C Ramchandra – 60s & 70s

I welcome readers to the fifth part of the series. I will cover Chitalkar’s career in the 60s and 70s.

The period wasn’t a successful part of his career. Still when Lata Mangeshkar sang for him again, he could recreate magic. Stree (1961) and Bahu Rani (1963) are a couple of examples. It was surprising that in the 60s, he composed for mythological films as well. These films are usually not considered A grade and successful music directors usually stay away. It is said that, Chitalkar was not ready to compromise with his style of music. He was prepared to compose for Hindi films only on his terms and conditions. No one should interfere with his music. He was firm to his statement that the film should offer enough scope for the songs. He won’t compose for just 4 – 5 songs. His films would have at least 6 – 8 songs. (He has said so in this interview in 1978) So he might have lost interest gradually over the years. We can see him composing 5 – 6 songs in the majority of the films in the 60s, the interview is from the late 70s.

It is also very surprising that his films though musically successful, the songs hardly ever achieved first five positions on Binaca Geetmala’s yearly program. Except, in 1953, when ‘Yeh Zindagi Usiki Hai’ (Anarkali) topped the list, his songs could reach at the most on sixth position in forthcoming yearly finale. If we consider Binaca Geetmala to be the ultimate mirror of popularity of a song in that particular year, this is unexpected. Also he never received Filmfare Best Music Director Award. Of course such awards should not be considered a mark of excellence. There are some alleged stories of manipulation with the awards. But these facts are in a way shocking, if we consider that some of his popular songs are still evergreen and liked across all age groups. Songs of Albela, Shehnai, Anarkali, Navrang and Stree can be cited as examples.

I had thought of considering the films year wise. But except a couple of films in the early 60s, other films may not ring a bell for the majority of the readers. So I finally let go of the idea. There are around 17 films to consider. As I said in the introduction, there are mythological films and some unknown B grade stunt films as well. Unfortunately he was far from success in the 1960s in general and was too young to accept retirement either. He composed for Marathi songs in late 60s. But more about his Marathi film career in the last part of the series. He could not even have releases every year in the 60s. That was very unfortunate considering his peak of popularity in the 1950s, and a total of around 45+ films in the 50s decade. He was reduced to 17 films (15 in the 60s and a couple of films in the 70s).

After a relatively successful start with Stree (1961) and Bahu Rani (1963), the later years were unfruitful. This was when he composed for the mythological, Veer Bhimsen (1964) and a stunt film, Sher Dil (1965). His old friend, Bhagwan Dada tried to boost his career with Labella (1966), which was supposed to make people remember their earlier days in Albela (1951). But it crashed badly at the box office. If you listen to the songs from Labella, you will understand why! He composed for socials like Zindagi Aur Maut, Tasveer and Wahan Ke Log in the late 60s and though the films were not memorable, a couple of songs did become popular. Lata Mangeshkar sang her last song for him, in Payal Ki Jhankar (1968), which was her only song for the movie. After Rootha Na Karo (1970), no one bothered to consider his later releases. It was a painful experience going through his career in the 60s-70s.
How come an ace composer like him lost all his creativity? Why he could not get A grade films? Some questions should better be left unanswered!

Chitalkar and his playback singers in 60s –
Lata Mangeshkar sang for him in Stree (1961) and Bahu Rani (1963) and did make melodious and popular songs again. But it is said that the differences between the two never actually got resolved and she sang for him on her terms. C Ramchandra was not supposed to attend the recordings or face her directly. Datta Davjekar, who assisted Chitalkar for a long time, got the songs recorded with Sudhir Phadke. But after recording a song for Veer Bhimsen, she sang her last song in Payal Ki Jhankar (1968).
So his choice otherwise was Asha Bhosle and Mahendra Kapoor. When Kishore Kumar himself was hero, he obviously sang for himself. Rafi did sing a few songs here and there. It is very interesting that Mukesh had three songs under his baton, a song in each decade. In Mera Munna (1948), Sharda (1957) and Wahan Ke log (1967).

Chitalkar and lyricists in the 60s –
The decade started with Kavi Pradeep, who wrote for him in the late 50s as well. His alliance continued for a few more films in the 60s as well. He of course penned the patriotic song, ‘Ae Mere Watan Ke Logo’ and ‘Pranam In Dulhanon Ko Mera’ as well in the 60s. For a couple of films, Shakeel also penned songs for Chitalkar. Sahir was the lyricist for Bahu Rani. Rajendra Krishan also made a come back with Payal Ki Jhankar, but couldn’t continue further. Chitalkar had lost his charm altogether. Other lyricists like Majrooh, Raja Mehdi Ali Khan, Hasrat Jaipuri, D N Madhok also got associated.
Bharat Vyas contributed for Stree and Daal Mein Kala.

