The days of Christmas and New Year's is pretty dull in IT companies if you're working; in fact only sitting at your desk for a couple of hours can get pretty frustrating, so I thought why not write an article - it has been quite a while as well. Having said that, I must add that this post has been on my mind for some time. There's no way one can choose to write a tribute to Kalyanji-Anandji out of just sheer joblessness!
There are some people in the film industry (everywhere you consider, but more so in Bollywood) who basically do everything right, hit the right notes with every project, stay out of controversies, give in some terrific contribution towards cinema and the country, have their work being admired by almost everyone and yet do not get the kind of credit they rightfully deserve. The musical duo of Kalyanji Veerji Shah and Anandji Veerji Shah is one of them. In my mind, they are probably among the greatest music directors of all-time; yet it's a pity most of us hardly even know their names!
I don't want this article to drag as long some of my previous ones, so I'm trying to split this into various categories. I hope this helps in shortening what can be a very lengthy post.
The early years: Kalyanji-Anandji started off in the late 50s, and let's not forget that was the period ruled by some of the best music directors of the Golden Era; while they did not create huge waves with their movies, there were some songs that really proved their worth and enough to give an impression on producers that would make them cast for some big-budget movies later. Mere Dil Mein Hai Ek Baat from Post Box 999, Dum Dum Diga Diga from Challia, Govinda Aala Re from Bluffmaster being some of the prime examples, it is safe to say the songs of these movies really helped Kalyanji-Anandji (K.A.) 'arrive' in Bollywood.
The Golden Movie in 1965 - Jab Jab Phool Khile: This was the movie that made stars out of Shashi Kapoor and Nanda, but the unsung heroes of the film had to be K.A. for their brilliant music. Each song was better than the other and remain evergreen classics. K.A. made sure the spectacular lyrics of the film got the right treatment. Pardesiyon Se Na Ankhiyan Milana was used three times in the film in quick succession, and had it been half as good, people would have got found it to be a bit too much come the second time. Think of Shashi Kapoor or a song on a boat, and that's probably the first song that will come on your mind. Try it.
If Mohd. Rafi was superb in that romantic solo, there was also Yahaan Main Ajnabi Hoon - a sad solo number. However, if I had to choose one solo of Rafi from this movie, I would pick Humko Tumpe Pyaar Aaya. One really has to admire K.A. for this tune. I think this tune is perhaps the finest representation of a person falling madly in love and then what his reaction when the girl says she likes him too - basically all he is going to do is shout, jump, run and shout again; precisely what this song is about! Rafi had a real challenge in this one, where he sings lots of words quickly and breathless, and not surprisingly, he delivered exactly what was required.
Who can also forget Lata's solo - Ye Sama Sama Hai Ye Pyaar Ka? One of the finest dreamy, romantic numbers and now one of the best 'seductive' songs of all-time!
Also, if you were to play Antakshari, it can be guaranteed that when the letter 'Na' comes, the song Na Na Karte Pyar Tumhi Se Kar Baithe is going to be one of the first few songs sung. A delightful romantic duet between Rafi and Suman Kalyanpur, this is probably one of the most famous songs from this movie till date even if very few actually which film the song is from.
My favourite song from this movie has to be Ek Tha Gul Aur Ek Thi Bulbul. This is one of the best combinations of lyrics-music-singing in my opinion. As far as songs being perfectly fitted to the story of a movie goes, this is as perfect as it gets! This song is not just a song, it's a whole story in itself, and in fact, it's the story of the film. Hats off to everyone involved in this song. You just have to listen to it to understand what I'm talking about. I initially wanted to descibe the lyrics and the tune (which is not exactly constant - it varies in every stanza) in more detail, but in the interest of this overall article, I'd better not.
The Manoj Kumar collaboration: While 1965 will always be remembered by me as the year of Jab Jab Phool Khile, K.A. got their first Filmfare Nomination for their work in Himalay Ki God Mein that year. While all the songs were terrific, the one standout had to be Chand Si Mehbooba Ho Meri Kab. This was just the start of one of the finest actor/filmmaker and music director partnerships. Two years later came Upkar - Manoj Kumar's magnum opus based on Shastri's Jai Jawaan Jai Kisaan slogan. The picture of Manoj Kumar with the plough is something that no one can forget, and what better song than Mere Desh Ki Dharti to summarize the passion of Bharat (Manoj Kumar's character) for his land and nation. Definitely one of the best patriotic songs ever! This film also had the Manna Dey solo, Kasme Vaade Pyaar Wafa Sab, which depicts the disgust that Pran's character has for the changing times. While these two songs are in a league of their own, this film had provision for a cabaret number as well - and K.A. proved their versatility with Gulaabi Raat Gulaabi.
