Remembering Ravindra Jain, and the India he made music for.
When I heard about Ravindra Jain’s demise, I thought of Naseeruddin Shah. Not the most obvious association, I know, but think of Jain’s title song for Sunayana, the 1979 Rajshri Productions’ romance, and recall Shah trying to do the romantic-hero thing, flailing his arms about in a candy-coloured set, the centrepiece of which was a fountain springing forth from a giant lotus. According to the lyrics, the Shah character is saying, O beautiful-eyed one, I want to see you enjoy the sights of the world, but his face says, Someone shoot me, please. In his entertaining memoir, And Then One Day, Shah says, “All I thought I had to do was lip-sync perfectly… What in fact I should have done is study the songs in Shammi Kapoor’s movies… It took me years before I learnt the difference between merely singing a song and ‘performing’ it.” It’s easy to understand Shah’s befuddlement at the time. He came from a different world, the world of Nishant, Manthan, Bhumika and Junoon. The rest of India, while not queuing up for the Bachchan movies, was watching Chitchor and Sawan Ko Aane Do.
Ravindra Jain’s demise also brought to mind a song from Sawan Ko Aane Do, the one that goes Kajre ki baati. This isn’t Jain’s music, as I discovered after a bit of Googling – the composer is Rajkamal. I suppose the confusion came about because audio cassettes, in the India of those days, carried songs from two films of the same era, and it’s possible that I’d first listened to Kajre ki baati on a Chitchor/ Sawan Ko Aane Do combo. (Chitchor had Ravindra Jain’s music.) But my point isn’t about the music. It’s about the lyrics. This is one of those songs where the heroine is bawling her eyes out, and she compares her kohl to a wick and her tears to oil. (We are left to complete the metaphor in our heads: the eye is the lamp.) It’s an exquisitely beautiful image, a very Indian image. It’s also an image that’s no longer marketable. At the pharmacy, I see ads for Lakmé Eyeconic Kajal and L’Oréal Kajal Magique. We live in an India of Madison Avenue makeovers, endorsed by a size-zero Kareena Kapoor. The kajal in the Sawan Ko Aane Do song is different. It’s kajra, the black cake in the little round container you may have seen in your mother’s cabinet as she dipped a finger in and lined her eye and wiped off the excess in her hair. That was what this music was, the music of Rajshri Productions, the music of Rajkamal, the music of Ravindra Jain.
This lack of… individuality may be why Ravindra Jain did not rise to the heights expected of him after his scores for Saudagar and Chitchor. Compare the way he used Yesudas to the way Salil Chaudhury used the singer in Chhoti Si Baat, the Basu Chatterjee-Amol Palekar collaboration that came before Chitchor. Jaaneman, jaaneman, tere do nayan… There’s pizzazz. You want to dance. With Jab deep jale aana (Chitchor), you want to sit in a corner, close your eyes and lose yourself. This isn’t about which is the better song, which is the better way of making music. It’s about versatility, range. It’s about why Ravindra Jain is remembered fondly, with a lot of nostalgia, but without the “genius” word being thrown around too much. Salil Chaudhury, in Chhoti Si Baat, also gave us Lata Mangeshkar’s wistful Na jaane kyon, a number that makes you want to sit in a corner, close your eyes and lose yourself. Plus, there was the ebullient Yeh din kya aaye, by Mukesh. In contrast, the songs of Chitchor, though lovely (and still dewdrop-fresh), share the same DNA. Jain was happy in his little corner. Or maybe the word is modest. He had his hits with bigger singers, but he seemed content in his little world with Hemlata and Yesudas.
Listening to his songs, we slip back into that world, the India of Chitchor, where the hero would, without smirking, liken his love to kohl and ask the heroine to line her eyes with it. Meri preet ka kaajal tum apne nainon mein male aana… Kohl keeps coming up in these songs (many of them written by Jain himself), for one of the things the heroine liked to do was sit down and make herself pretty for her beloved… Sajna hai mujhe sajana ke liye, as the song went in Saudagar. The entire sequence is about Padma Khanna getting ready to meet Amitabh Bachchan. There was a whole genre of songs woven around words denoting ornaments and makeup. Gajra. Kajra. Jhumka. Payal. Kangana. The latter, today, is one of our top actresses, and she wouldn’t be caught dead playing coy in one of these numbers – or endorsing the sentiments in them. In the gorgeous title song of Ankhiyon Ke Jharokon Se (one of my favourite Ravindra Jain compositions), the girl sings, Tum ho jahan saajan meri duniya hai wahin pe. Her world is where the man is. Women like these don’t exist today – at least on screen, where they go to work and come back home to live-in partners. The cosmetics, too, have changed, and unless your name is Gulzar, you’re going to struggle to work “Hydrating Super Sunscreen SPF 50 PA+++” into a tune.
