“King of Ghazals”! Yes, this was the adjective usually used for the legendary composer Madan Mohan. It was a perfect one! He was indeed the “Ghazal King”. In his films, we find “Ghazal” playing a very important role. Especially the ones, which were rendered by Lata Mangeshkar and/or Talat Mahmood.
Madan Mohan had a separate identity in film music. It is not that he only composed Ghazals or soft songs (don’t forget “Jhumka gira re”), but his melody was very different from the others. He was not very commercially successful throughout his career, but he is still considered to be one of the five top most composers in India. This is just because of the sweetness of his compositions.
His combination with Lata Mangeshkar is a myth; it was just superb. There are very few films where Madan Mohan used some female voice other than Lata’s. But as mentioned before, most of his films were not very commercially successful; that resisted him a lot to fight the tough battle with contemporary versatile composers like Shankar Jaikishan, R.D. Burman, Laxmikant Pyarelal, Kalyanji Anandji and S.D. Burman.
Madan Mohan worked till his mortal death in 1975.
Some of his hit musical films:
1950- 1960: Madhosh, Bhai Bhai, Gateway Of India, Dekh Kabira Roya, Adaalat, Aahkri Daao, Chacha Zindabaad
1961-1970: Sanjog, Anpadh, Akeli Mat Jaiyo, Jahan Ara, Haqeeqat, Aap Ki Parchhaiyan, Woh Kaun Thi, Sharaabi, Pooja Ke Phool, Suhaagan, Neela Aakash, Mera Saaya, Naunihal, Jab Yaad Kisi Ki Aati Hai, Dulhan Ek Raat Ki, Ek Kali Muskayee, Chiraag, Dastak, Heer Ranjha
1971-1975: Parwana, Bawarchi, Hindustan Ki Kasam, Haanste Zakham, Ek Mutthi Aasmaan, Dil Ki Raahen, Chowkidaar, Sahib Bahadur, Mausam, Laila Majnu
Kaushik Maitra
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