laila majnu ( 1976 film )
film name: laila majnu (1976) singer (s): lata mangeshkar & mohd. rafi lyrics: sahir ludhiyanvi
film name: laila majnu (1976) singer (s): mohd. rafi, aziz nazan, shankar - shambhu, ambar kumar & chorus lyrics: sahir ludhiyanvi
govinda has two famous laila songs under his belt: main tera majnu, tu meri laila from his 1994 film aag and the superhit main laila laila chilaunga kurta phaad ke from the 1999 comedy anari no. 1 .
the film was a box office hit and is considered one of the best film adaptations of the classic sufi legend of laila and majnu .
laila is prominently featured, for obvious reasons, in harnam singh rawail’s 1976 adaptation of the laila - majnu legend, starring rishi kapoor and ranjeeta kaur. the film opens with the title track, laila majnu do badan ek jaan the, which lays down the premise of laila and qais as star - crossed lovers. later, a heartbroken qais (kapoor) wanders in the desert after being exiled, and pines for laila with the song likh kar tera naam zameen par (“saayon ko liptaata hain aur laila laila karta hain”) .
after the success of laila majnu, filmaker h. s. rawail started deedar e yaar .
that very year, kishore kumar once again made himself the woman’s majnu in hum to mohabbat karega (“laila laila karega, thandi aahen bharega”) in the film dilli ka thug .
thereafter, laila became a regular fixture in hindi film songs as either a part of the hookline or embedded somewhere in the lyrics: laila o meri laila (mujhe insaaf chahiye, 1983), laila mar gayi (uttar dakshin, 1987), laila ne kaha jo majnu se (jungle love, 1990), and jumma chumma (hum, 1991) .
one of the earliest uses of laila in a hindi film song is in ss vasan’s satirical film mr sampat (1952). the song, laila laila pukaroon, is staged as part of a theatre company’s show where the dancers enact the tale of laila - majnu. the next year saw the release of the third talkie adaptation of the laila - majnu legend in hindi, starring shammi kapoor and nutan in the titular roles. it was a box - office hit .
laila - majnu make a comeback not just in a song but as a part of the story in anil mehta’s aaja nachle (2007). choreographer dia (madhuri dixit) returns to her hometown and stages a performance of the laila - majnu folk tale along with locals in order to prevent the destruction of her mentor’s dilapidated dance theatre. the song koi paththar se na maare mere diwaane ko from the rishi kapoor starrer laila majnu (1976) is recreated for the play in aaja nachle .
like all these pairs, laila and majnu too have had an indelible influence on hindi cinema and its music. their most recent appearance is in the song bandook meri laila from the sidharth malhotra - jacqueline fernandez starrer a gentleman. lyricist vayu compares laila to a gun (“bandook meri laila”, “beretta ki beti”) .
laila became a nationwide phenomenon in 1980 thanks to the hit number laila o laila from feroz khan’s crime thriller qurbani. this song, along with the biddu - produced aap jaisa koi from the same film, heralded the disco era of hindi film music. laila o laila is situated in a club where the singer sheela (zeenat aman) and her drummer (amjad khan, actually an inspector in disguise) lip - sync to the song sung by amit kumar and kanchan and composed by kalyanji - anandji. the lyrics (“laila main laila, aisi hoon laila, har koi chahe mujhse milna akela. ”) are by indeevar .
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two years later, kapoor and neetu singh became majnu and laila to each other in a slapstick song sequence, o meri jaan thik se dekho in the film anjane mein. raja dons majnu’s garb and serves food at rani’s table (“laila, o laila, kaha ho meri rani, arre main le ke aaya hoon tere liye mohabbat ki biryani. ”). rani, not amused, puts a bunch of bananas on raja’s head and goes, “arey majnu ke chele, kahi ja kar bech kele. ”
a month after josh ’s release, alisha chinai sang the forgettable laila in her non - film album om (2000). the most definitive laila song of the 2000s is, however, the item number laila laila from the 2003 serial killer mystery samay: when time strikes, a rip - off of david fincher’s se7en (1995) .
laila majnu is a 1949 telugu historical film, based on the sufi legend of laila - majnu, produced and directed by p. s. ramakrishna rao on bharani pictures banner. starring akkineni nageswara rao, bhanumathi ramakrishna in the lead roles and music composed by c. r. subburaman. the film was simultaneously released in tamil with same title. [ 1 ] the film recorded as super hit at the box office. [ 1 ] s. d. sundharam wrote the dialogues and lyrics for the tamil version .
f. nagoor also made the adaptation of laila majnu for balaji pictures, with t. r. mahalingam and m. v. rajamma playing the lead roles in 1949 .
in 1957, laila reappeared in main pyar ki laila hoon, a duet sung by sudha malhotra and manna dey, from the science - fiction film mr x, starring ashok kumar, inspired by hg wells’ novel the invisible man. the next year, in satyen bose’s hit comedy chalti ka naam gaadi, kishore kumar’s character manmohan serenades renu (madhubala) in the song paanch rupaiya baara aana with the lines “tere liye majnu ban sakta hoon, laila laila kar sakta hoon. ”
the next decade saw a serious hike in the number of laila songs. then a rising star in 2011, yo yo honey singh, famously rapped, “main tera majnu, bann meri laila” in the hit track angreji beat from his breakthrough album international villager .
this edition made by bhanumathi was dubbed into tamil and released simultaneously with the telugu version. f. nagoor made another laila majnu in 1950 under the banner balaji pictures and shot at newtone studios with t. r. mahalingam and m. v. rajamma in the lead roles. the story was again made in 1953, 1976 (in hindi and bengali), and later in 1982. [ 2 ]
taking the leap out of the classic folklore, the story is set in today' s time in kashmir where laila majnu have problems relevant to the youth of today. while dealing with their feuding families a passionate love story unravels .
ranjeeta makes a convincing laila, despite being a bit heavy with her dialogue and she ma­nages aided by effective make­up to provide a measure of pathos in her later scenes. rishi kapoor as majnu - kais is effec­tive in serious moments but looks awkward during the song sequences. as the prince who marries laila, danny turns in a sympathetic performance .
