{"id":6551,"date":"2022-08-09T00:00:46","date_gmt":"2022-08-08T18:30:46","guid":{"rendered":"https:\/\/learningandcreativity.com\/silhouette\/?p=6551"},"modified":"2022-08-09T07:12:20","modified_gmt":"2022-08-09T01:42:20","slug":"abhas-versus-kishore-an-existential-reality-part-2","status":"publish","type":"post","link":"https:\/\/learningandcreativity.com\/silhouette\/abhas-versus-kishore-an-existential-reality-part-2\/","title":{"rendered":"Abhas versus Kishore \u2014 An Existential Reality (Part 2)"},"content":{"rendered":"<p><em><strong>Continued from\u00a0<a title=\"Abhas versus Kishore \u2014 An Existential Reality (Part 1)\" href=\"https:\/\/learningandcreativity.com\/silhouette\/abhas-or-kishore-kumar-an-existential-reality-part-1\/\">Abhas versus Kishore \u2014 An Existential Reality (Part 1)<\/a><\/strong><\/em><\/p>\n<h2><strong>The Lone Voyager or the Eternal Meanderer<\/strong><\/h2>\n<p><strong>\u00a0<\/strong>If there is one poem that responds to Kishore the loner, it has to be that existential <em>fait accompli<\/em> or askance from the film <em>Door Ka Rahi &#8211; Panthi hoon main us path ka, ant nahin jiska.\u00a0<\/em>It is the description of one who is journeying within, journeying deep and despairing as to the eventual futility of the existence itself.<\/p>\n<p><strong><em>\u00a0<\/em><\/strong><strong><em>Panthi hoon main us path ka\u2026.<\/em><\/strong><br \/>\n<em>(Door Ka Rahi,<\/em>\u00a01971<em>)<\/em> Kishore Kumar \/ Irshad<\/p>\n<div id=\"attachment_6553\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-6553\" class=\"wp-image-6553\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/panthi-hoon-main-us-path-ka.jpg\" alt=\"panthi hoon main us path ka\" width=\"400\" height=\"326\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/panthi-hoon-main-us-path-ka.jpg 1614w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/panthi-hoon-main-us-path-ka-150x122.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/panthi-hoon-main-us-path-ka-300x244.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/panthi-hoon-main-us-path-ka-768x625.jpg 768w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/panthi-hoon-main-us-path-ka-1024x834.jpg 1024w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-6553\" class=\"wp-caption-text\"><em>Panthi hoon main us path ka<\/em><\/p><\/div>\n<p>The poem merits a full recapture here:<\/p>\n<p><em>Panthi hoon main us path ka <\/em><br \/>\n<em>ant nahin jisaka <\/em><br \/>\n<em>Aas meri hai jiski disha <\/em><br \/>\n<em>aadhaar mere mann ka <\/em><\/p>\n<p><em>Sangi saathi mere <\/em><br \/>\n<em>andhiyaare ujiyaare <\/em><br \/>\n<em>Mujhko raah dikhaayen <\/em><br \/>\n<em>pal chhin ke phulajhaare <\/em><br \/>\n<em>Pathik mere path ke sab taare <\/em><br \/>\n<em>aur neela aakaash <\/em><\/p>\n<p><em>Is path par dekhe kitane <\/em><br \/>\n<em>sukh dukh ke mele <\/em><br \/>\n<em>Phool chune kabhi khushiyon ke <\/em><br \/>\n<em>kabhi kaanton se khele <\/em><br \/>\n<em>Jaane kab tak chalana hai <\/em><br \/>\n<em>mujhe is jeevan ke saath <\/em><\/p>\n<p>I am tempted to give, for a wider appreciation, an approximate English rendering of this poem, such is its impact.<\/p>\n<p>Adrift on an endless inner alley<br \/>\nBuoyed by my own hope<br \/>\nSustained by my fortitude<br \/>\nMy own lows and highs<br \/>\nKeep me company<\/p>\n<p>Fleeting joys lilting my surge ahead<br \/>\nThe stars in azure<br \/>\nBeing my fellow travelers<br \/>\nAdrift on an endless inner alley\u2026.<\/p>\n<p>Miseries and bliss visited me<br \/>\nIn tandem on the way<br \/>\nSoaked in moments sublime now<br \/>\nBut soon sunk in a bottomless angst<br \/>\nHow long do I have<br \/>\nTo survive this sentience?<\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/gdP3_1lU91s?start=122\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<p><strong><em>Hum hain rahi pyar ke, humse kuchh na boliye<\/em><\/strong><strong><em><br \/>\njo bhi pyar se mila, hum usike ho liye<\/em><\/strong><br \/>\n(<em>Nau Do Gyarah, <\/em>1957) SD Burman \/ Majrooh Sultanpuri<\/p>\n<p>Was this the quintessential Kishore\u00a0 &#8211; Kishore the loner, all on his own?\u00a0 But the life is not all that unendurable.\u00a0 Kishore, as he evolved, must have realized that the meaning in this life lies in becoming an inalienable part of the macro, to an unopposed connectedness to the world without \u2013 <em>jo bhi pyar se mila hum usi ke ho liye.