I was listening to the songs of ‘Sharmili’ the other day. One song struck me as interesting, ‘Megha Chhaye Aadhi Raat’. Even if the song is not a happy one, the prelude and the interlude of first stanza (Antara), have a completely different mood. The other part of the song has a gloomy mood.
Sharmili is a story about twin sisters, and the song is picturized on both the characters, in different parts of the song.
This song put the idea into my mind about collecting the songs having two different moods, mainly Happy and Sad, in broad terms. When I started thinking about the songs, to my surprise, I found enough songs quite easily, to put it as a theme. I have tried to explain the situation of the song, wherever i knew it, for better understanding of the lyrics.
So here are the songs, all from pre 1970s films, in no particular order………
1. Sambhal Ae Dil- Sadhna (1958) Asha Bhosle & Rafi / N Datta- Sahir
Sadhna is a film about a ‘Tawaif’ who fakes a would be daughter in law, but ends up loving everyone at the home and is accepted by the home.
Vaijayanti Mala got Best Actress Filmfare Awrad for this film, a well deserved one.
Mohan, the hero is not aware of Rajani (alias Chmapa bai) as a ‘Tawaif’ and he falls in love with her, and one day he clearly shows his inclination towards her.
Rajani, fully aware of her real condition, can’t handle the situation and runs away, but she also feels the same about Mohan. The song comes at this point, when mohan declares his love and Rajani tells her heart not to follow unachievable dreams!
One of the memorable duets by Asha & Rafi, definitely fitting in their Top Ten.
2. Ja Ja Re Ja Sajana- Adalat (1958) Lata Mangeshkar & Asha Bhosle / Madanmohan- Rajendra Krishna
Nargis portrays an unfortunate woman, Nirmal, who is always tormented by circumstances, and ends in a ‘Kotha’. Nirmal can sing very well, and finally accepts the situation against her will.
Nirmal actually tells her own situation about her love being away in Pardes, the other character sings the Mujra part of the song.
This is a beautiful duet by Mangeshkar Sisters, the fast paced part is adorably sung by Asha Bhosle.
3. Kisi Ki Mohobbat Mein Sab Kuchh Bhulake- Kaise Kahoon (1964) Asha Bhosle & Rafi / S D Burman-Shakil Badayuni
This film depicts the story of a successful singer, who finds himself suddenly deaf one day!
Amar(Biswajit) lives with his Guru,Panditji (Om Prakash) and his daughter, Rekha (Nanda). Rekha is deeply in love with him but never says anything. Amar is affectionate to her, but nothing more. One day he declares to marry a beautiful girl, Anita (Naaz) and Rekha is heartbroken. The songs appears at this moment.
The third stanza, missing in the record version, is actually worth listing and makes the song more meaningful.
4. Ye Ruki Ruki Hawain- Daman (1951) Lata Mangeshkar & Asha Bhosle / K Datta- Rajendra Krishna
Nothing much is known about this film, but this song is of historical importance in Indian Cinema. This is the very first duet by Mangeshkar Sisters.
Afterwards they sang many duets, but this one sounds a little different as, Asha was at the beginning of her career and her tender voice sounds slightly unpolished!
5. Zindagi Badali Mohobbat Ka Maza Aane Laga- Anhonee (1952) Rajkumari & Lata Mangeshkar / Roshan-Nakshab Jarchavi
Anhonee is a flim by K A Abbas, about two step sisters, wonderfully enacted by Nargis. Roop is the daughter of a rich and respectable man in Lukhnow, but he has a illegitimate daughter, Mohini. Mohini is a courtesan, and demands half of father’s property after his death.
Roop being generuos, accepts her step sister as well as her demand. But Mohini also fancies Roop’s fiancé, Raj (Raj Kapoor). After many twists and turns, finally Mohini marries Raj. The song comes at this point where Mohini is dreaming about her future with Raj, and brokenhearted Roop, accuses destiny and regrets being nice to Mohini.
Contrast between the two shades is well shown by the singers, and music director. Rajkumari sings her part honestly and brilliantly!
6. Nain Dwar Se Man Woh Aake- Sawan (1959) Mukesh & Lata Mangeshkar / Hansraj Behl-Prem Dhawan
I tried to collect information about this film, but couldn’t get anything about this song’s situation.
We can see Bharat Bhushan (who is called Sawan in the film) in a depressed mood and gorgeous Amita singing happily with her friends.
A very nice song with a drastic contrast between the two parts. Lata has the same 2-3 lines to repeat again and again after every antara.
But her way of singing Haye Haye at the end, makes us romantic and suddenly Mukesh’s gloomy voice makes us sad!
Hansraj behl was a talented music director, but never composed for a well known banner! Many of his songs are melodious and make him a memorable music director of the golden era. (I hope, I will write on him some day!)
