Tribute: MADAN MOHAN Composer

Madan Mohan Kohli, son of Rai Bahadur Chunilal Kohli, Accountant General with the Iraqi Police Forces, was born at Baghdad on June 25, 1924. (Rai Bahadur Chunilal was later the head of Bombay Talkies, the studios established by Himanshu Rai and Devika Rani).
Madan Mohan grew up in Lahore where he learnt music and arrived in Bombay when he was 11. By 1943, he was an Officer in the Indian Army but soon gave up a covetable career in it to pursue his first love, ‘Music’ . He joined All India Radio Lucknow and was soon transferred to Delhi. By 1948 he was in Bombay composing tunes and music for, and singing ghazals of writers such as Behzad Lucknawi and Dewan Sharar. He assisted composer S.D. Burman for the film ‘Do Bhai’ (1947) which had Geeta Dutt making a splash with her songs: “Mera sundar sapna beet gaya” and “Yaad karoge, yaad karoge. Ek din humko yaad karoge” which became hits.
(Later, in 1956, Madan Mohan composed for another film “Bhai Bhai”, for which Lata sang seven solos and a duet, Md. Rafi, Kishore and Asha sang one song each but, with the possible exception of the Kishore/ Lata duet “Mera naam Abdul Rehman. Pista wala main hoon Pathan”, none of these songs created any sensation. However, the one song that Madan Mohan got Geeta Dutt to sing: “Ae dil mujhe bata de. Tu kispe aa gaya hai. Woh kaun hai jo akar, khwaabon pe chha gaya hai” has remained, even to this day, one of the most melodious, and most frequently played and heard songs in Hindi films.

Madan Mohan’s career as an independent composer took off with ‘Aankhen’ (1950) which had many songs by Mukesh, Shamshad Begum, Meena Kapoor, Md Rafi, and one by Madan Mohan himself. But, what is more curious is that Raj Khosla, later to turn a very famous director, sang a song: ‘Rail me jiya mora sananana hoye re”. (A time-pass song. But, well sung and, in a good voice).
Another interesting trivia about Raj Khosla. ‘Woh Kaun Thi’ (1964. Sadhana) is a film studded with hit songs. For some unfathomable reason, its director Raj Khosla, was reluctant to use the outstanding song of them all: “Lag ja gale se phir ye’. Only the insistent persuasion by Manoj Kumar resulted in the final inclusion of the song in the film. Yet, Raj Khosla is justifiably credited with an ear for music and creating films replete with excellent songs. (Source: Anirudha Bhattacharjee in his book: “Gata Rahe Mera Dil.”)

Lata herself thought so highly of this Madan composition that, in a function to celebrate her 25 years of singing in films, she included it among the top ten numbers that she had rendered. (Lata also included in her top ten, another song:” Bairan neend na aaye” from the same film).

In her article, “Madan Mohan tribute: Each word of the lyric gained significance through the way he tuned the song” for Scroll.in, Nasreen Munni Kabir wrote: “I am thinking of Lata Mangeshkar’s ‘Lag Ja Gale’ from Woh Kaun Thi? (1964), written by Raja Mehdi Ali Khan and recently voted the best love song of all times.
(Please do find the time to read this article by Nasreen Munni Kabir. (1).

Please also read Gajendra Khanna’s essay appearing in ‘Silhouette’ magazine on July 14th. 2018: “Madan Mohan: The Composer of the Classes.” (2).

Sangeeta Gupta, Madan Mohan’s daughter, has written an article on her father for ‘Songs of Yore’: “Remembering my father and the legend Madan Mohan”, which also throws light on what Madan Mohan was as a person, father and composer. (3)

As a six-year old (1935), the famous actor-singer Suraiya was singing for children’s programs for All India Radio (AIR) in Bombay, along with Raj Kapoor and Madan Mohan. (Note: Raj Kapoor, then only 11 years old, was a good singer himself with music and songs in him). Both were associated with Suraiya later as her hero and as music director respectively in films. Three years later, Madan Mohan got Suraiya to audition for a radio programme. He told the AIR executive that the girl could sing well, but in front of an audience, Suraiya broke down and began sobbing. Madan consoled her then, but brought her back with him again the next week. She sang very well on this occasion and got a standing ovation. Suraiya, went on to become a landmark ‘Actor/ Singer’ in Hindi films.

Once, a few of the old time composers were walking together to a music concert when Madan Mohan happened to be walking just ahead of composer Sajjad Husain. Sajjad taunted Madan with “Aaj kal toh parchaiyyaan bhi ghoomne phirne lagi hain”. His allusion was to the tune of Sajjad’s lovely song ‘Yeh hawa yeh raat yeh chandni’ (Sangdil. 1952) ‘copied’ by Madan Mohan in his “Tujhe kya sunaoon main dilruba” (Aakhri Dao. 1958). Madan had to sheepishly mollify Sajjad by saying that the tune was so great that it was worthy of being ‘adopted’ and it was done by him as a compliment to Sajjad himself.