<\/em><\/p>\n<p>What a remarkable muse on a life that looks beyond the mundane, is implicitly on its larger purpose!\u00a0 The song is filmed on Dev.\u00a0 But visualize it with closed eyes. It will easily double for the persona of Kishore the eternal meanderer in unquestioning acceptance of the moment present, of its bounties and its pains &#8211;<\/p>\n<p><em>Dhoop thee nasib me, dhoop me liya hain dam.\u00a0 <\/em><em><br \/>\nchaandni mili toh ham chaandni mein so liye.\u00a0 <\/em><\/p>\n<p><em>dard bhi humein qubul, chain bhi humein qubul<\/em><em><br \/>\nhumnein har tarah ke phool haar mein piro liye<\/em><\/p>\n<p><em>raah me pade hain hum kabse aap ki kasam<\/em><br \/>\n<em>dekhiye toh kum se kum boliye na boliye<\/em><\/p>\n<div id=\"attachment_6555\" style=\"width: 2354px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/youtu.be\/CpGGMvcYh3A\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" aria-describedby=\"caption-attachment-6555\" class=\"wp-image-6555 size-full\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/hum-hain-raahi-pyar-ke.jpg\" alt=\"hum hain raahi pyar ke\" width=\"2344\" height=\"1320\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/hum-hain-raahi-pyar-ke.jpg 2344w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/hum-hain-raahi-pyar-ke-150x84.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/hum-hain-raahi-pyar-ke-300x169.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/hum-hain-raahi-pyar-ke-768x432.jpg 768w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/hum-hain-raahi-pyar-ke-1024x577.jpg 1024w\" sizes=\"(max-width: 2344px) 100vw, 2344px\" \/><\/a><p id=\"caption-attachment-6555\" class=\"wp-caption-text\"><em>Jo bhi pyar se mila hum usike ho liye<\/em><\/p><\/div>\n<p><strong><em>Koi lauta de mere beete huye din<\/em><\/strong><br \/>\n<em>(Door Gagan ki Chaaon Mein,<\/em>\u00a01964<em>)\u00a0<\/em>Kishore Kumar \/ Shailendra<\/p>\n<p>One can argue with reasons if it is justified to extrapolate the essence of a song inextricably entrenched in its cinematic context to explore and interpret Kishore.\u00a0 Perhaps <em>Door Gagan Ki Chaaon Mein,<\/em> an earlier film, of the year 1964, offers better insights. This film was, arguably, the apogee of Kishore\u2019s multifaceted creativity. He produced and directed it, wrote its story, composed its music, acted its lead male character, and even wrote one of its songs.\u00a0 The film was critically acclaimed. Some consider it a classic. It not only gave Kishore a rare creative freedom, it also, assumably, was an opportunity for him to give expression to, in terms of the fiction of Shankar, his own realities.<\/p>\n<div id=\"attachment_6556\" style=\"width: 810px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-6556\" class=\"size-full wp-image-6556\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/DOOR-GAGAN-KI-CHHAON-MEIN.jpg\" alt=\"Door Gagan ki Chhaon Mein\" width=\"800\" height=\"576\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/DOOR-GAGAN-KI-CHHAON-MEIN.jpg 800w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/DOOR-GAGAN-KI-CHHAON-MEIN-150x108.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/DOOR-GAGAN-KI-CHHAON-MEIN-300x216.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/DOOR-GAGAN-KI-CHHAON-MEIN-768x553.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><p id=\"caption-attachment-6556\" class=\"wp-caption-text\">Kishore Kumar, Amit Kumar and Supriya Choudhury in <em>Door Gagan ki Chhaon Mein<\/em><\/p><\/div>\n<p>Nowhere in this film, nor in <em>Door Ka Rahi<\/em>, does Kishore support or draw upon his maverick image. On the contrary, he is consistently pensive bordering on being morose and almost laconic. He seems irresistibly drawn towards the simpler, uncomplicated rural milieu than the urban complexities and affectedness.\u00a0 Kishore hated Bombay; Khandwa was written all over his heart.\u00a0 His yearn to return to his roots \u2013 to Khandwa \u2013 ever flickered within, became a burning desire later.<\/p>\n<p><em>Door Gagan Ki Chhaon Mein<\/em> handles a life coming unstuck circumstantially \u2013 the life of Shankar (played by Kishore). As his life threatens to drift in despair and dejection, he finds a purpose, a rallying point in his traumatized son Ramu who alone had survived a fire that consumed his home and his family while he was away on duty with the armed forces.