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Dilip Kumar: Suhana Safar to Sham-e gham, iconic songs picturised on the legendary actor

As soon as in his lifetime, actor Dilip Kumar sang. The track was Laagi nahi chhute, a duet with Lata Mangeshkar in Hrishikesh Mukherjee’s Musafir (1957). Nevertheless, a few of the movie trade’s most iconic melodies have been picturised on the legendary actor who handed away at 98. Here’s a curated listing.

Songs from the movie Naya Daur (1957)

With the ‘man v/s machine’ theme within the background of this milestone movie, BR Chopra’s Naya Daur — with tunes by OP Nayyar and lyrics by Sahir Ludhianvi — had a number of memorable songs. A number of compositions have been ingrained in Punjabi folks, which, for the primary time, was offered in such a refreshing method. Be it the smooth and romantic Maang ke saath tumhara with Nayyar’s trademark “ghudtaal” (the clip clop of the horse’s hooves) because the track’s beat or the evergreen Ude jab jab zulfein teri, Shamshad Begum and Asha Bhosle’s Reshmi salwaar kurta jaali ka, and the deshbhakti track Ye desh hai veer jawano ko and the work track, Saathi haath badhana — all of them stay etched in collective reminiscence. Nearly each tune from Naya Daur reminds of Kumar and Vyjanthimala on display screen. This was industrial movie music in its best hour.

Apni azadi ko hum hargiz mita sakte nahi (Chief, 1964)

The track from the Dilip Kumar and Vyjanthimala starrer grew to become synonymous with patriotism and revolution. It spoke of azadi — an idea pivotal to the concept of the Indian nation-state. In a newly impartial India, the track struck a chord and remains to be sung like a slogan.

Ik shehenshah ne banwa ke haseen Taj Mahal (Chief, 1964)

One other absolute gem from Chief. Be it the sensational sarangi and sitar prelude or composer Naushad’s impeccable composition in Lalit, the poignant morning raga, Mohammad Rafi and Lata Mangeshkar pulled off considered one of Naushad’s most intricate, considerate, and soulful compositions. The effortlessness with which Kumar lip syncs this advanced track, with all of Rafi’s murkis and slides in place whereas presenting it, is splendid to look at.

Madhuban mein radhika naachi re (Kohinoor, 1960)

Because the famed story goes, Dilip Kumar requested for a delay within the track’s shoot as a result of he wished to excellent the presentation of the track. He took sitar classes from Ustad Halim Jaffer Khan, recognized for his quintessential Jafferkhani baaj. A labyrinthine composition in raag Hamir, Rafi sang this to perfection and one won’t ever have the ability to neglect Kumar’s pleasant show. Even memorising the troublesome taraana in the long run.

Do sitaaron ka zameen par hai milan (Kohinoor, 1960)

Based mostly within the romantic raag Pahadi, which straddles folks and classical music equally properly, this Naushad composition sung by Rafi and Mangeshkar, opens with a theka on the tabla and is picturised on Dilip Kumar and Meena Kumari, who look regal on this piece. The soundtrack of Kohinoor stays a cult traditional.

Suhana safar aur ye mausam haseen (Madhumati, 1958)

The Salil Chaudhury composition in Bimal Roy’s masterpiece of a movie and Shailendra’s lyrics in mild shades of half philosophy and half reality with Mukesh’s voice is unforgettable. Dilip Kumar, together with his sweater tied round his neck, delivers the ditty on-screen with simplicity, the best way it’s meant to be.

Dil tadap tadap ke (Madhumati, 1958)

Salil Chaudhury, the composer, had as soon as stated that the track was based mostly on a Hungarian melody. Although sung in Hungary at weddings and glad events, the melody is definitely a folks track in Poland. Sung by Mangeshkar and Mukesh, Chowdhury reworked the track and has made it sound like a contemporary melody for the ’50s.

Sham-e-gham ki qasam (Footpath, 1953)

The melody allowed folks to stumble onto composer Khayyam. Sung by Talat Mehmood, his silken voice in place, the track brings alive the ‘tragedy king’ picture of Dilip Kumar. With the theme of black advertising within the background and the movie was laid out on this planet of the poor and homeless. This mild ghazal with a waltz for rhythm stays a big ditty in Kumar’s profession.

Nain lad jai hai (Ganga Jumna, 1961)

Mohammad Rafi sings this piece completely in Awadhi. Whereas one marvels at his glorious diction and musicality, Naushad’s prowess in folks music too must be applauded. Dilip Kumar, performing for the village, dances to this folks track with impeccable attraction. The track begins at a medium tempo however will get sooner in the direction of the crescendo, elevating the pitch alongside. A melody that may all the time remind us of a cheerful and impish Dilip Kumar.


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