Their next collaboration would be probably K.A.'s toughest challenge - Purab Aur Paschim. If there is one song that gives me goosebumps everytime I listen to, it has to be Hai Preet Jahaan Ki Reet Sada - a patriotic number composed in a very different manner, K.A. fitted this into the dialogues of the movie and gradually gave it a tune. It again proved K.A. were experts in not letting the music overshadow the lyrics. That was exhibited again in one of my favourite romantic numbers, about a guy showing how much he loves a girl and is always willing to accept her, the song of a true lover professing his eternal love for the girl - Koi Jab Tumhara Hriday Tod De.
1970 - the magical year: By the end of the 1960's, the talent of K.A. was there for all to see and it was obvious that this was a team that was here to stay. In 1970, K.A. established themselves in the A-league category of music-directors. For me, there has no been no year in which any music director(s) has had such a great record and been as impressive as K.A. were. While Purab Aur Paschim was one of the films that released in the same year and of which we've already spoken about, the other film that really made a mark for them as the masters of the thriller genre was Johny Mera Naam, which we will speak about later. If these two films weren't enough, some of the other musical blockbusters that K.A. had during this year were Safar, Mere Humsafar, Sachcha Jhootha, Geet and Gopi.
Geet has some really hit numbers such as Mere Mitwa Mere Meet Re and Mere Humsafar of course had the famous title song, but Safar, Sacha Jhootha and Gopi were enough to show the versatility of this musical duo.
Safar's soundtrack was quite different from the other works of K.A. so far. As usual, their music was in line with the requirement of the script - simple, soft, subtle and sad ... very sad! A fantastic album, this features songs such as Zindagi Ka Safar, Jeevan Se Bhari Teri Aankhen, Nadiya Chale Chale Re Dhara and Hum The Jinke Sahare which suit the adjectives I used to generalize the music of the film. The one fast number from this album also was a highlight - Jo Tumko Ho Pasand Wohi Baat Karenge. Just these five songs in the film, and the fact that each song is so beautiful, added life to the film. Safar is considered to be one of the best tragedies of Bollywood, and with songs like these, it's hard not to imagine why!
K.A. got a chance to compose for another Rajesh Khanna film in the same year, and while the film, Sacha Jhootha was another blockbuster, the music too was not far behind from Safar in any way. While Yun Hi Tum Mujhse Pyaar was a fun, teasing number between Rajesh and Mumtaz, Dil Ko Dekho Chehra Na Dekho and Karle Pyar Karle were superhit solo numbers; all three of them equally fantastic and equally memorable. This is also the film which has the famous Meri Pyaari Beheniya Banegi Dulhaniya, which is played and sung in almost every wedding.
Gopi was a very unique album; and a fantastic one too! There is this one number in the song called Ek Padosan - very nicely done and melodious, that contains the names of the films of Dilip Kumar and Saira Banu in every sentence. A concept like that really needs lots of effort and I think that is something K.A. were never shy of. While Sukh Ke Sab Saathi, Akele Hi Akele are quite popular even today, there are the others that deserve special mention. It is never easy to compose for Dilip Kumar when he has this typical role of a naughty villager who's a rebel in his own way and who stands up for his rights and goes about things his usual 'Purrrrrr' way (similar to Naya Daur - Dilip Kumar fans will know what I mean), so when a song like Gentleman Gentleman comes about, everyone sits up and takes notice. Once again, K.A. knew how to use Rafi for these 'mad' numbers very wisely. Ramachandra Keh Gaya Siya Se is definitely one of the most popular bhajans, and I guess there's no way to explain why other than just make the person listen to it and watch the way it's picturized.
It's really a surprise how K.A. went without even a nomination, forget an award, for all their work throughout that year!