7. Aaj Ki Raat- Kavi Kalidas (1959) Usha Mangeshkar & Sabita Bannerji / S N Tripathi-Bharat Vyas
S N Tripathi composed for and directed this film, which is about the legendary poet Kalidas. Kalidas never receives formal education,and is treated as a stupid in his childhood. A proud princess, Vidyutama, decides to marry the person, who defeats her in debate so that he is more intelligent than her. She misbehaves with many learned men and makes them work at her palace. A sage decides to teach her a lesson and takes help of Kali, who pretends to be in a vow of silence and wins the debate against Vidyutama. His childhood friend and love, Pushpa can’t withstand this and here the song makes its appearance!
Sabita Bannerji sings for Pushpa (Anita Guha) and Usha Mangeshkar for Vidyutama (Nirupa Roy). The Aalaps sung in the happy part appear western to me, slightly inappropriate for such period film! Of course it’s my interpretation.
8. Kaisi Haseen Aaj Baharon Ki Raat Hai- Aadmi (1968) Rafi & Mahendra Kapoor / Naushad- Shakil Badayuni
The story appeared so complicated to me that I can’t shade significant light on the song’s situation. It appears to be a usual love triangle between Dilip Kumar,Waheeda Rehman and Manoj Kumar. The latter two are in love, but he doesn’t know her actual name. This creates the chaos afterwards in the film! Manoj Kumar is the son of Dilip Kumar’s servant and he has helped Manojkumar in his medical education and obliged him. Manoj Kumar sacrifices his love for this reason. Then there is an accident and Dilip Kumar is paralyzed below waist. To add a fourth angle, we also have Simmi Garewal, who loves Manoj Kumar.
This song comes at a point where, Dilip Kumar declares his engagement with Waheeda. Manoj Kumar sings bitterly about his misfortune!
The song is a slow paced one and there is no or subtle change in tempo, or orchestration in two moods.
Talat’s voice appears faded and too shaky, where as Mahendra Kapoor sounds matching with Rafi’s voice. The only occasion where I like Mahendra Kapoor more than Talat! I am sharing both the versions, as you may like one over the other!
Now, the Talat-Rafi version
9. Patali Kamar Hai- Barsaat (1949) Mukesh & Lata Mangeshkar / Shankar Jaikishan- Shailendra
Barsaat is a story about two friends, Pran (Raj Kapoor) and Gopal ( Prem Nath). Whereas Pran is faithful to his love Reshma (Nargis) and they reunite after many difficulties, Gopal flurts with Neela (Nimmi), but tells her to wait for him till monsoon.
He is not faithful and never gives proper attention to Neela, who keeps on waiting for him, often bursting into tears.
The song depicts a similar scenario.
A well demarcated contrast in two shades of the song.
10. Aankhon Aankhon Mein Woh- Actress (1948) Shamshad Begum & Geeta Dutt / Shyamsunder-Nakshab Jarchavi
Nothing much is known about the film, the song is picturised on Rehana and Meena Shory.
Here again, no change in tempo or orchestration is made to show two moods. Responsibility lies solely on the singers, who manage it very well.
Geeta Dutt sings the happy part with enthusiasm and freshness, whereas Shamshad sings the other part with equal devotion and emotions.
The film also features Rafi’s early hits like, Hum Apne Dil Ka Fasana & Ae Dil Meri Aahon Mein. The video has very loud audio, i will also put a audio with better sound quality.
Do you want to add a song to the list?
Disclaimer –
Mehfil Mein Meri, claims no credit for any image posted on this site. Images on this blog are posted to make the text interesting. The images and screenshots are the copyright of their original owners. The song links from YouTube have been used here only for the listening convenience of music lovers. The copyright of these songs rests with the respective owners, producers, music companies.
Mehfil Mein Meri 
Interesting, and some really nice songs (there were several there I hadn’t heard before). I remember we’d discussed this – about ‘two in one’ songs, so to say – but I had interpreted it as two different tempos or tunes, not two different moods. I think yours is a very refreshing take on that; I doubt if I’d be able to come up with so many songs that include two different moods, but here’s one, Main natkhat ek kali from Do Behnen, where one twin sister is all peppy and frothy, while the other is gently religious:
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Thank you Madhuji.
I am glad u liked the post!
yes, we have talked about it, but i meant the two moods from the beginning!
The song you suggested was new to me, i have heard some songs from the movie, but not this one!
I knew, the film has Shyama, your favorite!
I liked the song very much.
😀
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Anup,
This is an innovative theme and you have presented it nicely. Interestingly, there is a guest article on my blog on a similar theme, but approached from a different direction, as ‘Asymmetric duets’. This also includes <Nain dwar se.
AK
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Thanx Ak ji,
I was hoping, u may like the theme!
I am glad ,u liked it.
I read your new post yesterday itself, it is also innovative, you added a few exclusion criteria to it, that made it more interesting!
🙂
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Superb..khooop chaan
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thanx niraj.