Surely ranking among the best of Madan’s creations is the solo, sad version of the song “Dil Dhoondta Hai” from ‘Mausam’ (1975), rendered soulfully by Bhupinder Singh. (This solo version is also the favourite of Gulzar, the writer of this song). The first two lines of this song are a take-off from a couplet in Mirza Ghalib’s ghazal “Muddat hui hai yaar ko, mehmaan kiye hue……… Jee dhoondta hai phir wahi”. Gulzar says that Madan Mohan changed the word ‘Jee’ for ‘Dil’ while composing the music. Gulzar objected to such sacrilegeous interference with Ghalib’s words. But the very next day, Madan showed him a book which had the couplet as “Dil dhoondta hai”. (Source: Anirudh Bhattacharjee in his book: “Gaata Rahe Mera Dil”). (4)
Madan Mohan had a deep knowledge of Urdu and Urdu shaayari.

Like many others who sought a career in the Bombay Film Industry in those days, Madan Mohan too had arrived with a keen desire to act and sing in films. He played small parts in Shaheed (1948), Aansoo (1953) and Munimji (1955). He actually recorded a few songs too, a couple of them with Lata even. Fortunately for lovers of Hindi Film music his genius in ‘creating’ music prevailed over his aptitude for singing it, and also acting. So, we have a treasure trove of Madan Mohan melodies, ghazals and other songs to cherish. If there was any shortcoming at all in his approach to composing film songs, it was that : “(His) addiction to sophistication sometimes made him lose track of the appropriateness of his score to the theme of the film. Nowhere is this more evident than in his tunes for ‘Dekh Kabira Roya’ (1957), an out-and-out comedy for which Madan Mohan composed a serious classical score. ‘Kaun aaya mere man ke dware’ (Manna Dey); ‘Humse aaya na gaya. Tumse bulaya na gaya’ (Talat); ‘Meri Veena tum bin roye’ (Lata); ‘Tu pyar kare ya thukraye’ (Lata) and, ‘Bairan ho gayee rain’ (Lata). Each is a gem on its own……………. but did they belong to the screenplay of ‘Dekh Kabira Roya’ ? The film required a breezy score (something like in ‘Chalti ka naam gaadi), which Madan was not interested in. Many of his songs stood out for their sheer melody, but they seem out of sync with the respective storyline.” “Preetam daras dikhao”, the Lata- Manna Dey duet …………..was composed by Madan for ‘Chacha Zindabad’ (1959), another comedy that also had Lata’s “Bairan neend na aaye”. (Source: “Bollywood Melodies” by Ganesh Anantharaman). (5)

In 2004, tunes composed by Madan but unused during his lifetime, were recreated by his son, Sanjeev Kohli, for the Yash Chopra film ‘Veer-Zaara’, The lyrics were written by Javed Akhtar, and Lata Mangeshkar was invited to once again sing the majority of the melodies composed by him. The music was highly appreciated and was critically acclaimed. He was awarded the IIFA award 2005, for Music Direction for Veer-Zaara. Thus, 30 years after his passing away, the renown of Madan Mohan’s music was resurrected by his own compositions winning an Award. Although, sadly, many followers of Hindi film music are unaware of this interesting and touching fact.

The film ‘Mausam’ (1975) was nominated for a clutch of awards, including for Madan’s music. ‘Mausam’ won four National and Filmfare Awards. But Madan Mohan had passed on by then, a bitter man, shattered and disillusioned by what he regarded as a heartless and cruel Bombay film industry and a fickle, unappreciative filmgoing public.

To quote Madan Mohan’s son, Sanjeev Kohli in the article by Nasreen Munni Kabir from Scroll.in:
“Now look at the irony of fate. He died in 1975 feeling unappreciated, and the day he died, three months later comes Mausam, which was a silver jubilee. Six months later comes Laila Majnu, a golden jubilee. The song from Laila Majnu: “Husna Haazir Hai” was Binaca Geetmala number one song for 18 weeks. His songs never used to play on street loudspeakers in his lifetime, but even today “Kar Chale Hum Fida” is the song played first thing on 15th August and 26th January.”

Considering his short career and premature passing away on 29th December 1975, (at age 51) Madan Mohan has left a great legacy.

Presented here are 20 compositions of Madan Mohan that I regard as being among his best. Naturally, there are so many more that I, and our members, can come up with. Only constraint on space prevents me from including more here.

