaa; Agar kamli waale ki rahmat naa hoti; Shah-e-madinaa sarware aalam sallal laaho ‘alaihi wassallam; Baadshaah-e-Wilaayat Ali murtuzaa; Madad keejiye taaj-daar-e-madinaa; and many many more such naats as well as qawwalis.
Bhajans: Man tadpat hari darshan ko aaj (BAIJU BAWRA), Mujhe apni sharan mein lelo ram (SANT TULSIDAS); O duniya ke rakhwaale (BAIJU BAWRA); Duniya naa bhaaye and Badee der bhayee (BASANT BAHAAR); Aaj achaanak rooth ke mujh se chale gaye bhagwaan (CHAKRADHARI);  Jis kaa saathee hai bhagwaan (AASTIK); Aanaa hai toh Aa (NAYA DAUR); Insaaf ka mandir hai yeh (AMAR); Apnee chhaayaa me.n bhagwann (INSANIYAT);  Soona soona laage biraj ka dhaam; Tere bharose hey nandlaala; Mere Shyaam teraa naam; or the Shabads Mitar pyaare noo (NANAK NAAM JAHAAZ); Har ko naam sadaa sukh daayee and the like and many others in various Indian languages.

Rafi Sahaab was never carried away by the gloss or glitter of Bollywood. Thus he hardly had time for the filmy parties and gatherings. He never smoked; he never took alcoholic drinks. Thus contrary to the norm in many film industres, he never indulged in wining, dining and womanizing! His spare time he devoted to his wife and children and carrying on the good deeds of spreading love and sunshine in people’s life. Sometimes he indulged in outdoor games for the sake of his health and sometimes enjoyed flying kites from the terrace of his home. A black kite in the blue sky, Chali baadlon ke paar/hoke Dor pe sawaar, signified that it was Rafi Sahaab who was at the end of the kite’s string. 

TO CONTINUE....

MARATHA MANDIR - THE LEGENDARY SINGLE-SCREEN THEATRE!

MARATHA MANDIR THEATRE :
- Impressions during childhood
By Nasir.



As we all know, in the olden days most of the movie-halls (interchangeably called as “Theatres” or “Cinemas) were one-screen halls unlike the multiplexes today.

Cinemas often serve as landmarks and also define the neighbourhood. I have chosen to write on Maratha Mandir because my association with it as an audience dates back to the time when the said theatre did not even exist. The tract of land opposite the road abutting the Bombay Central Railway Station was full of weeds, grass and shrubs reaching to height of 8-9 feet. There was no S.T. Bus Depot, no theatre, nothing there that time. At the place where the theatre now exists, there used to be just an ancient wall and right at the top was a board. As a child, I used to pass through this “jungle” every night right up to the wall. In the dim light coming from nowhere I could read what that display-board said. It said that this was the site for Maratha Mandir Theatre – to be managed by Golcha Management and some such thing. As an avid cinema-goer since my childhood days, I used to wonder what kind of a theatre would come up here.

Maratha Mandir Cinema did come up. The year was 1958. It was one of the finest theatres in Bombay. The hall was very spacious, the seats very comfortable, and it had an A.C. system – a great luxury those days. The polished and glossy teak panels, huge mirrors and chandeliers added to its splendour. It also had a plush carpeting in the hall. The feet used to literally sink into the carpet. Very pleasant it was in the theatre. The best part was its ambience. There was a landscape garden right in front and around the theatre – which gave it a royal look. The first movie, as far as I remember, to be screened at Maratha Mandir was SADHNA, starring Sunil Dutt and Vyjantimala which dealt with the subject of emancipation of a nautch girl, The lyrics of Sahir Ludhianvi were very ascerbic somewhat on the lines of his earlier movie PYAASA. Of course, as a child, I did not understand at all the seriousness of the subject of Sadhna then. Some hollywood movies were thereafter screened for a limited time. HERCULES UNCHAINED was one of them I saw in 1959.

The most memorable movie screened at the Maratha Mandir was MUGHAL-E-AZAM on 5th August, 1960. I remember that this was the most talked about movie of the decade. The many tales and gossips that went along with its making had people literally raring to go. The inordinate delay of Mughal-e-Azam had left the cinema-lovers very anxious for its release. Unfortunately, I've seen scores of people - the older people and fan of Dilip Kumar - eagerly waiting for the release but passing away before they could see this magnum opus of a movie. Alas for them!

I was to learn later that the premiere show was the most memorable at least for two reasons among the many, many: Dilip Kumar, who had played the romantic lead with Madhubala, did not attend it; and secondly, the film reels of the movie were brought to the theatre on an elephant in the Maharaja style. “Royal Invitations” were issued for the premiere show. The swords, lancets, spears and armours that were used in this film were on display inside the building to the immense curiorisity and delight of the movie buffs. A forty-foot cutout of “Akbar” on the outside heralded the might of the emperor. I remember seeing a huge plaster of paris work in the garden to the right of the theatre, depicting Prithviraj Kapoor (Akbar) weeping on the shoulders of Dilip Kumar (Shahzada Salim). I still remember the accompanying movie’s dialogue: “Shekhoo, Shahenshah Roya Nahin Karte.” (See the picture above).

For full seven weeks before the release there was a serpentine queue outside the theatre for the tickets. Black Marketeers became rich by selling tickets at Rs100/- each. Remember, those days even an engineer’s monthly wages were hardly that much. Sadly, during the rush for tickets, even a murder took place – the fact which is hardly stated in any write up on the theatre. For full three years Maratha Mandir exhibited the royal treat.

Additionally, I also remember some other movies that were released at the Maratha Mandir Theatre over the years: Kaaghaz Ke Phool (cinemascope) (1959); Yeh Raaste Hain Pyaar Ke (1963), Dil Ek Mandir and Leader (1964); Guide (1965);Pakeeza (1972), Dharam Veer (1977), Baarood, which introduced Shoma Anand (1976), Razia Sultana (1983) (not the 1961 one which starred Jairaj and Nirupa Roy). The many other movies that were released earlier included Shagird and Saaz Aur Aawaaz. Saira Banu's Shagird ran for over a year. Pakeeza was also released there and it picked up brisk business after Meena Kumari passed way when this movie was still being shown there.

Unfortunately, the Theatre being in the low lying area, it was flooded in 1974. The plush carpets were soiled by the rain waters and therefore removed. The garden landscape gave way to broadening of roads.

Recently, many theatres have been forced to shut shop owing to the high entertainment tax and the onslought of the multiplexes. However, Maratha Mandir is still going strong, and currently is in the news for screening DIL WAALE DULHANIYA LE JAYENGE continually since October 1995.  In fact, the movie completed an uninterrupted run of 20 years.

The status of Maratha Mandir among the cinema halls is certainly legendary. 
NASIR.