Wednesday, January 12, 2011
Remembering a legendary duo: Kalyanji-Anandji (Part II of II)
The Vijay Anand collaboration: In 1970, as mentioned K.A. got an opportunity to compose for Vijay Anand's Johny Mera Naam. Every music director would know that that is a golden opportunity for their music to shine like never before. In my opinion, there could be no bigger honour for a music director than to compose for Vijay Anand, for you can be rest assured your music will be used in the film like never before and the picturization of the songs is going to take them to a different level altogether!
K.A. grabbed their golden chance with some evergreen hits like Pal Bhar Ke Liye, O Mere Raja, Nafrat Karne Walon Ke, Babul Pyare, Govind Bolo Hari Gopal Bolo and Husn Ke Laakhon Rang. While there is no doubt that the picturization of these songs is what has made them last in people's minds forever, just the songs as a whole would still make for a wonderful album had it been someone else at the helms apart from Vijay Anand. If there is one thing for which the credit can be totally attributed to K.A., it would have to be the chilling background score. Johny Mera Naam is regarded as one of the best thrillers of all time, and any layman would also know how critical background music is to a film of this genre! Right from when the credits appear in the movie till the movie ends, the background music keeps you on the edge of your seat the whole time. This movie is what established K.A. as the masters of the thriller genre, and it is probably why Vijay Anand repeated them for Blackmail.
If K.A. had just composed this one song from Blackmail in their entire career, they would still be regarded as top-class, simply because this song is probably one of the most romantic numbers ever! There is a reason why this song is perenially on every person's lips or mind, irrespective of age or region. The song of course is the beautiful Pal Pal Dil Ke Paas. What K.A. also accomplished in Blackmail is give Shatrughan Sinha his most memorable song of his career - Sharbati Teri Aankhon Mein. A fun, crazy, Kishore Kumar romantic number, this was also the first ever time a song was picturized on Shatrughan!
The Prakash Mehra collaboration: Prakash Mehra signed K.A. for his very first directorial venture, Haseena Maan Jayegi, which became a box-office hit vastly due to it's superhit music as well as it's interesting screenplay and Shashi Kapoor's charm. With fun songs like Dilbar Dilbar and O Dilbar Jaaniye, Shashi Kapoor got some of his most recognizable songs. Bekhudi Mein Sanam was another lovely romantic composition. Just like Gopi, here too K.A. were given a special task of paying tribute. And it was none other than themselves in this case!!! Suno Suno saw Shashi Kapoor in one of his craziest getups, doing some wild things; all for some of K.A.'s songs reworded and remixed! Prakash Mehra's and K.A.'s was a partnership that would last till the fag end of Prakash Mehra's career.
Zanjeer came next and while Amitabh Bachchan took the nation by storm, it's music didn't go unnoticed and there is no reason why it should have. With songs like Yaari Hai Imaan Mera (possibly the best friendship song there has ever been), Diljalon Ka Dil Jala Ke (Bindu in one of her finest songs), Chakku Churiyaan Tez Kara Lo and Deewane Hain Deewanon Ko (two absolutely brilliant and totally different street songs), it is safe to say K.A. played just as big a part in making Prakash Mehra's masterpiece a big hit as they had earlier.
The Prakash Mehra - Amitabh Bachchan - K.A. combination continued with films like Hera Pheri (the title song being very well remembered even today) and then Muqaddar Ka Sikandar. Each song of the latter having a sad tone to it, K.A. outproved even themselves with this album, whether it be the title track of Rote Huye Aate Hai Sab or the other Kishore solo,O Saathi Re or the mesmerizing Salaam-E-Ishq Meri Jaan or the wonderfully crafted Dil to Hai Dil.
This combo then went on to make Lawaaris, which featured Amitabh as a playback singer for the first time with the ever-popular chartbuster, Mere Angne Mein Tumhara Kya Kaam Hai. This film is also famous for it's disco number, Apni To Jaise Taise and it's equally sober romantic number, Kab Ke Bichre Huye.
Apart from the Amitabh movies, K.A. served Prakash Mehra very well in other films as well, for example Haath Ki Safai which had some really sweet songs like Waada Karle Saajna and Hum Ko Mohabaat Ho Gayi Hai Tumse.