\u00a0 The beauty of this film is that it delivers four songs, each timeless, to reflect on the emotional transience of Shankar. <em>Koi lauta de mere beete hue din<\/em> is both a lament and a nostalgia. This song that has the hint of a dirge at once gets an empathizing connect.\u00a0 Kishore seems to be singing it from the depth of his being, living its sentiments as of his own.<\/p>\n<p><em>Albele din pyare<br \/>\nMere bichhde saath sahare<br \/>\nHaaye kahaan gaye<br \/>\nHaaye kahaan gaye<br \/>\nAankhon ke ujiyare<br \/>\nMeri sooni raat ke taare<br \/>\nHaaye kahaan gaye<\/em><\/p>\n<p>This song is different, rather unique, for though filmed on Kishore,\u00a0 he is not lipsyncing it. Its\u00a0 impact is deeper, for it goes well with the introspective and laconic character of Shankar \u2013 it reaches the audience almost as a sigh escaping his being\u00a0 \u2013 <em>beete huye din wo haaye pyare pal chhin&#8230;..<\/em><\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/cdVR1sjlW_Q?start=122\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<p><em><strong>Jin raaton ki bhor nahi<\/strong><\/em><br \/>\n<em>(Door Gagan ki Chaaon Mein,<\/em>\u00a01964<em>) <\/em>Kishore Kumar \/ Shailendra<\/p>\n<p>It can be deemed a sequel to<em> Koi lauta de mere beete huye d<\/em><em>in<\/em>, is deep despair, absolute mope, life coming to a dead end. For an apparently inexplicable reason, the two songs take me to the two celebrated ghazals of the last Mughal emperor Bahadur Shah Zafar \u2014 <em>Lagta nahin hai dil mera ujde dayaar mein\u00a0<\/em>and <em>Na kisi ki aankh ka noor hoon<\/em>!\u00a0 Incidentally, Shailendra had penned the two songs at a point when he was sunk deep in the financial mire specific to his under production film <em>Teesri Kasam<\/em>. His friends hardly held his hand, his own kith and kin fleeced him <em>Main akela to na tha thhe mere saathi kai<\/em>&#8230;&#8230;.Shailendra saw no light at the end of the tunnel.<\/p>\n<p><em>Jin raaton ki bhor nahin hai<br \/>\nAaj aisi hi raat aayi<br \/>\nBojh se gham ke doob gaya dil<br \/>\nSagar ki hai gehrai<\/em><\/p>\n<p><em>Raat ke taaron tum hi bata do<br \/>\nMeri woh manzil hai kahan<br \/>\nPagal bankar jiske liye main<br \/>\nKho baitha hoon dono jahan<\/em><\/p>\n<p><em>Raah kisi ki huyi na roshan<br \/>\nJalna mera bekaar gaya<br \/>\nLoot gayi takdeer mujhe<br \/>\nMain jeet ke baazi haar gaya<\/em><\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/TC9pjy8jSOk?start=122\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<p><em>Aa chal ke tujhe mein leke chaloon<\/em> is a dream of a world sans tears, sans grief\u2019, a world that has love alone for its nurture!\u00a0 The song, penned by Kishore, has a rather simplistic world view.\u00a0 But it nonetheless gives an unignorable peek into Kishore\u2019s vision of the world.<\/p>\n<p><em>Rahi tu mat ruk jana\u00a0<\/em>given voice by Hemant is a beautiful song of hope and optimism, beseeching fortitude in the face of daunting adversity and asserting that the tide will eventually turn!<\/p>\n<p>In <em>Door Ka Rahi<\/em>, the portrayal of Prashant (acted by Kishore) is of the one whose feelings for the others is deep and self-less, and he feels bonded too, but the one who still manages to break loose to be ever on the move \u2013 the eternal voyager! Kishore perhaps dreamt of becoming one \u2013 <em>Main hoon jhum jhum jhumroo, fakkar ban ke ghumroo<\/em>\u2026 the words penned by him unmistakably evidence that \u2014 to meander in perpetuity, unattached, wearing a sheen of buffoonery!\u00a0 But could he?<\/p>\n<div id=\"attachment_5887\" style=\"width: 630px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/learningandcreativity.com\/silhouette\/ashok-kumar-the-first-superstar-of-the-indian-talkie\/ashok-kumar8\/\"><img decoding=\"async\" aria-describedby=\"caption-attachment-5887\" class=\"wp-image-5887 size-full\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2020\/10\/ashok-kumar8.jpg\" alt=\"Ashok Kumar, Satyajit Ray and Kishore Kumar\" width=\"620\" height=\"479\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2020\/10\/ashok-kumar8.jpg 620w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2020\/10\/ashok-kumar8-150x116.