An edited version of this piece can be found here. Copyright ©2015 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
venkatesh
October 17, 2015
You missed mentioning the 2 major hits he had – “Gori tera goan bada pyaara” – wasnt that a non-traditional Yesudas number?
And of course the famous Ramayan title song on TV. (May be that’s just nostalgia).
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Puneet
October 17, 2015
Nice music, nice piece on composer, but what I liked the most was the last line!
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MANK
October 17, 2015
Jaaneman song was fun to watch as well. Amol palekar and vidya sinha morphing into Dharmendra and hema malini
Venkatesh why would you call Gori tera goan bada pyaara a non traditional Yesudas number? I thought it was typical Yesudas. IMO Brangan should have mentioned Aaj se pehle aaj se zyada- that was more of a fast paced number, much more closer to Janeman.
And speaking of sawan ko aane do, this is an absolute favorite. I too mistook this for a Ravindra jain composition for a long time
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Madan
October 17, 2015
Nice article. Good composer, lots of good tunes. I think he was kind of like VVS Laxman in the age of limited overs cricket, an anachronism in the rhythm oriented 70s with his fondness for gentle, folk/classical melody. I love the soundtrack of Choti Si Baat, more so the Mukesh track and Na Jaane Kyon, but Salil da too wasn’t setting the charts afire and eventually moved to greener pastures in Kerala. It’s ok; he found a niche via the Rajshri films and, as you put it, was happy in his own little world. He may not be on par with the 50s and 60s greats but he was also way better than Bappi Lahri and Rajesh Roshan (though I can abide by Aariyan Se Door). Just that the films where these rustic melodies could be accommodated weren’t being made in A list Bolly anymore.
As for Ravindra Jain’s India, the change proper set in with DDLJ. So as Bharat Dabholkar would have it, blame it on Yashraj indeed. It’s with that film that the whole vocabulary of our films changed. Perhaps these aspirations were pent up inside that generation of youth and KJo/Adi Chopra’s films voiced them; sort of similar to the ARR-Shankar films which changed the vocabulary of Tamil cinema almost overnight.
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Radhika
October 17, 2015
Interesting that he had so many kajra/kohl songs – I wonder if there is some subliminal connection to his being blind since birth.
I was going to point to Thande Thande Paani Mein Nahana Chahiye or Do Jasoos, to show that he did do that kind of song too, but then I recalled that neither of them would appear on my list of favourites.
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Aran
October 17, 2015
Interesting that you would title this post ‘The Lost World’ just around the time when I’ve been listening to Prem Ratan Dhan Payo’s music and thinking that the Rajshri world is such a wonderfully nostalgic place to be… and that is evident from its music. Jalte Diye has a lot of the imagery that you’ve been talking about in this post. And a couple of lines sung by the heroine in the title song go: “Kisi na ki meri, tu ne jo sambhaal ki” – the word sambhaal has such an interesting connotation… protectiveness, gentleness, adoration all rolled into one. But the fact that the heroine needs ‘sambhaalna’, and even appreciates it, would make a lot of feminists go up in arms these days. So I don’t know if the India such music is made for is lost or not, but I’m so glad Rajshri keeps making such music and making sure that some of that India still remains. 🙂
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KB
October 17, 2015
perhaps the last composer of the great era is no more.
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awkshwayrd
October 17, 2015
Of course a lot of these songs (and specially ‘Sajna hai mujhe sajana ke liye’) got completely spoiled in the late 90s. Not having seen the original before the remix, I see the words here and automatically the remix beats start playing in my head and I envision a tacky Indipop music video 😛
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brangan
October 17, 2015
Radhika: Actually, “Thande thande paani mein” isn’t all that much of a stretch. The words are more casual, today, but the tune is very much a Rajshri tune. Replace “thande thande paani mein nahaana chahiye” with “kaun disa mein leke chala re batuhiya” 🙂
But yeah, I’m not a great fan of this song either.