The Feroz Khan collaboration: When Feroz Khan acted in Safar, it was only two years before he would go on to direct his first film. What Safar must have done is re-affirm his decision that K.A. would be ideal for his first ever project - a musical duo that could never let him down. By then, K.A. had established themselves as the number one composers for thrillers as well, which would have only made Feroz Khan's job easier. And when Apradh hit the theatres, there would be no looking back for this team of Feroz and K.A. Songs like Tum Mile Pyar Se and Hamaare Siva Tumhare Kitne Deewane Hain are still popular and watching their videos is a real treat; after all they are some of the naughtiest romantic numbers ever!
However, as far as this combination goes, their best was yet to come.
Three years later came Feroz Khan's epic based on The Godfather, Dharmatma, and this was an album even K.A. would be very proud of. The music of this film reflected the film very well - both were all about style. Kya Khoob Lagti Ho is one of the most popular romantic numbers even today and will always remain one of the most stylishly shot songs ever. Each song of this film was a masterpiece; some that come in mind while typing are Tune Kisi Se Kabhi Pyar Kiya Hai and Tere Chehre Mein Woh Jaadu Hai. While the former is a very uniquely written romantic number aptly suiting the script situation (and it was a rather tough one - while it has to show the love of Rekha for Feroz, it has to also remind Feroz of his dead lover - so the music had to be romantic as well as have a sad nostalgic touch to it, at the same time), the latter is a song every girl would love to hear from a guy. This film also had possibly one of the first, and yet finest, 'gypsy'-style numbers with Mere Galiyon Se. Again, what transformed what would have been a very good movie into a terrific one was the thrilling background score. Watch out also for a cabaret number in this film that had no words and served it's purpose only with music.
The pair reunited for Qurbani, which was a revolution as far as music in the '80s goes. While songs like Aap Jaisa Koi and Laila O Laila were fantastic numbers shot in bars in disco style, there was also this extremely romantic number on the other hand - Hum Tumhe Chahte Hain Jaise, not to forget the title track which is as good a friendship song as the one in Zanjeer.
Their last pairing was in Jaanbaaz in 1986, which saw a very different 'avatar' of K.A. While songs like Har Kisi Ko Nahin Milta and Pyar Do Pyar Lo might have been totally 'hatke' and something totally unlike K.A. (more like something Bappi Lahiri or R.D.Burman would have done), there was no compromise on quality from their end. The story demanded steamy numbers, which would be picturized boldly, so the songs had to be enticing to say the least; and K.A. showed that they had moved on with the times and delivered just that!
The thriller genre: Come the 1970s and as mentioned, by then K.A. had established themselves as the most sought-after musical directors when the genre of the movie was thrill or suspense. Apart from the movies mentioned till now, K.A. reigned supreme in other thrillers of those times such as Victoria No. 203, which also had a recurring background theme like Johny Mera Naam and Sachcha Jhoota and also some very hit numbers, the most popular today being Do Bechare Bina Sahare, a fun number picturized on two character actors - Pran and Ashok Kumar. In fact, K.A. teamed up with the director of this movie on other occasions as well, such as Ek Se Badhar Ek, Kathputli (a drama from Brij, which was a deviation from his usual genre), Bombay 405 Miles and Chori Mera Kaam. All films had a rivetting background score and some hit numbers as well.
Gulzar signed K.A. for his thriller cum drama, Faraar. Again, composing for Gulzar's scripts is never easy because they come with so many layers, but nothing was too difficult for K.A, who justified the faith Gulzar showered on them. Gulzar didn't make too many thrillers and he always had R.D.Burman as his composer for most of his films, so when he finally made a movie about a policeman and his wife whose child is taken hostage by a murderer in their very own home, K.A. just had to deliver; and in what fine style they did. A very engrossing background score again, they also gave some superhit numbers like Main Pyaasa Tum Saawan.
K.A. gave another hit album in the form of Khoon Pasina, which had some huge hits like the title track, Khoon Pasine Ki Jo Milenge To Khayenge and Main Teri Ho Gayee Tu Mera Ho Gaya.