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2020\/10\/ashok-kumar8-300x232.jpg 300w\" sizes=\"(max-width: 620px) 100vw, 620px\" \/><\/a><p id=\"caption-attachment-5887\" class=\"wp-caption-text\">Ashok Kumar, Satyajit Ray and Kishore Kumar (Pic: SMM Ausaja Archives)<\/p><\/div>\n<h2><strong>Kishore \u2014 His Mentors<\/strong><\/h2>\n<p>Ashok Kumar happened to be Abhas\u2019s big brother, literally. The age difference was generational almost \u2013 about 18 years. And Ashok\u2019s status was iconic \u2013 a star on the ascendant. His early impression about his youngest sibling was of the one who had a hoarse\u00a0 voice and the one who coughed too frequently. He could not glimpse in the squawking duckling, the singing swan who would take in his wings the world much beyond his little Khandwa\u2026would mouth such transcending messages of love as <em>Hawaon pe likh do hawaon ke naam, hum anjaan pardesion ka salaam.<\/em> Ashok, however, was not convinced that Kishore would find his feet aface such accomplished and entrenched singers namely Rafi, Talat, Mukesh, Hemant and Manna De. What really surprising is that a man of Ashok\u2019s sensitiveness could not discern the brewing precociousness of Kishore, which Sachin Burman could.\u00a0 He had no doubt about Kishore\u2019s exceptional and original voice.\u00a0 He advised Kishore to develop his own style than to emulate Saigal.<\/p>\n<p>Nonetheless, Ashok, besides being a brother, was a <em>de facto<\/em> patriarch. It was his duty by default to settle Kishore.\u00a0 He tried to push and promote Kishore in acting \u2013 an area in which Ashok excelled and had just a few peer.\u00a0 The indomitable spirit of Kishore perhaps subconsciously resented the overarching and overwhelming influence of his brother.<\/p>\n<p>Occasionally, he could pick courage to peck at the elder, especially on the point of singing, when he would defiantly assert that he would do one better than him (Ashok). He did take to acting presumably for sustenance but in his earlier films he looked less intense, often overacted or buffooned. Most of his films flopped yet he was, to a degree, acceptable to the audience. He needed to be complemented to succeed big<em>.\u00a0 <\/em><\/p>\n<p><em>Chalti Ka Naam Gaadi<\/em> became a huge success for it had Madhubala, and more importantly Ashok Kumar.\u00a0 The elder\u2019s presence rubbed on Kishore as he gave his best acting performance till date.\u00a0 The film demonstrated many things. The awe in which Manmohan (Kishore) holds Brijmohan (Ashok) looks so real, best visible in the scene where Manu dares the elder Brij, once a famous boxer, for a duel in assertion of his freedom to pursue his love.\u00a0 He knows the outcome yet the defiance. And the tad indulgent, tad sneering smile of the elder is un-missable.\u00a0 Did this characterize the relationship of the two brothers of the real? Perhaps it is not entirely true.\u00a0 It was evolving. <em>Chalti ka Naam Gaadi<\/em> was a proof of that in the open\u00a0 \u2014\u00a0 the great actor Ashok agreeing to play second fiddle to Kishore! Kishore coming of age!<\/p>\n<div id=\"attachment_6558\" style=\"width: 2218px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-6558\" class=\"size-full wp-image-6558\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/chalti-ka-naam-gaadi-1.jpg\" alt=\"chalti ka naam gaadi\" width=\"2208\" height=\"1312\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/chalti-ka-naam-gaadi-1.jpg 2208w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/chalti-ka-naam-gaadi-1-400x238.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/chalti-ka-naam-gaadi-1-150x89.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/chalti-ka-naam-gaadi-1-768x456.jpg 768w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/chalti-ka-naam-gaadi-1-1024x608.jpg 1024w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2022\/08\/chalti-ka-naam-gaadi-1-300x178.jpg 300w\" sizes=\"(max-width: 2208px) 100vw, 2208px\" \/><p id=\"caption-attachment-6558\" class=\"wp-caption-text\">Ashok and Kishore fight it out in a boxing bout with Anoop prancing around as the referee<\/p><\/div>\n<p>Kishore as singer-actor had no contemporary peer.