He still managed to survive the 60s, but the seventies were too bad for him. Hardly a couple of films released in the 70s, no one bothered about those, I won’t be surprised if he himself didn’t! I found mentions of music classes he started in Pune. He was also famous for the stage show, ‘Bhulaye Na Bane’, where he presented his popular Hindi film songs. He had a different set of singers for the show. Pramila Datar is one of the prominent names among them. It is said that he finally had to sell his house, situated at the Deccan Gymkhana in Pune. In the end, he suffered from peptic ulcer and was admitted in a hospital. He died on 5th January 1982, just a week prior to his 64th birthday.

And, let’s move on to the song list. The songs are in chronological order.

1. Mere Andhere Ghar Mein – Amar Rahe Yeh Pyar (1961) Asha Bhosle / Lyrics – Pradeep
The story of the film revolves around the partition of India in 1947. Nalini Jaywant sufferers a double blow she loses her child and husband. The mourning lady is consoled by a child brought by her brother. The baby is thought to be an orphan. After five years, his real parents (Nanda & Rajendra Kumar) come searching and a difficult situation arises. In the song Nalini Jaywant pours out her happiness singing the melodious song. Her dull life has surely turned into a happy one, thanks to the baby. The baby has brought a bright ray of hope, as if she is experiencing a full moon on a dark night (Amavasya). And the baby stole my heart away. Such a cute baby with chubby cheeks.
Perhaps the movie is better remembered for Pradeep’s poignant lyrics in ‘Aaj Ke Insan Ko Yeh Kya Ho Gaya’ and ‘Dekho Yeh Ghayal Taqdeere’. He not only wrote but sang these songs too. In fact out of Five songs, four songs are blessed with his playback. I have added the remaining song, Asha’s only solo for the movie. I’m impressed with the story of the movie and with Nanda and Nalini Jaywant, we can expect good performances too.

2. Jhilmil Jhilmil Lehron Ka – Stree (1961) Lata Mangeshkar / Lyrics – Bharat Vyas
Shakuntala expressing her joy as she falls in love with Dushyant and now her life nothing but happiness. The song is so lyrical, the repetitive use of rhyming words makes it so sweet. The tune also brings an expression of brightness. And Lata has rendered it beautifully well.
After a gap of three years, Lata Mangeshkar’s voice was heard in a Chitalkar film. It could be insistence of V Shantaram that she might have agreed to sing. But it is said that, she agreed to sing for him only if, Chitalkar stays away from the recording studio. The story goes like this, Datta Davjekar recorded the songs with Sudhir Phadke assisting him. (It is mentioned so in Manek Premchand’s book). Chitalkar’s songs exude vigour, energy in this film. All songs are excellently written by Vyas. Lata Mangeshkar sang with usual perfection. I wonder what would be her feelings while singing ‘O Nirdai Preetam’!
I would also add, ‘Kaun Ho Tum’ by Mahendra Kapoor. I’ve highlighted other songs of the movie in one of my earlier posts.

3. Balma Anadi Man Bhaye – Bahu Rani (1963) Lata Mangeshkar / Lyrics – Sahir
The Mala Sinha, Guru Dutt starrer had a bunch of good songs, with Lata Mangeshkar and Hemant Kumar. Again Lata’s presence pushed the songs to a next level even without any interaction between the singer and the composer. A classy, classical based song enchants you no end. I’m fond of all the songs from the movie. And Sahir and C Ramchandra worked together first and the last time. Enjoy the song. The film also has a solo by Hemant Kumar which no one would expect from him. Watch it here.

4. Ae Mere Watan Ke Logo – Non film Song (1963) Lata Mangeshkar / Lyrics – Kavi Pradeep
I don’t think it’s necessary to add any story that is connected with the song. Everyone knows everything about it by now. And anyway any allegation is not going to change the past. Finally Lata Mangeshkar sang it, and the rest is history. The song never fails to overwhelm the audience.

5. Do Aankhen Janani Do Aankhen Mardani – Daal Mein Kala (1964) Kishore Kumar & Asha Bholse / Lyrics – Bharat Vyas
After Bahu Rani, he hardly composed very less number of popular or memorable songs. That doesn’t mean all the songs were bad. The luck wasn’t with him. Those were his bad days. Listen to the song, that has captured Kishore Kumar’s funny side. It’s likeable too. Chitalkar never stopped following the melody.
Here’s the video song.