And the title song pf Pati Patni… seems so Rajesh Roshan, no? I mean, if you didn’t know Ravindra Jain did the music…
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Hari E
October 17, 2015
My first deep association with Hindi Music started with Yesudos Hindi songs and got introduced to Ravindra, Jain, RajKamal, Jaydev and Salil etc. You cannot escape Kishore’s 70s songs, though they are not something I sought after. Coming to know later that he was a blind person and also wrote songs as well, my respect for him grew even more.
Rangan – as you said his range was limited, but he gave many glorious melodious songs, I still find solace (without understanding the language). To some extent (not comparing) – Nadeem Shravan 90’s songs had that indian feel with pumped up Jhangir beats.
Sawan ko Aane Do – Basic plot was similar to Kadhal Oviyam (which came later). What a glorious song – Chand Jaise is.
Going back to Yesudos hindi songs – Neele ambar ke tale – another beautiful number from Shymala Mitra. But looking back, all these songs I thought it was from Ravindra Jain, as you felt (Chitchor impact).
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Anu Warrier
October 17, 2015
It’s also an image that’s no longer marketable. …We live in an India of Madison Avenue makeovers, endorsed by a size-zero Kareena Kapoor. The kajal in the Sawan Ko Aane Do song is different. It’s kajra, the black cake in the little round container you may have seen in your mother’s cabinet as she dipped a finger in and lined her eye and wiped off the excess in her hair.
What wonderful imagery, Rangan. I could, as I read this sentence, visualise my mother doing just that.
I think Rajshri films marketed an India that they would like to see, a smaller India, a less ‘urban’ one – even when their protagonists lived in cities, their roots were very rural. And to an extent, while they extolled the virtues of going back to nature, there never was the ‘big city – baaad’ tropes in their films. I remember an interview where a star who had worked with him, said that Sooraj Barjatya was “the nicest man in the industry.” To a large extent, I think it is that ‘niceness’ that reflects in the movies that his home banner produced, even before his time.
Laughed out loud at “…unless your name is Gulzar, you’re going to struggle to work “Hydrating Super Sunscreen SPF 50 PA+++” into a tune.”
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Anu Warrier
October 17, 2015
But the fact that the heroine needs ‘sambhaalna’, and even appreciates it, would make a lot of feminists go up in arms these days.
I would label myself a feminist, but let me put it this way. I don’t need ‘sambhalna’ 99% of the time. When I do, I’m properly grateful to anyone, man or woman, who offers me that help. And I’m fine with my spouse or male friend being protective of me – just don’t patronise me. 🙂 (Yes, there is a fine difference between the two, and yes, we women – most of us – know it when we see it.)
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Paresh
October 18, 2015
Why no obituary of his mentions his contributions as a lyricist, I haven’t dug into his history, but from the memory know that most of the songs in Ram Teri Ganga Maili, Henna & even the songs featured in TV serial Ramayan were worded by him, which is a rarity. I’d hoped that at least you won’t ignore this facet of his if you write about him. 😦
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brangan
October 18, 2015
Paresh: Well, there is a mention about his lyric-writing, but I don’t like doing listing exercises. And this is certainly no obituary. This is a personal piece, a memory piece.
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Madan
October 18, 2015
I remember an interview where a star who had worked with him, said that Sooraj Barjatya was “the nicest man in the industry.”
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Radhika
October 18, 2015
Anu, yeah, you are right, Rajshri oozed niceness. When i was younger I was repelled by their gooey-chweety-cloying …err… sweetness. I walked out of Hum Aaapke Hain Kaun, one of the few movies I’ve done that with. But I found myself watching Vivah in full – which makes me wonder if I’ve mellowed with age. Like with Readers’ Digest’s life-inspiring stories which don’t make me gnash me teeth so much now
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Shalini
October 18, 2015
Ravindra Jain’s music doesn’t inspire strong feelings in me – pro or con. His songs neither feature in my favorites nor send me fleeing from a room. I think of them primarily as good “background to life” type of music – gentle, unobtrusive. Like this one:
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Aran
October 18, 2015
Anu: Yes, I completely agree. I was trying to get at the idea that the word sambhaalna generally has a certain loss of agency or implied passiveness attached to it. It cannot really be translated into just protectiveness or just caring in its purest sense, imo. The kind that I think is implied in the lyric is more toward the caring, protective, nice kind though.