\u00a0The great Saigal had ruled in the 30s and 40s.\u00a0 Incidentally, the singing of the singer-actors more than compensated for their below par histrionics. <em>Door Ka Rahi<\/em> is an important facet in the evolving relations between the brothers, as Kishore lent his voice to a song lip-synced by Ashok on screen <em>Bekarar dil tu gaaye jaa.<\/em> The Big Brother had accepted Kishore the singer!<\/p>\n<p>Not everybody is born with prodigality ingrained.\u00a0 Yet they also serve who stand and wait.\u00a0 Anoop Kumar must have been the desired buffer between the two great Gangulies \u2014 a bridge of sorts as in the timeless song <em>Babu samjho ishare&#8230;<\/em><\/p>\n<p>On-screen, this song is a great fraternal bonhomie. Beneath its cloak of comicality, this song, however, hands out lessons as to how to be worldly-wise and successful. Majrooh strongly advocating that the end justifies the means even as if either or both are suspect as to bona fide or ethically \u2013 the advocacy making light of the Gandhian doctrine that emphasizes the purity and correctness\u00a0 of the means and the end.<\/p>\n<p><em>Sau baatonki ki<\/em><br \/>\n<em>Aik baat yahi hai<\/em><br \/>\n<em>Kya bhalaa to kya <\/em><br \/>\n<em>Buraa Kaamyaabi <\/em><br \/>\n<em>Mein Zindagi hai<\/em><\/p>\n<p>I have read, <em>paan<\/em> was Sachin Dev Burman\u2019s\u00a0 weakness. I guess, Kishore too was. Kishore was a singing prodigy. That notwithstanding, he still needed a god-father to keep him buoyed. Burman Dada squeezed him in occasionally in a space overwhelmingly dominated by Rafi. Instances: <em>Munimji,\u00a0Funtoosh, Nau Do Gyarah, Paying Guest, Teen Deviyaan, Guide, Jewel Thief, Prem Pujari<\/em>. He also composed music for that super comedy <em>Chalti Ka Naam Gaadi<\/em>. That kept Kishore in circulation till it was discovered that he was the voice of the super star Khanna.<\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/xlbAlfzIPo0?start=122\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<p><strong><em>Dene wala jab bhi deta poora chapapd phar ke deta <\/em><\/strong><br \/>\n<em>(Funtoosh, 1956) <\/em>SD Burman \/ Sahir<\/p>\n<p>It is a Kishore extravaganza.\u00a0 He is just stunning. The song is an amazing manifestation of his singing versatility, six-in-one, completely subsumed in Dev on-screen. And what words\u2026.brilliant Sahir, or tongue-in-cheek Sahir:\u00a0 <em>arre nang dharang malang janoko doorbeen se taad ke deta\u2026\u2026<\/em><\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/dUIzQkNylT8?start=122\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<p>I have often wondered, who do I like more \u2013 an occasional Abhas under the patronage of Sachin Dev Burman or a prolific Kishore of the seventies in sync with Rahul? There is no doubt that it was Sachin\u2019s ward who opened up channels for Kishore to flourish to the fullest, on a scope and sweep unprecedented. The scores they churned out were of unrelenting excellence.\u00a0 But a time came when I missed the competitive musical milieu of fifties and even sixties, which though dominated by Rafi yet gave space and turf to Talat, Mukesh, Manna Dey, Hemant and even Kishore.\u00a0 And I will never know if Kishore is more romantic in that <em>Paying Guest<\/em> number when he audibly whispers <em>basti ke diye bujh jaane de<\/em>\u00a0or in the <em>Aandhi<\/em> duet\u00a0<em>Tere bina zindagi se koi shikwa to nahin.<\/em><\/p>\n<div id=\"attachment_6561\" style=\"width: 1210px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-6561\" class=\"size-full wp-image-6561\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2020\/08\/kishore-kumar-his-mother-and-Amit-Kumar-.jpg\" alt=\"kishore kumar, his mother and Amit Kumar\" width=\"1200\" height=\"922\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2020\/08\/kishore-kumar-his-mother-and-Amit-Kumar-.jpg 1200w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2020\/08\/kishore-kumar-his-mother-and-Amit-Kumar--150x115.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2020\/08\/kishore-kumar-his-mother-and-Amit-Kumar--300x231.