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


Once in his lifetime, actor Dilip Kumar sang. The track was Laagi nahi chhute, a duet with Lata Mangeshkar in Hrishikesh Mukherjee’s Musafir (1957). However, a few of the movie business’s most iconic melodies had been picturised on the legendary actor who handed away at 98. Here is a curated record.

Songs from the movie Naya Daur (1957)

With the ‘man v/s machine’ theme in 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. Several compositions had been ingrained in Punjabi people, which, for the first time, was offered in such a refreshing method. Be it the delicate and romantic Maang ke saath tumhara with Nayyar’s trademark “ghudtaal” (the clip clop of the horse’s hooves) as 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. Almost each tune from Naya Daur reminds of Kumar and Vyjanthimala on display. This was industrial movie music in its most interesting hour.

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

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

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

Another absolute gem from Leader. 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 one in every of Naushad’s most intricate, considerate, and soulful compositions. The effortlessness with which Kumar lip syncs this complicated track, with all of Rafi’s murkis and slides in place whereas presenting it, is splendid to watch.

Madhuban mein radhika naachi re (Kohinoor, 1960)

As the famed story goes, Dilip Kumar requested for a delay in the track’s shoot as a result of he needed 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 give you the chance to overlook Kumar’s pleasant show. Even memorising the tough taraana in the finish.

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

Based in the romantic raag Pahadi, which straddles people and classical music equally effectively, 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 light shades of half philosophy and half truth with Mukesh’s voice is unforgettable. Dilip Kumar, together with his sweater tied round his neck, delivers the ditty on-screen with simplicity, the method it’s meant to be.

Dil tadap tadap ke (Madhumati, 1958)

Salil Chaudhury, the composer, had as soon as mentioned that the track was based mostly on a Hungarian melody. Though sung in Hungary at weddings and joyful events, the melody is definitely a people track in Poland. Sung by Mangeshkar and Mukesh, Chowdhury remodeled 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 and marketing in the background and the movie was specified by the world of the poor and homeless. This light 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. While one marvels at his wonderful diction and musicality, Naushad’s prowess in people music too wants to be applauded. Dilip Kumar, performing for the village, dances to this people track with impeccable allure. The track begins at a medium tempo however will get sooner in direction of the crescendo, elevating the pitch alongside. A melody that can all the time remind us of a cheerful and impish Dilip Kumar.



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