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kayyessee
October 19, 2015
Why he scored the music for “chor machaye shor”. wasn’t it urbane and different from what the article is trying to portray? “Le jayenge Le jayenge “was very boisterous wasn’t it. Won’t you dance to this Baradwaj? Labelling is all very convenient.
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brangan
October 19, 2015
kayyessee: Well, there is also something called personal preference, no? For that matter, even that Pati Patni Aur Woh song I posted above is “boisterous.” But for me, he was best within a small range. Outside that range, he did not really appeal to me — unlike a Salil C. With the latter, I liked his compositions in many “genres”, if that’s the word for it.
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Rahini David
October 19, 2015
Ah, God’s in his Heaven and All’s right with the world!
BR: Thanks a lot for reverting the theme.
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kayyessee
October 19, 2015
Agreed BR. Personal preferences will always be there. Maybe what got my goat was your holding up of Salil C as an example of range and variety. All this talk of ” Bhadralok” genius is chimera to me.
To each one his poison then.
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silverambrosia
October 19, 2015
‘According to the lyrics, the Shah character is saying, O beautiful-eyed one, I want to see you enjoy the sights of the world, but his face says, Someone shoot me, please’
…Lol
Aran/Anu/Radhika..Yeah, I think the niceness reflected in some of Sooraj Barjatya’s films is very genuine. I also remember considering HAKHK the embodiment of everything lame.. I used to think it supremely cheesy…and yet now I’ve warmed up to it. U don’t think of the film as particularly ‘deep’ but with maturity you begin to appreciate those aspects of it which you were formerly dismissive of. That’s not to say that all these ‘celebrating family’ happy joyful films are necessarily good (Hum Saath Saath Hain is apparently atrocious, though I haven’t seen it) and the film obviously has to work well in terms of the quality of the final product, quite apart from whatever particular value-system it may embody and reflect. I have more reservations about MPK (and don’t particularly like the movie), but when you watch the film and some of the songs its obvious that some genuine feeling has gone into it.
About Kangana shrinking from, or being disdainful of being seen in a more traditional avatar… I don’t know. She doesn’t strike me as being closed-minded. Obviously, everyone now admires her for her spunk but even before her ascendancy with Queen, I thought she had a lot of personality. Not through her films then, but more her interviews. She may or may not have strong feminist sensibilities (she strikes me as being more of a humanist) but there’s nothing of the militant feminist about her, and I think she would be open to playing women of distinct and diverse sensibilities, and the term ‘traditional’ is illusive anyhow; it may advert to just one or some components or facets of a multi-faceted personality, which may not be easy to slot into any of the commonly understood categories.
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Tambi Dude
October 19, 2015
@kayesse Chor Machaye Shor had one lovely KK song
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Madan
October 19, 2015
“Le jayenge Le jayenge “was very boisterous wasn’t it
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Madan
October 19, 2015
Maybe what got my goat was your holding up of Salil C as an example of range and variety.
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Vishal
October 19, 2015
I can’t help but feel a splash of irony in the fact that some of Jain’s most famous songs explicitly refer to ‘seeing’ through eyes:
Akhiyon ke jharokhon se — probably his most popular track
Sunayna
Bade badai na kare (Andhe aage nach ke, kala akawat hoye)
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Anu Warrier
October 20, 2015
Maybe what got my goat was your holding up of Salil C as an example of range and variety.
Eh, what? You’ve got to be kidding! (One hopes!) You don’t have to like Salilda, but you cannot deny that the man had genius!
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KB
October 21, 2015
Salil C was rated as a genius during his time. He stood his ground among competition from giants such as Shanker Jaikishan, SD, OP and CR apart from Naushad and Madan Mohan.
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brangan
October 23, 2015
Tambi Dude: Er, can I say I don’t really care much for “Ghungroo ki tarah?” 🙂
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kayyessee
October 23, 2015
Anu, I do love some of Salil’s songs…. janeman janeman and rajnigandha but never categorised him categorise him as a legend. may be that is me. Ditto for MBS (I love Thenna keetrin oonjalile) but I have friends who would have me believe he was Goddess Saraswathi’s very own son…
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Kamal Aakarsh
October 30, 2015
Always loved this beautiful composition by Ravindra Jain:
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Homer
November 4, 2015
Two Ravindra Jain tunes, of the non Rajashri variety
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