6. Jis Ke Pyar Mein Aantho Prahar – Veer Bhimsen (1964) Asha Bhosle & Mahendra Kapoor / Lyrics – Pradeep
I can’t imagine why he might have accepted the film. Usually mythological films don’t get first rung composers. But the song is very melodious. Anita Guha and Mahipal got typecast for mythological films, and the pair is seen teasing each other. The song is a dream sequence, with misty atmosphere and life-size musical instruments. The use of pure Hindi words makes it more enjoyable.

7. Dil Lagakar Hum Yeh Samajhe – Zindagi Aur Maut (1965) Asha Bhosle / Lyrics – Shakeel Badayuni
The song is immensely popular till date. I believe Asha’s version got more appreciation than the male version. And I like it a lot! I loved everything about it, except it’s video. But for a change I got one with good audio quality, without much voice distortion. Excellent use of piano. Asha has literally poured her emotions into a well composed tune. So never mind about the on screen actress. The standard audio version has only two verses, whereas the original movie soundtrack has all three. That compelled me to look for a video with better audio.

8. Pranam In Dulhanon Ko Mera – Non film Song (1965) Asha Bhosle / Lyrics – Pradeep
I came to know about the song, a couple of years ago, which was Chitalkar’s birth centenary year. The basic theme of the song is similar to ‘Ae Mere Watan Ke Logo’, but it portrays the sacrifices of the wives of the soldiers. They bravely accepted the situation. It was presented after the India – Pakistan war in 1965. C Ramchandra and Pradeep again made a masterpiece and this time it was sung by Asha Bhosle. The latter also donated all the jewellery that she was wearing on the day, to the Prime Minister fund. It is said that she was purposely wearing a lot of jewellery on the day. The song opens with C Ramchandra’s narration and after he sings the initial lines, Asha takes over. It’s worth listening to, though its 78 rpm record wasn’t apparently released due to a problem. The song has an overwhelming effect. Do listen to it, though the song is incomplete.

9. Tum Kitni Khubsoorat Ho – Wahan Ke Log (1967) Mahendra Kapoor / Lyrics – Shakeel Badayuni
His films in the late 60s were largely unknown to me. It was for the post that I particularly searched for them. Facing utter disappointment with the songs of Labella, the said film had good songs. Almost all songs are melodious and Tanuja looks absolutely beautiful. So in a way, the song does express my feelings to her as well!

10. Denewala Do Dil Deta – Tasveer (1967) Mahendra Kapoor / Lyrics – D N Madhok
I won’t call it a good song at all, but I liked the concept of having a couple of minds. Though I don’t endorse their use for the purposes mentioned in the song, it does sound a different idea.
Would you believe it’s Chitalkar’s composition? And I certainly don’t agree, the reason for his failure was the changing trends in Hindi film music or increasing influence of western music. He was one of the composers to use western tunes successfully in Hindi films. He’s the same composer who bestowed us with immortal songs in the 50s!

11. Tu Aaye Na Aaye – Payal Ki Jhankar (1968) Lata Mangeshkar / Lyrics – Rajendra Krishan
Lata’s last song for Chitalkar. Though it does remind us, the sweet memories of their association in the past. Lata’s voice appears too tender, was it recorded earlier for another movie and incorporated later in Payal Ki Jhankar? It’s a good song and so apt that it talks about separating partners.
Here’s a good audio quality video song.

12. Aap Ka Chehra Masha Allah – Rootha Na Karo (1970) Asha Bhosle & Rafi / Lyrics – Hasrat Jaipuri
Though it’s inspired from ‘That happy feeling’ by Bert Kaempfert, it’s very catchy. The original song is instrumental, our Hindi version has words and wonderful rendition by Asha Bhosle and Rafi. I’m glad I’m ending the list with a good enjoyable song, let it be an inspired one! The tune for the verses is of his own. I wish the entire album was good.

The last part of the ‘C Ramchandra’ series would have his Marathi songs. It was supposed to be a part of this post, but I later decided to dedicate a full post to it. Without the post, my tribute will not be complete.

Disclaimer –
Mehfil Mein Meri, claims no credit for any image, screenshots or songs 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 are shared from YouTube, only for the listening convenience of music lovers. The copyright of these songs rests with the respective owners, producers and music companies.