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2020\/08\/kishore-kumar-his-mother-and-Amit-Kumar--768x590.jpg 768w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2020\/08\/kishore-kumar-his-mother-and-Amit-Kumar--1024x787.jpg 1024w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/><p id=\"caption-attachment-6561\" class=\"wp-caption-text\">Kishore kumar with his mother Gouri Devi and Amit Kumar (Pic: Twitter)<\/p><\/div>\n<p><strong><em>Tere bina zindagi se koi shikwa to nahin<\/em><\/strong><br \/>\n<em>(Aandhi, 1975) <\/em>RD Burman \/ Gulzar<\/p>\n<p><em>O nigahen mastana<\/em> has on screen perhaps the most adorable pair in Dev and Nutan, but the intensity of Suchitra and Sanjeev is incomparable. A few words on the scene.<\/p>\n<p>Chance brings together, though for a while, the separated JK and Arati \u2013 played by Sanjeev and Suchitra \u2013 rejuvenating their love in limbo.\u00a0 But the compulsion to keep under wraps the fact of their marriage forecloses conciliation. Yet the emotional up-surge is far too over-whelming, heightened further by the acute consciousness that the togetherness will be just for a few fast fleeting moments before the guillotine! The two artistes, arguably the best of their times, deliver the scene with an intensity and skill very rarely seen in Hindi cinema.\u00a0 The scenic impact cascades as their empathizing communication, mostly in silence, is given voice to, so heartily, so eloquently, by Lata-KK duo on a brilliant RDB lilt.<\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/8-HnmVg0-O8?start=122\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h2>Kishore-Rajesh Synergy<\/h2>\n<p>Kishore the singer remained on sidelines for about twenty years \u2014 during the fifties and the sixties. This was despite the fact that he, even though untrained in music like Saigal, was music unto himself. His occasional songs were classy, never run of the mill types. If it hadn&#8217;t been for Sachin Dev Burman, Kishore would not have had enough opportunities to sustain his presence as a singer of the top league. Reason? He was not the voice of any of the stars of those times. Of the Dilip-Raj-Dev trio, only Dev allowed him some space.<\/p>\n<div style=\"width: 930px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" class=\"size-full\" src=\"https:\/\/www.iwmbuzz.com\/wp-content\/uploads\/2020\/02\/top-kishore-kumars-fun-filled-songs-sung-for-rajesh-khanna-2-920x518.jpg\" alt=\"Kishore Kumar and Rajesh Khanna\" width=\"920\" height=\"518\" \/><p class=\"wp-caption-text\">Kishore Kumar and Rajesh Khanna (Pic: Iwmbuzz)<\/p><\/div>\n<p>Thus while Rafi and Mukesh were settled and entrenched in their respective well demarcated territories, Kishore remained an occasional singer till his age of forty. By the close of sixties, a new generation of artistes was asserting itself in the Bollywood. The creative space that thus opened up was Kishore\u2019s opportunity. Cometh the time, cometh the man. Rajesh Khanna, yet an aspiring actor, batted for Kishore. And rest, as they say, is history.<\/p>\n<p>Rajesh- Kishore was a destinational connect ensconced in music. I am not sure if this connect took off with the song of <em>Khamoshi<\/em> \u2014\u00a0<em>Woh shaam kuch ajeeb thi<\/em> or the song of <em>Aradhana<\/em> \u2014\u00a0<em>Mere sapno ki raani.\u00a0<\/em>The year in any case was 1969. <em>Mere sapno ki rani,<\/em> though more popular, was no match to the depth and intensity of <em>Woh shaam kuch ajeeb thhi \u2014<\/em>\u00a0Kishore singing in a tad muffled voice that seemed to be originating from the sound of the river ripples beneath the boat. The two songs gave a glimpse of the Kishore-Rajesh synergy. They were together in 245 songs across 92 films, which is a record for a singer-actor combination. The number is 202 for Jeetendra, 131 for Amitabh and 119 for Dev.<\/p>\n<p><em><strong>Ye kya hua, kaise hua<\/strong><\/em><br \/>\n(<em>Amar Prem<\/em>) RD Burman \/ Anand Bakshi<\/p>\n<p>This is one of the most beautiful songs that Hindi cinema has given us. The words of Anand Bakshi sound deep in their cinematic context. They emote, they connect. Beaten in love, the hero should have lapsed into a lament, a yearning such as <em>Shaam-e- gham ki kasam<\/em>, or a muffled cry <em>Kis ko khabar thi kis ko yakeen tha, aise bhi din aaynege.