1. Preetam meri duniyaan mein, do din toh rahe hote. Lata. ‘Ada’ (1951) Raja Mehdi Ali Khan https://youtu.be/T3tD7FRc6QA
2. Meri yaad mein tum na, aansoo bahana. Talat. ‘Madhosh’. (1951) Raja Mehdi Ali Khan. https://youtu.be/blidi7DvqOw
3. Main pagal mera, manwa pagal. Pagal meri preet re . Talat. ‘Aashiana’ (1952). https://youtu.be/Pt2DR8oh9VY4. Mere piya se koi jaake keh de Lata. Aashiana. (1952)
https://youtu.be/AUxF6HomkS0

5. Dil dil se milakar dekho. Nazron mein samakar dekho. Kishore kumar. Mem sahib (1956).
https://www.youtube.com/watch?v=4UrFuOVs9I0

6. Ae dil mujhe bata de. Geeta Dutt ‘Bhai Bhai’ (1956). Rajindar Krishan
https://youtu.be/ev3CjeYM-R0

7. Qadar jaane na. Mora balam, bedardi. Lata. ‘Bhai Bhai’. (1956) Rajindar krishan https://youtu.be/aHhzbXAtwYg
(Madan regarded ‘Qadar jaane na’ to be superior to ‘Ae dil mujhe bata de’).

8. Unko yeh shikayat hai ke hum kuch nahin kehte. Lata. ‘Adalat’ (1958) Rajinder Krishan https://youtu.be/g78X1OMFcb0

9. Yun hasraton ke daagh, mohabbat mein dho liye. Lata. ‘Adalat’ (1958). Rajindar Krishan https://youtu.be/i0XYKC2YQ9w
(it was the songs of Adalat that inspired Lata to confer the title “Ghazlon ka Shehzada” on Madan)

10. Bairan neend na aaye, mohe Lata ‘Chacha Zindabad’. (1959). Rajindar Krishan. https://youtu.be/AWuA5EgfdLo

11. Woh jo milte the kabhi, hum se deewanon ki tarah. Lata. ‘Akeli Mat Jaiyo’ (1963) Majrooh. https://youtu.be/sQPif5jnpCA

12. Lag ja gale, ke phir ye haseen raat ho na ho. Lata. ‘Woh Kaun Thi’ (1964). Raja Mehdi Ali Khan https://youtu.be/TFr6G5zveS8

13. Naina barse rim jhim. Lata. ‘Woh Kaun Thi’. (1964). Raja Mehdi Ali Khan. https://youtu.be/9w5iETwBs2o

14. Nagma-o-sher ki saugaat kise pesh karoon. Lata. ‘Ghazal’. (1964). Majrooh https://youtu.be/GL1tSZsklnE

15. Phir wohi shaam, wohi gham, wohi tanhayee hai. Talat. ‘Jahan Ara’ (1964). Rajendar Krishan. https://youtu.be/aYHxWmLTtpg

16. Haal e dil yun unhein sunaya gaya Lata Jahan Ara (1964). Rajendar Krishan https://youtu.be/AyUWGGqUyhg

17. Nainon mein badra chaye. Lata. ‘Mera Saaya’. (1966). Raja Mehdi Ali Khan. https://youtu.be/aNfFDGuK2yk

18. Yeh duniyaan, yeh mehfil, mere kaam ki nahin. Rafi. ‘Heer Ranjha’. (1970) Kaifi Azmi. https://youtu.be/BVYP0dx_aw8

19. Baiyan na dharo, O Balma.. Lata. ‘Dastak’. 1970. Majrooh. (also the 2 other songs in this film) https://youtu.be/_-Wd1Dg1vvY

20. Dil dhoondta hai, phir wahi. Bhupindar Singh. ‘Mausam’.(1975) Gulzar.
https://youtu.be/sEKu9RglmU0



Notes:
1. As may be seen Lata, with thirteen of the twenty songs in a female voice here, predominates the compilation. That should hardly surprise us as Madan Mohan rarely ever looked beyond Lata for a song in a female voice.

2. I believe that Bhupinder Singh’s solo rendition of ‘Dil dhoondta hai’ isn’t any less melting, and is rendered with as much pathos as any of those Lata songs here. Bhupindar Singh was a great singer who was not accorded his due place among the top singers.

***** ***** *****


References:
1. https://scroll.in/reel/916111/madan-mohan-tribute-each-word-of-the-lyric-gained-significance-through-the-way-he-tuned-the-song
2. https://learningandcreativity.com/silhouette/madan-mohan-music-director/
3. https://www.songsofyore.com/remembering-my-father-and-the-legend-madan-mohan/
4. https://www.goodreads.com/author/show/5586333.Anirudha_Bhattacharjee
5. https://www.goodreads.com/book/show/5620910-bollywood-melodies
6. https://scroll.in/reel/916111/madan-mohan-tribute-each-word-of-the-lyric-gained-significance-through-the-way-he-tuned-the-song


BY: N S Rajan.

