{"id":9385,"date":"2024-12-18T11:17:24","date_gmt":"2024-12-18T05:47:24","guid":{"rendered":"https:\/\/learningandcreativity.com\/silhouette\/?p=9385"},"modified":"2024-12-18T17:59:44","modified_gmt":"2024-12-18T12:29:44","slug":"the-many-voices-of-raj-kapoor","status":"publish","type":"post","link":"https:\/\/learningandcreativity.com\/silhouette\/the-many-voices-of-raj-kapoor\/","title":{"rendered":"The Many Voices of Raj Kapoor"},"content":{"rendered":"<p><div id=\"attachment_9401\" style=\"width: 1273px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-9401\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2024\/12\/Raj-Kapoor-and-Mukesh.png\" alt=\"Raj Kapoor and Mukesh\" width=\"1263\" height=\"734\" class=\"size-full wp-image-9401\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2024\/12\/Raj-Kapoor-and-Mukesh.png 1263w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2024\/12\/Raj-Kapoor-and-Mukesh-150x87.png 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2024\/12\/Raj-Kapoor-and-Mukesh-400x232.png 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2024\/12\/Raj-Kapoor-and-Mukesh-768x446.png 768w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2024\/12\/Raj-Kapoor-and-Mukesh-1024x595.png 1024w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2024\/12\/Raj-Kapoor-and-Mukesh-300x174.png 300w\" sizes=\"(max-width: 1263px) 100vw, 1263px\" \/><p id=\"caption-attachment-9401\" class=\"wp-caption-text\">Raj Kapoor and Mukesh<\/p><\/div><br \/>\n&nbsp;<\/p>\n<h2><strong>The Soul Voice<\/strong><\/h2>\n<p>It is arguable whether Raj Kapoor and Mukesh had similar voices, but what is beyond doubt is the synergy between Mukesh\u2019s style and Raj Kapoor\u2019s protagonists. Mukesh\u2019s singing was as simple and honest as the characters Kapoor portrayed. Not only were the tunes easily hummable, but the lyrics and social contexts resonated with the hopes and struggles of a young nation.<\/p>\n<p>From the unloved <em>Awara <\/em>who remains optimistic despite his trials <em>(Zakhmon se bhara seena hai mera,<\/em> <em>hansti hai magar yeh mast nazar)<\/em> to the homeless youth who happily claims the whole world to be his playground <em>(Rehne ko ghar nahi hai, saara jahan hamaara), <\/em>Mukesh\u2019s voice encapsulated the essence of RK\u2019s everyman. Above all, his songs were imbued with \u2018<em>dard<\/em> \u2018, an underlying melancholy that became the hallmark of RK\u2019s characters. This pain was apparent not only in moments of betrayal by <em>dosts and pyaars, <\/em>but also when the hero makes light of his own struggles. <em>(Aasman main hai khuda aur zameen pe ham, aaj kal woh is taraf dekhta hai kam!)<\/em><\/p>\n<h2><strong>In his own voice<\/strong><\/h2>\n<p>Raj Kapoor\u2019s preference for Mukesh becomes evident when we consider the song \u201c<em>O duniya ke rehne walon bolo kahan gaya chitchor\u201d from<\/em> <em>Dil Ki Rani (1947), <\/em>starring Raj Kapoor and a barely-teenage Madhubala. RK, our hero, is singing a simple, hummable melody on live radio, which resonated with the public so well that they happily sang it as they went about their day.\u00a0 What makes the song noteworthy is not its musicality but that it is sung by Raj Kapoor himself! RK\u2019s natural singing style in this song closely mirrors Mukesh\u2019s, highlighting why Mukesh became his voice of choice. Another interesting aside is that the composer is \u2018Kumar Sachindra Deo Varman\u2019!<\/p>\n<p>However, RK did not always have full control over playback choices. In the early 1950s, Mukesh was still establishing himself, and composers often had their own favourites. They often used other singers when situations required a semi-classical, or a peppy westernized style, which Mukesh&#8217;s voice could not fully accommodate.