<\/em> But no, here the hero flowers into an articulated celebration that sources sorrow. It is an emotional inflict that is raw. He is almost actualizing the famous Shelley muse <em>Our sweetest songs are those that tell of saddest thought<\/em>. Yet <em>Yeh kya hua kaise hua<\/em>\u00a0needed the star power for its sublimity and only the <em>trimurti<\/em> with Rajesh as the head god \u2014 the other two being Kishore and RD Burman, could have delivered.<\/p>\n<p>And the words sit so well on Rajesh who, if dissected for handsomeness will come a cropper, but the world of his time looked at him holistically and found him irresistibly handsome. In the film, I find a pimpled Rajesh in white dhoti-kurta, eyes a tad moist, very adorable, and evoking empathy. And Kishore is just sublime, brilliantly reinforces the angst and haplessness of a lover just turned away.<\/p>\n<div id=\"attachment_6560\" style=\"width: 1100px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/youtu.be\/Hy2OcQCyEmo\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" aria-describedby=\"caption-attachment-6560\" class=\"wp-image-6560 size-full\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2020\/08\/YEH-KYA-HUA.jpg\" alt=\"YEH KYA HUA\" width=\"1090\" height=\"647\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2020\/08\/YEH-KYA-HUA.jpg 1090w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2020\/08\/YEH-KYA-HUA-150x89.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2020\/08\/YEH-KYA-HUA-300x178.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2020\/08\/YEH-KYA-HUA-768x456.jpg 768w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2020\/08\/YEH-KYA-HUA-1024x608.jpg 1024w\" sizes=\"(max-width: 1090px) 100vw, 1090px\" \/><\/a><p id=\"caption-attachment-6560\" class=\"wp-caption-text\">Rajesh Khanna in <em>Yeh kya hua<\/em><\/p><\/div>\n<h2>Kishore \u2014 In the Last Lap<\/h2>\n<p>By mid-seventies Rajesh and Rahul had peaked, thereafter they were on a downslope, just perceptibly initially but rather rapidly later. Kishore yet soared however as he had concurrently become the voice of the latest star of Bollywood, namely Amitabh Bachchan. Despite a brief hiatus in their professional relationship, they remained buoyed in their creative synergy. However, after Sharabi of 1984, Amitabh too slid into are cession. For almost three years Kishore was without an effective star push. And that was the period \u2013 1986-1988 \u2013 when his songs came in and went without much touching the people at large. Ironically, this was the first time that Kishore had really no star to go with. In the fifties and sixties, He was the other even if occasional voice of Dev, and thereafter of Rajesh and Amitabh.<\/p>\n<p>It is also true that Kishore had developed a nagging heart ailment, and, for a change, not owing to a woman but of real. Because of this perhaps Kishore could not sing full-throttled. His last recorded song was a day before his death( 13th October, 1987). The film was <em>Waqt ki awaaz<\/em> and the mukhda was <em>Guru guru,\u00a0<\/em>a duet with Asha. Tune to this song and there will be an unmistakable feeling that Kishore\u2019s voice lacked the vitality that all through characterized his singing.<\/p>\n<div id=\"attachment_3616\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-3616\" class=\"wp-image-3616\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/04\/kk-asha-jaikishan.jpg\" alt=\"\" width=\"400\" height=\"319\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/04\/kk-asha-jaikishan.jpg 680w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/04\/kk-asha-jaikishan-400x319.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/04\/kk-asha-jaikishan-150x120.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/04\/kk-asha-jaikishan-300x239.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-3616\" class=\"wp-caption-text\">Music director Jaikishan with Asha Bhosle and Kishore Kumar (Pic: Gujarat MidDay)<\/p><\/div>\n<p>After the recording he spoke to Asha and asked her to feel his pulse, adding at the same time, is it not missing? Asha comforted him that he was fine. He however insisted that would you phone me up tomorrow? He told some others also to phone him up. Did he intuitively know that something was going to happen? <em>Kya unko <strong>aabhas<\/strong> ho gaya tha<\/em>? He was alive to the seriousness of his illness yet told his wife Leena not to call the doctor, for &#8216;he would give me a heart attack&#8217;! Paradoxical it seems! Even when he had seen something deadly coming he was caught between his two personas.