Kuchh Dil Ne Kaha – A Whisper of Simplicity in a Haunting Tune

Sharmila Tagore in Kuchh dil ne kaha

Hemant Kumar is a stalwart singer of our times – one who belongs to the pantheon of male playback singers who are forever enshrined in the hearts of cine-music lovers. As a singer, he has left such a deep and lasting imprint that sometimes this very eminence overshadows his own outstanding work as a music director.

Hemant Kumar, Biswajit and Lata Mangeshkar during the recording of the songs of Bees Saal Baad, 1962
(Pic courtesy: From the collections of Pakanati Lakshmi Priya)

Strange though it may seem, his career as a music director never received the acclaim and fan following that his contemporaries received. Apart from his own sonorous solos and duets, he has composed several haunting solos for Lata, be it Kahaan le chale ho (Durgesh Nandini, 1956 /  Rajinder Krishan) or Chhup gaya koi re, door se pukaar ke (Champakali, 1957 / Rajinder Krishan), Kahin deep jale kahin dil (Bees Saal Baad, 1962 / Shakeel Badayuni) or Jhoom jhoom dhalti raat (Kohraa, 1964 / Kaifi Azmi).  Every composition was crafted as an ode to the voice of Lata.

Hemant Kumar’s music is minimalistic, like a mitti ka diya where the simmering flame burns bright. As many such lamps float down the Ganges – the one that shines brightest in its simplicity is
Kuchh dil ne kaha, kuchh bhi nahin

The music of Hindi cinema has been a grateful handmaiden of Hindi literature and poetry. It has taken liberal helpings from the prose of great writers and poetry of the Bards, and given them a reach, an audience and the popular acceptance of a vast population of Hindi and non-Hindi listeners who have gladly remained captive to the stories and the songs! Take this piece of divine poetry in which the palpitations of a young heart are captured in feather-light words.

Kuchh dil ne kaha,
kuchh bhi nahin
Aisi bhi baatein hoti hain,
aisi bhi baatein hoti hain,

This whole song is about simplicity. Kaifi Azmi’s words are magically nuanced and are shorn of any ornamentation. They become simple couriers of gentle emotions without mawkishness or an overdone sentimentality. But nowhere do they lose the flavour of poetry. Sample this –

Leta hai yeh dil angdaainyan
Is dil ko samjhaaye koi
Armaan na aankhein khol de
Rusvaa na ho jaaye koi

The lady is experiencing the first stirrings of some unknown emotions. These are strange feelings that exert a magnetic pull, awakening a desire to savor them. But she warns herself, aware of her rigid and cheerless upbringing, not to yield – not to venture into this unknown territory! Her eyes are heavy-laden with dreams – as she realises –

Palkon ki thandi sej par
Sapnon ki pariyaan soti hain

But she pulls back from the verge and reminds herself of the life she has been conditioned to. A life of harsh realities, a life devoid of ordinary pleasures, of simple joys. A life of superficiality – outwardly embellished with wealth and glamour – a vacuous façade! But deep down there is an emptiness – a revulsion at the hollowness of it all. The pretence is at times overbearing and the mind begins to ask questions – is anybody bothered about my happiness? What is outwardly appreciated, the radiant blossoming of a well brought-up offspring, is now asking questions!

Aware that this is another lonely cry destined to remain unheeded, she consoles herself –

Aisi bhi baatein hoti hain,
aisi bhi baatein hoti hain,

But the mind is now in ferment, the storm that was brewing in silence has now found a voice. And it has decided to speak-up –

Dil ki tasalli ke liya
Jhoothi chamak jhootha nikhaar
Jeevan to suna hi raha
Sab samjhe aayi hai bahaar

The glamour and the glitter that surround me is a fictional cushion of a falsehood to console my bleeding heart. My life has remained a tapestry of unfulfilled dreams, though outwardly, I seem to be enjoying springtime all-round the year! How hollow, how shallow is my life, only I know! Every day brings newer strains of vapidity. If only they knew the truth, if only someone asked the blooming rose – what are those? Dewdrops of joy or the outpourings of some deep-seated agony?

Aisi bhi baatein hoti hain,
aisi bhi baatein hoti hain,

Such is the life, I am destined to lead!
This is the way things are!

There is a divine serenity about this magical melody, which starts from the way it has been lovingly picturised. The setting is perfect. Morning has broken but the sun has yet to make his appearance. Sharmila wanders through the grassy plains, coy, subdued until her emotions reach her lips and the song breaks free. It is not a shout or a scream but a hushed whisper of a tortured soul.

Lata doesn’t sing – she hums the song, every word caressed with a feather-touch of sweetness so as to hide the hurt they contain – like a butterfly flying bravely with broken wings!

As the Poet says, the flowers wear their dewdrops with pride
But the teardrops, in the song, they reside!

Ashok (Dharmendra) watches Anupama (Sharmila) wandering through the grassy plains

Apart from Sharmila, there are three people present in the song. Dharmendra is the one who is seen, but it is the unseen presence of two wizards that brings a sublime feel to the song! The director, Hrishikesh Mukherjee’s touch can be seen in every gentle, evocative frame, and the haunting strains of the song give the wandering maiden an ethereal presence. One of the enduring and endearing traits of Hemant Kumar’s music has always been his deep predilection for the lyrics of the song. He values the euphoric output of the songwriter; he reveres the words, revels in their beauty, and carries them like a true palanquin bearer. And as the final act of submission, he anoints the words with the glittering ornament, the Voice!

If the doors to Heaven need to be opened, this is the song that should help you get a foot in the door!

Kuchh dil ne kaha (Anupama, 1966) Hemant Kumar / Kaifi Azmi / Lata Mangeshkar

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