1. Preetam meri duniyaan mein, do din toh rahe hote. Lata. ‘Ada’ (1951) Raja Mehdi Ali Khan https://www.youtube.com/watch?v=T3tD7FRc6QA
2. Bahaarein humko dhoondengi. Na jaane hum kahan honge. Lata ‘Baaghi’ (1953) Majrooh https://www.youtube.com/watch?v=zJWsra2-MA4
3. Meri yaad mein tum na, aansoo bahana. Talat. ‘Madhosh’. (1951) Raja Mehdi Ali Khan. https://www.youtube.com/watch?v=blidi7DvqOw (A live Talat performance in 1979).
4. Main pagal mera, manwa pagal. Pagal meri preet re . Talat. ‘Aashiana’ (1952). https://www.youtube.com/watch?v=Pt2DR8oh9VY
5. Mere piya se koi jaake keh de Lata. Aashiana. (1952) https://www.youtube.com/watch?v=AUxF6HomkS0
6. Dil dil se milakar dekho. Nazron mein samakar dekho. Kishore kumar. Mem sahib (1956). https://www.youtube.com/watch?v=4UrFuOVs9I0
7. Ae dil mujhe bata de. Geeta Dutt ‘Bhai Bhai’ (1956). Rajindar Krishan https://www.youtube.com/watch?v=ev3CjeYM-R0
8. Qadar jaane na. Mora balam, bedardi. Lata. ‘Bhai Bhai’. (1956) Rajindar krishan https://www.youtube.com/watch?v=aHhzbXAtwYg
   (Madan regarded ‘Qadar jaane na’ to be superior to ‘Ae dil mujhe bata de’).
9. Unko yeh shikayat hai ke hum kuch nahin kehte. Lata. ‘Adalat’ (1958) Rajinder Krishan https://www.youtube.com/watch?v=g78X1OMFcb0
10. Yun hasraton ke daagh, mohabbat mein dho liye. Lata. ‘Adalat’ (1958). Rajindar Krishan https://www.youtube.com/watch?v=i0XYKC2YQ9w
    (it was the songs of Adalat that inspired Lata to confer the title “Ghazlon ka Shehzada” on Madan)
11. Bairan neend na aaye, mohe Lata ‘Chacha Zindabad’. (1959). Rajindar Krishan. https://www.youtube.com/watch?v=AWuA5EgfdLo
12. Woh jo milte the kabhi, hum se deewanon ki tarah. Lata. ‘Akeli Mat Jaiyo’ (1963) Majrooh. https://www.youtube.com/watch?v=sQPif5jnpCA
13. Naina barse rim jhim. Lata. ‘Woh Kaun Thi’. (1964). Raja Mehdi Ali Khan. https://www.youtube.com/watch?v=9w5iETwBs2o
14. Nagma-o-sher ki saugaat kise pesh karoon. Lata. ‘Ghazal’. (1964). Majrooh https://www.youtube.com/watch?v=GL1tSZsklnE
15. Phir wohi shaam, wohi gham, wohi tanhayee hai. Talat. ‘Jahan Ara’ (1964). Rajendar Krishan. https://www.youtube.com/watch?v=aYHxWmLTtpg
16. Haal e dil yum unhein sunaya gaya. Lata. Jahan Ara (1964). Rajendar Krishan https://www.youtube.com/watch?v=AyUWGGqUyhg
17. Nainon mein badra chaye. Lata. ‘Mera Saaya’. (1966). Raja Mehdi Ali Khan. https://www.youtube.com/watch?v=aNfFDGuK2yk
18. Yeh duniyaan, yeh mehfil, mere kaam ki nahin. Rafi. ‘Heer Ranjha’. (1970) Kaifi Azmi. https://www.youtube.com/watch?v=BVYP0dx_aw8
19. Baiyan na dharo, O Balma.. Lata. ‘Dastak’. 1970. Majrooh. (also the 2 other songs in this film) https://www.youtube.com/watch?v=_-Wd1Dg1vvY
20. Dil dhoondta hai, phir wahi. Bhupindar Singh. ‘Mausam’.(1975) Gulzar. https://www.youtube.com/watch?v=sEKu9RglmU0
    
    Special mention: ” Lag ja Gale”.
    https://youtu.be/TFr6G5zveS8

(As may be seen Lata, with thirteen of the twenty songs in a female voice here, predominates the compilation. That should hardly surprise us as Madan Mohan rarely ever looked beyond Lata for a song in a female voice).

By N S Rajan.