<\/p>\n<p>He died on the 13th Oct which was the birthday of his brother Ashok. The elder could never celebrate his birthday thereafter. By a destinational design, Kishore had made sure that his brother always remembered him on his most important day.<\/p>\n<p>Kishore died young. The tag of one survives post-death applies a tad more to Kishore, for his songs while assuming myriad expressions and forms still drew upon the inherent energy that has sparkled life across ages \u2014\u00a0<em>Jijivisha,<\/em>\u00a0no different for the exultant yodel of a primitive man to the mobile obsessed mankind of now. Kishore the dead returned to his roots, his own city Khandwa where the authorities have raised a fitting memorial for him.<\/p>\n<p>Life was a celebration for Kishore as for as it went, summed up so beautifully in the song <strong><em>Zindagi ek safar hai suhana&#8230;<\/em><\/strong><\/p>\n<p><em>Maut aani hai aayegi ik din,<\/em><br \/>\n<em>jaan jaani hai jayegi ek din,<\/em><br \/>\n<em>aisi baaton se kya ghabrana,<\/em><br \/>\n<em>yahan kal kya ho kisne jaana.<\/em><\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/OSpbQc4DZCA\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<h2 style=\"text-align: center;\">Don&#8217;t miss the first part<\/h2>\n<h2 style=\"text-align: center;\"><a title=\"Abhas versus Kishore \u2014 An Existential Reality (Part 1)\" href=\"https:\/\/learningandcreativity.com\/silhouette\/abhas-or-kishore-kumar-an-existential-reality-part-1\/\">Abhas versus Kishore \u2014 An Existential Reality (Part 1)<\/a><\/h2>\n<p><strong>More to read<\/strong><\/p>\n<p><strong><a href=\"https:\/\/learningandcreativity.com\/silhouette\/kishore-kumar-actor-singer-1\/\">Kishore Kumar The Actor: A Legend\u2019s Journey Down the Years Part 1<\/a><\/strong><\/p>\n<p><strong><a href=\"https:\/\/learningandcreativity.com\/silhouette\/amit-kumar-remembers-kishore-kumar\/\">Kishore Kumar, The Master of his Craft \u2013 Amit Kumar Remembers his \u2018Baba\u2019<\/a><\/strong><\/p>\n<p><strong><a href=\"https:\/\/learningandcreativity.com\/silhouette\/manna-dey-a-story-of-amazing-versatility-part-1\/\">Manna Dey: A Story of Amazing Versatility \u2013 Part 1<\/a><\/strong><\/p>\n<p><strong><a href=\"https:\/\/learningandcreativity.com\/silhouette\/suraiya-the-last-singing-star-of-indian-cinema\/\">Suraiya: The Last Singing Star of Indian Cinema<\/a><\/strong> <\/p>\n<!-- AddThis Advanced Settings generic via filter on the_content --><!-- AddThis Share Buttons generic via filter on the_content -->","protected":false},"excerpt":{"rendered":"<p>&#8216;I have often wondered, who do I like more \u2013 an occasional Abhas under the patronage of Sachin Dev Burman or a prolific Kishore of the seventies in sync with Rahul?&#8217; Vijay Kumar explores the phenomenon that was Kishore Kumar in a two part essay. <em>Silhouette<\/em> presents the second part of the tribute to the legend.<!-- AddThis Advanced Settings generic via filter on get_the_excerpt --><!-- AddThis Share Buttons generic via filter on get_the_excerpt --><\/p>\n","protected":false},"author":778,"featured_media":6558,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[822],"tags":[1268,2210,1271,1269,1273,1270],"class_list":["post-6551","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-golden-voices","tag-kishore-kumar","tag-kishore-kumar-actor","tag-kishore-kumar-amit-kumar","tag-kishore-kumar-birth-anniversary","tag-kishore-kumar-songs","tag-remembering-kishore-kumar"],"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/6551","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/users\/778"}],"replies":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/comments?post=6551"}],"version-history":[{"count":1,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/6551\/revisions"}],"predecessor-version":[{"id":6554,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/6551\/revisions\/6554"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/media\/6558"}],"wp:attachment":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/media?parent=6551"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/categories?post=6551"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/tags?post=6551"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}