Remembering a legendary duo: Kalyanji-Anandji (Part I of II)

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!