{"id":72392,"date":"2026-02-10T21:25:37","date_gmt":"2026-02-11T02:25:37","guid":{"rendered":"https:\/\/apnaorg.com\/wp\/articles\/lata-mangeshkar-the-living-legend-part-x\/"},"modified":"2026-02-28T17:36:37","modified_gmt":"2026-02-28T22:36:37","slug":"lata-mangeshkar-the-living-legend-part-x","status":"publish","type":"articles","link":"https:\/\/apnaorg.com\/wp\/articles\/lata-mangeshkar-the-living-legend-part-x\/","title":{"rendered":"Lata Mangeshkar \u2014 the living legend Part X"},"content":{"rendered":"

By Dr. Amjad Parvez<\/strong><\/p>\n

Daily Times August 17, 2014<\/p>\n

  
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\n Eventually, Rawail signed Vyjantimala for the role. Dilip Kumar and Vyjantimala who had worked together for Naya Daur (1957) were then said to be having a romantic affair, parted their ways after Vyjantimala worked with Raj Kapoor in 1964 film ‘Sangam’. Thus, most of the scenes between the two actors for ‘Sungharsh’ were shot separately. When the film was near completion, it was rumoured that with the increasing conflict between the two leading actors, Vyjayantimala would be replaced by another actress, Waheeda Rehman but the latter had already replaced Vyjayantimala in another film starring Dilip Kumar, ‘Ram Aur Shyam’ (1967) which was being shot simultaneously with ‘Sungharsh’. Vyjayantimala readily declined the claim of her leaving the film when it was about to finish it’s shooting. Thus ‘Sungharsh’ was the last film where Dilip Kumar and Vyjantimala worked together. By then, both the actors had done the maximum number of films together and most of their films were a commercial success.<\/p>\n

Naushad composed music for Naresh Kumar’s ‘Ganwaar’ in 1970 (no Lata song in it) and ‘Pakeeza’ in 1972. As per my book ‘Melody Makers’, ‘the latter was Naushad’s assistant Ghulam Muhammad’s movie that had expired during the long time Kamal Amrohi’s estranged relationship with Meena Kumari. While discussing the music of this movie, music composer Khayyam told me that initially Kamal had asked him for giving background music for this movie but he (Khayyam) retreated as he thought in all honesty that doing so he could compromise on what was Naushad’s right and Naushad did full justice to this super hit assignment. Not only that, Naushad also composed a beautiful Lata’s Alaap for this film’. <\/p>\n

Naushad now composed for ‘Tangewala’ – 1972), (Lata’s songs ‘Jawani Baar Baar Nahi Aai’ and ‘Aai Re Khilone Waali Aai’) In the subsequent films ‘My Friend – 1974’, ‘Sunehra Sansaar – 1975), ‘Aaina – 1977), ‘Chambal Ki Rani – 1979), ‘Dharam Kanta’ – 1982), ‘Paan Khaie Saiyyan Hamaar – 1985) and ‘Love and God – 1986), I didn’t find any notable Lata song. The latter film remained incomplete because of director K. Asif’s death and was released up to the point where it was filmed only because of the efforts of hero Sanjeev Kumar.
\n Salil Chaudhry and Lata: If one desires to see the two types of melodies, one eastern and the other western borrowed, but both melodious then one needs to listen to two of Lata’s songs composed by music composer Salil Chaudhry. The first one is from the ‘Parakh’ with lyrics ‘Ho Sajna Barkha Bahar Aai’ and second one from the 1981 movie ‘Agni Parikhsha’ with lyrics ‘Aaj Koi Nahi Apna Kise Gham Ye Sunaein’. The changing tunes in both the ‘Antaras’ with a special style (chalan) of Tabla playing, made this song a beautiful one. The second song borrows influence of his father’s tastes and the visitors his father inculcated with. Salil’s father was fond of Western music and Salil spent most of his childhood listening to his father’s collection that included listening to the symphonies of Bach, Mozart and Chopin. Naturally its impact was strong on his psyche and on his work. This song starts its first line on a higher note and gradually lowers in octave. The instrumental treatment is reminiscence of western symphonies. The movie ‘Agni Pariksha’ was produced by B.R. Chopra and directed by Kamal Majumdar. Its cast comprised Amol Palekar, Parikhshat Sahni and Rameshwari. Lata sang another song ‘O Merey Gungun’ for this movie.<\/p>\n

In association with Ram Ganguli, Salil laid the foundation of Bombay Youth Chair to popularize harmony of Western Classical Music. Thus Salil Chaudhry introduced a blend of Indian music with the Western Classical music. A very popular song from the movie ‘Chaaya’ by Lata with Talat Mahmood ‘Itna Na Mujh Sei Tu Pyar Barha’ is based on one of Mozart’s popular composition. Lata’s song ‘Na Jiya Laage Na’ is a typical; Salil melody from 1971 movie ‘Anand’. In this song the asthai starts from lower note and gets on higher notes as it progresses leaving a melodious impact. Movie ‘Anand’ was well acted by Rajesh Khanna getting closer to death with each day passing (in the movie) with Amitabh Bachan in a support role.<\/p>\n

In the olden days, the lullabies were common as part and parcel of the movies’ music. In 1953, Salil Chaudhry left for Bombay to produce his story ‘Richshaw Walla’ into a movie and ended up in Bimal Roy Camp using his story for the famous movie of that time namely ‘Do Beegha Zameen’. I remember this Balraj Sahni – Nirupa Roy movie for its lullaby (Lori) ‘Aa Ja Ri Aa Nindiya Tu Aa’ crooned by Lata Mangeshkar. This song remains one of the best in this domain of music.<\/p>\n

This Raj Kapoor-Nargis starrer 1956 movie ‘Jagte Raho’ song ‘Jago Mohan Payare Jago’ created haunting effect. <\/p>\n","protected":false},"featured_media":72393,"template":"","language":[],"class_list":["post-72392","articles","type-articles","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/apnaorg.com\/wp\/wp-json\/wp\/v2\/articles\/72392","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/apnaorg.com\/wp\/wp-json\/wp\/v2\/articles"}],"about":[{"href":"https:\/\/apnaorg.com\/wp\/wp-json\/wp\/v2\/types\/articles"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/apnaorg.com\/wp\/wp-json\/wp\/v2\/media\/72393"}],"wp:attachment":[{"href":"https:\/\/apnaorg.com\/wp\/wp-json\/wp\/v2\/media?parent=72392"}],"wp:term":[{"taxonomy":"language","embeddable":true,"href":"https:\/\/apnaorg.com\/wp\/wp-json\/wp\/v2\/language?post=72392"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}