Keep visiting my blog
🙂
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I was playing this song for my granddaughter and suddenly I realised that the mood of the song had changed from happy to sad after 2.55 minutes of song.
I am referring to the song Kuch din pehle ek taal me sung by Asha Bhosle in Lajwanti with music by S D Burman.
Nargis and Balraj Sahani get separated due to some misunderstanding as he starts doubting her character. She leaves home and starts as a teacher in a school. They have a young 2-3 year daughter and she remembers her and sings this song.
The point as Anupji observed rightly is even the singer is the same.
I hope you will enjoy the song. In fact all songs of Lajwanti were very good and Lataji didn’t figure in any song.
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That was very interesting Mohanji!
when I compiled the list, I never thought of a solo with two moods! I was mainly looking for the songs where one character is singing happily, while the other is sad. They both are not together, but at two different locations.
But it’s quite insightful that you observed the mood change in a solo. While I was aware of the song, I never thought of including it on the list.
But as the title of the post goes, there are ‘two different moods in a single song’ in the Lajwanti song. So I think it fits the bill. Here’s the linlk,
Nargis sings happily in the initial part, but becomes sad towards end, when she starts missing her own family.
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Two songs instantly comes into mind.
“Jo wada kya wo nibhana padega” Taj Mahal
“Leke pehla pehla pyar” CID
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No Naghma ji!
The song should be single, not in two parts, one sad and one happy.
The songs you mention have clearly two parts that appear in the movie, at two different occasions. So both don’t fit.
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Anupji, this is a very innovative theme and I am happy you have found so many songs. I was also thinking of a theme like this. Didn’t know you had already done it. There are some songs I would want to mention. Barring the last, all the other are solos.
1) Mere Desh Ki Dharti from Upkaar (1967). The mood in the interlude showing Prem Chopra completely westernized is in contrast with Manoj Kumar who is praising India and its way of life. The contrast is very well brought out through the dance and the musical instruments used for both the actors.
2) Ghar Aaja Ghir Aayi from Chhote Nawab (1961) This is a song sung by Lata for the courtesan (Sheela Vaz) but the mood of the song and the lyrics are more appropriate for Ameeta the heroine of the movie. I noticed that Ameeta is not lip syncing, though.
3) Suno Choti Si Gudiya Ki Lambi Kahaani from Seema (1955). Here too like the song from Lajwanti mentioned above by Mohanji, the mood of the song keeps changing and the interlude music beautifully captures this. I refer to the first version of the song only.
4) O Chaand Jahan Woh Jaaye from Sharda(1957). This has Meena Kumari and Shyama, both referring to the man they love – Raj Kapoor. Though it is not a dual mood song in the strict sense, Meena Kumari is very subdued and wants the moon to play the role of a guiding light. Shyama on the other hand is more expressive and wants the moon to declare her love.
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Anitaji,
Thank you so much for your appreciation.
When I was compiling my list, I was keen for two contrasting moods, sad and happy, being very apparent. Let the tempo of the song changes or not.
So I think, the two songs have no contrasting moods, Mere Desh Ki Dharti has a happy mood throughout and only the style of orchestration changes. The same can be said about the song from Chhote Nawab, it has a melancholy mood throughout. But as it’s a Mujra song, Sheila Waz expresses different facial gestures. There are many songs in Hindi films, where one talks about a certain situation, that actually suits the leading characters, though they don’t lipsync to it. AKji had a song list in last January of such songs, and he called them surrogate songs.
I agree about the first version of the song from Seema. It fits, though it’s a solo.
And the last song also fits as a variation of the main theme. Though not exactly contrasting moods, Meena Kumari expresses concern, while Shyama is bubbly and more in a mood of celebrating Raj Kapoor’s journey. So it’s a very good addition.
Thank you so much for your prompt response. It’s really difficult to spare time in our busy schedule.
I was a bit disappointed when I published the list in 2017. As it was just the second month of my blog, the topic couldn’t get popular.
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Dr. Anup,
Just read this interesting post on a different theme. We all know dual version songs, having 2 different moods. But focusing on different moods in the same song is an innovative idea.
Liked the songs, 3 of which were new to me (Daman, Kavi Kalidas, Daman).
I would like to suggest this song from Kati Patang 1970 – Aaj na chhodenge bas humjoli.
Another suggestion is from Parwana 1971. Totally 2 different moods of love & acceptance
Yun na sharma phaila de – Kishore, Rafi.MD – Madan Mohan
They seem like 2 songs into one. But it is listed as a single song.
Hope these fit.
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Dr Rajesh,
Thank you for the appreciation.
And, thank you for sharing the songs. I think the songs fit.
Though I am aware of the song from Kati Patang, surprisingly I haven’t heard it in full ever. So it was a revelation.
And, The Parwana song was a new introduction. A perfect fit!
I couldn’t find the video and haven’t seen the movie. But it seems to be a single song.
🙂
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