However, K.A.'s best for Amitabh Bachchan was yet to come - in 1978 came the cult classic, Don; and what is there to be said about this movie one already doesn't know. Each song of this film remains popular even today, be it Helen's famous item number to stall Amitabh while the police catch up on him, Ye Mera Dil Pyar Ka Deewana or the uneducated Amitabh singing Yeh Hai Bombai Nazariya Tu Dekh Babuya or about a woman seeking revenge, Zeenat singing Jiska Mujhe Tha Intezar or the very famous title track Main Hoon Don. But then, no mention of Don can be complete without the song that no one has dare change apart from just remixing it slightly when the movie was remade in various regional languages, as well as again in Hindi - Khaike Paan Banaraswala! Just this song is enough to demonstrate how much K.A. are actually present in our hearts and minds without us knowing it's them. I don't think there's any need to write about this song, and quite frankly, I don't think there are words to describe it as well!
Their other films: Despite all the work mentioned above, K.A. got offers from various other filmmakers as well. Some of the biggest blockbusters of those years or critically acclaimed movies of those times also had K.A. giving the score. While Hum Rahi, Do Anjaane, Joroo Ka Ghulam, Bairaag and Kalicharan had good scores, K.A. really shone in movies like Rafoo Chakkar which had some really fun numbers like Kisi Pe Dil Agar and Bombay Se Baroda Tak; Saraswatichandra, which had some of the most beautiful and soothing songs ever like Chandan Sa Badan and Phool Tumhe Bheja Hai Khat Mein; and Kora Kaagaz which won K.A. their only Filmfare Award. A beautiful, smart and highly emotional film, K.A.'s music immortalized the film with songs like Mera Jeeven Kora Kagaz, Roothe Roothe Piya and Mere Padhne Mein Nahin.
Viju Shah: Kalyanji's son, Viju Shah, began his Bollywood career as a music director with a bang with Tridev, maintained his tempo with Vishwaatma, Junoon and Yalgaar and followed up their success with even bigger hits like Mohra and Gupt, showing that when it comes to thrillers, he has inherited his genes from possibly the greatest of that genre. He gave chartbuster hits for films like Bade Miyan Chote Miyan, Tere Mere Sapne, Dil Ka Rishta and Pyar Ishq Aur Mohabbat.
Looking at the filmography of Kalyanji-Anandji, it is really a wonder how this duo could only land up with one Filmfare Award and one other Filmfare Nomination in their entire career. Looks like it's not just the audience who have not given them their due, but the critics as well. As I started off this lengthy article, there are some unsung heroes in every film industry. There are several in Bollywood and Kalyanji-Anandji are just two of them.
K.A. grabbed their golden chance with some evergreen hits like Pal Bhar Ke Liye, O Mere Raja, Nafrat Karne Walon Ke, Babul Pyare, Govind Bolo Hari Gopal Bolo and Husn Ke Laakhon Rang. While there is no doubt that the picturization of these songs is what has made them last in people's minds forever, just the songs as a whole would still make for a wonderful album had it been someone else at the helms apart from Vijay Anand. If there is one thing for which the credit can be totally attributed to K.A., it would have to be the chilling background score. Johny Mera Naam is regarded as one of the best thrillers of all time, and any layman would also know how critical background music is to a film of this genre! Right from when the credits appear in the movie till the movie ends, the background music keeps you on the edge of your seat the whole time. This movie is what established K.A. as the masters of the thriller genre, and it is probably why Vijay Anand repeated them for Blackmail.
If K.A. had just composed this one song from Blackmail in their entire career, they would still be regarded as top-class, simply because this song is probably one of the most romantic numbers ever! There is a reason why this song is perenially on every person's lips or mind, irrespective of age or region. The song of course is the beautiful Pal Pal Dil Ke Paas. What K.A. also accomplished in Blackmail is give Shatrughan Sinha his most memorable song of his career - Sharbati Teri Aankhon Mein. A fun, crazy, Kishore Kumar romantic number, this was also the first ever time a song was picturized on Shatrughan!
The Prakash Mehra collaboration: Prakash Mehra signed K.A. for his very first directorial venture, Haseena Maan Jayegi, which became a box-office hit vastly due to it's superhit music as well as it's interesting screenplay and Shashi Kapoor's charm. With fun songs like Dilbar Dilbar and O Dilbar Jaaniye, Shashi Kapoor got some of his most recognizable songs. Bekhudi Mein Sanam was another lovely romantic composition. Just like Gopi, here too K.A. were given a special task of paying tribute. And it was none other than themselves in this case!!! Suno Suno saw Shashi Kapoor in one of his craziest getups, doing some wild things; all for some of K.A.'s songs reworded and remixed! Prakash Mehra's and K.A.'s was a partnership that would last till the fag end of Prakash Mehra's career.