<\/p>\n<p><span style=\"color: #c2150a;\"> <em><strong>O duniya ke rehne walon<\/strong><\/em> (<em>Dil Ki Rani <\/em>, 1947) SD Burman \/ YN Joshi \/ Raj Kapoor<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/SbyQwP_00uc?si=D-A0o6LeyVC-JRyc\" 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><br \/>\n&nbsp;<\/p>\n<h2><strong>The voice that could have been<\/strong><\/h2>\n<p>Raj Kapoor worked with Madan Mohan in only two films, including <em>Ashiana<\/em> (1952), where Talat Mahmood was RK\u2019s voice. In <em>Main pagal mera manwa pagal, <\/em>Talat\u2019s silken voice perfectly captures the pain of an obsessed lover, syncing beautifully with RK\u2019s persona in the film. Also, with the context being complex and the words more poetic and profound, Talat seems a perfect fit. It would be intriguing to imagine famous Mukesh-RK songs of the early years in Talat\u2019s voice. In my mind, in an alternative universe, this would have been a great combination too!<\/p>\n<p>Roshan too used Talat for Raj Kapoor in <em>Anhonee (<\/em>1952). \u00a0<em>Main dil hun ek armaan bhara<\/em> begins with a fairly deadpan Raj Kapoor singing for a roomful of people at a party. The crackling RK-Nargis chemistry comes alive when she walks up close and leans on the piano \u2013 with Talat\u2019s voice and RK\u2019s expressions in perfect unison. The film also has a Talat duet, <em>Mere dil ki dhadkan kya bole, <\/em>a \u2018telephone\u2019 song, like the other famous Talat song from <em>Sujata<\/em>. But that\u2019s for a different article!<\/p>\n<p>Another gem from the same year is<em> Tum ko fursat ho, <\/em>a more playful ghazal by Talat, from <em>Bewafa<\/em> (1952).\u00a0 By all accounts, the song was more memorable than the film. The scene features Nargis in a swimsuit, quite bold for those days. The other noteworthy aspect of the film is the composer \u2013 A.R. Qureshi \u2013 known in another avatar as Ustad Alla Rakha! He had a modest career as a composer, and this song was probably his most famous.<\/p>\n<p><span style=\"color: #c2150a;\"> <em><strong>Main dil hoon ik armaan bhara<\/strong><\/em> (<em>Anhonee<\/em>, 1952) Roshan \/ Satyendra Athaiya \/ Talat Mahmood<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/DRXC86T3_Uo?si=R0oPvq1ZUoNwDcB3\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\n&nbsp;<\/p>\n<h2><strong>The voice for lightness <\/strong><\/h2>\n<p>For <em>Andaz <\/em>(1949), Mukesh sang the major hits, all of them picturized on Dilip Kumar. However, Naushad used Rafi as Raj Kapoor\u2019s voice in the duet <em>Yun to aapas mein bigadte hain. <\/em>Rafi sang for RK in just a handful of films, but there were several memorable songs in them \u2013 many of them with the typical \u2018lightness\u2019 of Rafi\u2019s romantic numbers. \u00a0Mukesh\u2019s <em>dard <\/em>did not always sit well with cheerful songs. Rafi\u2019s range however, allowed him to flit freely from the semi-classical to the peppy and from the maudlin to the mad.<\/p>\n<p>My personal favourite for this combination is<em> Yeh saawan rut tum aur hum ta ra ra ra ram <\/em>from <em>Dastan <\/em>(1950)<em> \u2013 <\/em>a light, foot-tapping waltz picturized on RK and Suraiya. It would be difficult to imagine Mukesh producing the same effect with his melancholic signature. \u00a0This was the only film RK did with Suraiya, and the composition too felt like a one-off for Naushad.<\/p>\n<p>Years later, in <em>Ek Dil Sau Afsane <\/em>(1962), Mukesh sang <em>Mast nazar dekh idhar, <\/em>another dance song in a party setting. But by then RK had probably internalized his tramp-like style involving staccato dance movements. So while it suited him, the visualization was not aesthetic, and the voice was not apt for the mood. All the songs of the film were by Mukesh, except for the memorable <em>Tum hi tum ho mere jivan mein. <\/em>It is said that Rafi had dubbed the song for the shoot, because Mukesh wasn\u2019t available \u2013 but everyone (including Mukesh) felt that the version should be retained since it had come out so well.<\/p>\n<p><span style=\"color: #c2150a;\"> <em><strong>Ta ra ri aa ra ri aa ra ri Yeh saawan rut tum aur hum<\/strong><\/em> (<em>Dastan<\/em>, 1950) Naushad \/ Shakeel Badayuni \/ Suraiya, Mohammed Rafi<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/JFFq_fjNVHs?si=2tChNAgRWs3YoPV1\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\n&nbsp;<\/p>\n<h2><strong>The one-time voices<\/strong><\/h2>\n<p><strong>\u00a0<\/strong>The other Madan Mohan-RK film was <em>Dhoon<\/em> (1953).\u00a0 Here, Madan Mohan\u2019s choice for most songs was Rafi. I couldn\u2019t access a video of this film or its songs, so one must assume that the romantic songs were picturized on RK. What\u2019s interesting in the soundtrack is the song <em>Hum pyar karenge, hum pyar karenge, <\/em>a duet featuring Lata and <strong>Hemant Kumar<\/strong>. If indeed this song too was picturized on RK, as many on the internet claim, it would be the only instance of Hemant singing for RK. While the song is sweet, it would require a leap of imagination to see a match between the actor and singer.<\/p>\n<div id=\"attachment_1891\" style=\"width: 846px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-1891\" class=\"size-full wp-image-1891\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2015\/06\/Hemant-Kumar-Rafi-Geeta-Dutt-and-others.jpg\" alt=\"Mohd. Rafi, Ranu Mukherjee, Ila Basu, Geeta Dutt. Opore Manabdendra, Pabitra Mitra, Nirmalendu, Raj Kapoor, Hemanta.\" width=\"836\" height=\"499\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2015\/06\/Hemant-Kumar-Rafi-Geeta-Dutt-and-others.jpg 836w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2015\/06\/Hemant-Kumar-Rafi-Geeta-Dutt-and-others-400x239.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2015\/06\/Hemant-Kumar-Rafi-Geeta-Dutt-and-others-768x458.jpg 768w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2015\/06\/Hemant-Kumar-Rafi-Geeta-Dutt-and-others-300x179.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2015\/06\/Hemant-Kumar-Rafi-Geeta-Dutt-and-others-150x90.jpg 150w\" sizes=\"(max-width: 836px) 100vw, 836px\" \/><p id=\"caption-attachment-1891\" class=\"wp-caption-text\">(Sitting L to R) Mohd. Rafi, Ranu Mukherjee, Ila Basu, Geeta Dutt. (Standing L to R) Manabdendra, Pabitra Mitra, Nirmalendu, Raj Kapoor, Hemanta.<br \/>(Pic courtesy: From the collections of Sri Susanta Kumar Chattopadhyay)<\/p><\/div>\n<p>In <em>Sargam <\/em>(1950), C. Ramachandra used two singers for RK, Rafi and \u2013 CR himself!\u00a0 CR was a versatile genius \u2013 his range was from semi-classical to comic, and as a singer he could mould his voice to suit any actor and any mood. The romantic <em>Woh humse chup hain, hum unse chup hain <\/em>is still wonderful to listen to nearly 75 years later. But another song by <strong>Chitalkar<\/strong> (CR\u2019s singing name), <em>Main hun ek khalasi, mera naam hai bhimpalasi, <\/em>is a mad and peppy dance song that fitted RK\u2019s on-screen antics perfectly.<\/p>\n<p><strong>Kishore Kumar<\/strong> had started singing for Dev Anand from the 1940s. But he had little to do with the other two greats, RK and Dilip Kumar. It was only in the 1970s that Kishore sang his only song for Dilip Kumar with <em>Saala main to saab ban gaya. <\/em>But did Kishore ever sing for Raj Kapoor? In <em>Pyar<\/em> (1950) composed by SD Burman, there are five songs by Kishore Kumar.<\/p>\n<p>Now, videos of these are unavailable, so one can only assume that some of the songs would have been picturized on RK and Nargis, especially the romantic duets and the customary sad songs when the couple are apart. Some of the notable tracks include <em>Ek hum aur ek tum, O bewafa yeh to bata, Mohabbat ka chota sa ik aashiana. <\/em>I find it difficult to imagine a synergy between the voice and the actor, but part of that is certainly because of the powerful associations with Mukesh \u2013 whose soulful voice was so different from Kishore\u2019s exuberance.<\/p>\n<p>Among the lesser-known singers to give voice to RK were Narayan Dutt in <em>Neelkamal<\/em> (1947) and Shankar Dasgupta in <em>Jan Pehchan <\/em>(1950).<\/p>\n<p><span style=\"color: #c2150a;\"> <em><strong>Wo humse chup hain<\/strong><\/em> (<em>Sargam<\/em>, 1950) C. Ramchandra \/ Pyarelal Santoshi \/ Chitalkar and Lata Mangeshkar<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/IAFTN6hn1og?si=ObCZlxQD35g4zv9h\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\n&nbsp;<\/p>\n<h2><strong>The other superhit voice<\/strong><\/h2>\n<p>No list of Raj Kapoor\u2019s top songs would be complete without Manna Dey. Unlike other playback legends who worked with RK sporadically (some like Mahendra Kapoor did none), Manna Dey sang for him from <em>Awara <\/em>(1951<em>) <\/em>to <em>Abdullah<\/em> (1980). <em>Chori Chori<\/em> produced two mega hits, the evergreen <em>Aaja sanam <\/em>and <em>Yeh raat bheegi bheegi, <\/em>but my personal favourite from this collaboration is <em>Masti bhara hai sama <\/em>from <em>Parvarish<\/em> (1958).