Zanjeer came next and while Amitabh Bachchan took the nation by storm, it's music didn't go unnoticed and there is no reason why it should have. With songs like Yaari Hai Imaan Mera (possibly the best friendship song there has ever been), Diljalon Ka Dil Jala Ke (Bindu in one of her finest songs), Chakku Churiyaan Tez Kara Lo and Deewane Hain Deewanon Ko (two absolutely brilliant and totally different street songs), it is safe to say K.A. played just as big a part in making Prakash Mehra's masterpiece a big hit as they had earlier.
The Prakash Mehra - Amitabh Bachchan - K.A. combination continued with films like Hera Pheri (the title song being very well remembered even today) and then Muqaddar Ka Sikandar. Each song of the latter having a sad tone to it, K.A. outproved even themselves with this album, whether it be the title track of Rote Huye Aate Hai Sab or the other Kishore solo,O Saathi Re or the mesmerizing Salaam-E-Ishq Meri Jaan or the wonderfully crafted Dil to Hai Dil.
This combo then went on to make Lawaaris, which featured Amitabh as a playback singer for the first time with the ever-popular chartbuster, Mere Angne Mein Tumhara Kya Kaam Hai. This film is also famous for it's disco number, Apni To Jaise Taise and it's equally sober romantic number, Kab Ke Bichre Huye.
Apart from the Amitabh movies, K.A. served Prakash Mehra very well in other films as well, for example Haath Ki Safai which had some really sweet songs like Waada Karle Saajna and Hum Ko Mohabaat Ho Gayi Hai Tumse.
The Feroz Khan collaboration: When Feroz Khan acted in Safar, it was only two years before he would go on to direct his first film. What Safar must have done is re-affirm his decision that K.A. would be ideal for his first ever project - a musical duo that could never let him down. By then, K.A. had established themselves as the number one composers for thrillers as well, which would have only made Feroz Khan's job easier. And when Apradh hit the theatres, there would be no looking back for this team of Feroz and K.A. Songs like Tum Mile Pyar Se and Hamaare Siva Tumhare Kitne Deewane Hain are still popular and watching their videos is a real treat; after all they are some of the naughtiest romantic numbers ever!
However, as far as this combination goes, their best was yet to come.
Three years later came Feroz Khan's epic based on The Godfather, Dharmatma, and this was an album even K.A. would be very proud of. The music of this film reflected the film very well - both were all about style. Kya Khoob Lagti Ho is one of the most popular romantic numbers even today and will always remain one of the most stylishly shot songs ever. Each song of this film was a masterpiece; some that come in mind while typing are Tune Kisi Se Kabhi Pyar Kiya Hai and Tere Chehre Mein Woh Jaadu Hai. While the former is a very uniquely written romantic number aptly suiting the script situation (and it was a rather tough one - while it has to show the love of Rekha for Feroz, it has to also remind Feroz of his dead lover - so the music had to be romantic as well as have a sad nostalgic touch to it, at the same time), the latter is a song every girl would love to hear from a guy. This film also had possibly one of the first, and yet finest, 'gypsy'-style numbers with Mere Galiyon Se. Again, what transformed what would have been a very good movie into a terrific one was the thrilling background score. Watch out also for a cabaret number in this film that had no words and served it's purpose only with music.
The pair reunited for Qurbani, which was a revolution as far as music in the '80s goes. While songs like Aap Jaisa Koi and Laila O Laila were fantastic numbers shot in bars in disco style, there was also this extremely romantic number on the other hand - Hum Tumhe Chahte Hain Jaise, not to forget the title track which is as good a friendship song as the one in Zanjeer.
Their last pairing was in Jaanbaaz in 1986, which saw a very different 'avatar' of K.A. While songs like Har Kisi Ko Nahin Milta and Pyar Do Pyar Lo might have been totally 'hatke' and something totally unlike K.A. (more like something Bappi Lahiri or R.D.Burman would have done), there was no compromise on quality from their end. The story demanded steamy numbers, which would be picturized boldly, so the songs had to be enticing to say the least; and K.A. showed that they had moved on with the times and delivered just that!