<\/p>\n<p>The same film has the iconic <em>Aansoo bhari hai <\/em>by Mukesh, and the difference in moods illustrates why composers opted for other voices for RK, when it required an upbeat tempo. Another example is <em>Dil Hi To Hai<\/em> (1963), where Roshan used Manna Dey for the classical-based <em>Laaga chunari mein daag, <\/em>and the qawwali, <em>Parda utha salaam ho jaye, <\/em>while Mukesh sings his other songs.<\/p>\n<p>There is no doubt Mukesh gave soul to Raj Kapoor\u2019s characters. Much has been written about this \u2013 and the great showman himself paid heartfelt tribute to the late singer during an interview when he said, <em>\u201c<\/em><em>Mukesh, my soul, my voice, I was just a mere body\u2026when he died, I felt, there goes away my breath, there goes away my soul!\u201d <\/em><\/p>\n<p>But his gems from other partnerships remind us that RK\u2019s soul voice was not his sole voice.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<h2 style=\"text-align: center;\">Click <a href=\"https:\/\/learningandcreativity.com\/silhouette\/retrospective\/raj-kapoor-centenary\/\">Raj Kapoor@100<\/a><\/h2>\n<h2 style=\"text-align: center;\">for Critiques, Reviews, Interviews<\/h2>\n<h2 style=\"text-align: center;\">\u2014 The Centenary Tribute Series<\/h2>\n<p><a href=\"https:\/\/learningandcreativity.com\/silhouette\/retrospective\/raj-kapoor-centenary\/\"><img decoding=\"async\" class=\"aligncenter wp-image-9328 size-full\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2024\/12\/Raj-Kapoor-Centenary-Special.jpeg\" alt=\"Raj Kapoor Centenary Special\" width=\"1280\" height=\"720\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2024\/12\/Raj-Kapoor-Centenary-Special.jpeg 1280w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2024\/12\/Raj-Kapoor-Centenary-Special-150x84.jpeg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2024\/12\/Raj-Kapoor-Centenary-Special-400x225.jpeg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2024\/12\/Raj-Kapoor-Centenary-Special-768x432.jpeg 768w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2024\/12\/Raj-Kapoor-Centenary-Special-1024x576.jpeg 1024w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2024\/12\/Raj-Kapoor-Centenary-Special-300x169.jpeg 300w\" sizes=\"(max-width: 1280px) 100vw, 1280px\" \/><\/a> <\/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><strong><em>Any list of Raj Kapoor\u2019s top songs would be dominated by the voices of Mukesh and perhaps, Manna Dey. But Raj Kapoor also worked with other greats of his era, albeit sparingly, to produce several memorable gems, some still popular, and some obscure. Prakash Dharmarajan pays tribute to the great showman\u2019s collaboration with these artistes. <\/em><\/strong><!-- 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":1033,"featured_media":9395,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[822,2593],"tags":[533,1268,534,1752,1048,1047,1050],"class_list":["post-9385","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-golden-voices","category-raj-kapoor-centenary","tag-hemant-kumar","tag-kishore-kumar","tag-lata-mangeshkar","tag-mukesh","tag-nargis-and-raj-kapoor","tag-raj-kapoor","tag-raj-kapoor-nargis"],"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/9385","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\/1033"}],"replies":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/comments?post=9385"}],"version-history":[{"count":14,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/9385\/revisions"}],"predecessor-version":[{"id":9402,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/9385\/revisions\/9402"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/media\/9395"}],"wp:attachment":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/media?parent=9385"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/categories?post=9385"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/tags?post=9385"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}