The thriller genre: Come the 1970s and as mentioned, by then K.A. had established themselves as the most sought-after musical directors when the genre of the movie was thrill or suspense. Apart from the movies mentioned till now, K.A. reigned supreme in other thrillers of those times such as Victoria No. 203, which also had a recurring background theme like Johny Mera Naam and Sachcha Jhoota and also some very hit numbers, the most popular today being Do Bechare Bina Sahare, a fun number picturized on two character actors - Pran and Ashok Kumar. In fact, K.A. teamed up with the director of this movie on other occasions as well, such as Ek Se Badhar Ek, Kathputli (a drama from Brij, which was a deviation from his usual genre), Bombay 405 Miles and Chori Mera Kaam. All films had a rivetting background score and some hit numbers as well.
Gulzar signed K.A. for his thriller cum drama, Faraar. Again, composing for Gulzar's scripts is never easy because they come with so many layers, but nothing was too difficult for K.A, who justified the faith Gulzar showered on them. Gulzar didn't make too many thrillers and he always had R.D.Burman as his composer for most of his films, so when he finally made a movie about a policeman and his wife whose child is taken hostage by a murderer in their very own home, K.A. just had to deliver; and in what fine style they did. A very engrossing background score again, they also gave some superhit numbers like Main Pyaasa Tum Saawan.
K.A. gave another hit album in the form of Khoon Pasina, which had some huge hits like the title track, Khoon Pasine Ki Jo Milenge To Khayenge and Main Teri Ho Gayee Tu Mera Ho Gaya.
However, K.A.'s best for Amitabh Bachchan was yet to come - in 1978 came the cult classic, Don; and what is there to be said about this movie one already doesn't know. Each song of this film remains popular even today, be it Helen's famous item number to stall Amitabh while the police catch up on him, Ye Mera Dil Pyar Ka Deewana or the uneducated Amitabh singing Yeh Hai Bombai Nazariya Tu Dekh Babuya or about a woman seeking revenge, Zeenat singing Jiska Mujhe Tha Intezar or the very famous title track Main Hoon Don. But then, no mention of Don can be complete without the song that no one has dare change apart from just remixing it slightly when the movie was remade in various regional languages, as well as again in Hindi - Khaike Paan Banaraswala! Just this song is enough to demonstrate how much K.A. are actually present in our hearts and minds without us knowing it's them. I don't think there's any need to write about this song, and quite frankly, I don't think there are words to describe it as well!
Their other films: Despite all the work mentioned above, K.A. got offers from various other filmmakers as well. Some of the biggest blockbusters of those years or critically acclaimed movies of those times also had K.A. giving the score. While Hum Rahi, Do Anjaane, Joroo Ka Ghulam, Bairaag and Kalicharan had good scores, K.A. really shone in movies like Rafoo Chakkar which had some really fun numbers like Kisi Pe Dil Agar and Bombay Se Baroda Tak; Saraswatichandra, which had some of the most beautiful and soothing songs ever like Chandan Sa Badan and Phool Tumhe Bheja Hai Khat Mein; and Kora Kaagaz which won K.A. their only Filmfare Award. A beautiful, smart and highly emotional film, K.A.'s music immortalized the film with songs like Mera Jeeven Kora Kagaz, Roothe Roothe Piya and Mere Padhne Mein Nahin.
Viju Shah: Kalyanji's son, Viju Shah, began his Bollywood career as a music director with a bang with Tridev, maintained his tempo with Vishwaatma, Junoon and Yalgaar and followed up their success with even bigger hits like Mohra and Gupt, showing that when it comes to thrillers, he has inherited his genes from possibly the greatest of that genre. He gave chartbuster hits for films like Bade Miyan Chote Miyan, Tere Mere Sapne, Dil Ka Rishta and Pyar Ishq Aur Mohabbat.
Looking at the filmography of Kalyanji-Anandji, it is really a wonder how this duo could only land up with one Filmfare Award and one other Filmfare Nomination in their entire career. Looks like it's not just the audience who have not given them their due, but the critics as well. As I started off this lengthy article, there are some unsung heroes in every film industry. There are several in Bollywood and Kalyanji-Anandji are just two of them.
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