( film: haqeeqat; music: madan mohan; lyric: kaifi azmi) .
harnam singh rawail brings to us the story of the legendary lovers laila and majnu on celluloid. being born in rival clans (amaris and sharwaris), their love wa forbidden by their families. the childhood lovers were seperated as their families feared having to unite. putting their love to the severemost tests, laila and majnu are never able to unite. so, they decide to free themselves of the bond of life, and die, for that is the only way their love can truimph .
in between came rajesh khanna’s hit thriller chhailla babu (1978). in the opening track main babu chhailla, khanna goes, “aaj se ban gaya re main majnu, dekh ke tujhko laila” in a carriage with a coy zeenat aman by his side .
c. r. subburaman’s soul stirring music with ‘preme neramouna…’ (rendered by bhanumathi) the evergreen hit, ‘o priyathama… payanamaye priyathama nanu marachipokuma…’ (rendered by ghantasala) and the dance sequence featuring lalitha and padmini, contributed to the runaway success of laila majnu .
“laila majnu” scored with all those who believed in love, all those who were in love, all those who wanted to be in love. that was in the 70s. today, it will score with…. well, wasn’t love supposed to eternal, undying, unflagging ?
laila majnu song yeh deewana ke zid hd 720p singer: mohammad rafi movie: laila majnu (1976) lyrics: sahir ludhianvi music director: madan mohan actors: rishi kapoor, ranjeeta, danny, aruna irani and more... directedby: h. s. rawail genre: love story, musical bollywood top 10 music videos new indian movie 2011 new indian songs 2011 march new bollywood movie 2011 new indian movie promos new hindi singers 2011 indian love songs indian romantic songs hindi songs 1280x720 hindi high definition songs hindi songs 2010 hindi star 2011 hindi songs 2011 new hindi movie 2011 new hindi songs 2011 new hindi song 2011 new hindi video clip 2011 new hindi songs 2011 march old hindi songs old indian songs indian old songs mukesh songs mohammad rafi songs kishor kumar songs kumar sanu songs udit naryan songs sonu nigam songs lata mangeshkar songs anuradha paudwal songs alka yagnik songs sadhana sargam kavita karishnamurthi songs
film name: sheroo (1957) singer (s): mohd. rafi lyrics: kaif irfani
film name: parwana (1971) singer (s): mohd. rafi lyrics: kaifi azmi
shah rukh khan got his laila moment with apun bola tu meri laila in josh (2000). max (khan), a local rowdy, tries to capture the attention of rosanne (priya gill). his attempts mostly lead to failure, which forms the crux of the song which he sings to his friends in despair: “apun bola tu meri laila, woh boli fekta hai saala. ”
“laila majnu” offers within its 19 reel, lavish sets, glit­tering desert exteriors, an ela­borate fantasy sequence, and gorgeous costumes. it all makes for an eye - catching pageant, except that the pageant often looks closer to being a comedy than a tragic tale of star - cross­ed lovers. for a tale of intense love and hate, director h. s. rawail’s film generally strikes incongruous notes .
note: 1. all songs recorded in madan mohan' s lifetime though the film was released later .
while laila has been a part of many songs in the past few years, two particularly successful ones have been laila teri le legi from the gangster film shootout at wadala (2013) and the recreated version of qurbani ’s hit number in the shah rukh khan starrer raees (2017). both are item numbers, filmed in a dance bar - like setting where gangsters drop in to be entertained. both feature sunny leone as the eponymous laila dancing purposefully to make the name her own in the annals of hindi cinema .
film name: nirmohi (1952) singer (s): lata mangeshkar lyrics: p. n. rangeen
film name: nirmohi (1952) singer (s): lalit mohan lyrics: p. n. rangeen
film name: bhai - bhai (1956) singer (s): mohd. rafi lyrics: rajinder krishan
film name: ek kali muskayee (1968) singer (s): mohd. rafi lyrics: rajinder krishan
film name: ankhen (1950) singer (s): mohd. rafi lyrics: raja mehdi ali khan
film name: khota - paisa (1958) singer (s): mohd. rafi lyrics: rajinder krishan
laila majnu, an ancient epic of love, is an integral part of classic sufi literature. hashmet shah has told it, so has amir khusro. nizami ganjavi’s 12th century version in scintillating verse filled with allegorical flourishes has been translated into numerous languages. mian mohammad bakhsh’s interpretation of the epic is held as an acclaimed treatise in pakistan till this day. the tragic tale of majnoon and laila is said to have its foundations in true events that occurred in the 7th century .
thanks for sharing such a valuable information gathered at one place. do you have film
baadil starring habib and deeba
note: 1. all songs recorded in madan mohan' s lifetime. the film was delayed and released later .
note: 1. the film was delayed, though the music was recorded by madan mohan in 1974 / 1975 .
film name: minister (1959) singer (s): asha bhosle & mohd. rafi lyrics: rajinder krishan
film name: mohar (1959) singer (s): lata mangeshkar & mohd. rafi lyrics: rajinder krishan
film name: neela aakash (1965) singer (s): mohd. rafi lyrics: raja mehdi ali khan
film name: mera saaya (1966) singer (s): mohd. rafi lyrics: raja mehdi ali khan
film name: baap bete (1959) singer (s): mohd. rafi & chorus lyrics: rajinder krishan
laila majnu story was first made as a silent film in 1922 by j. j. madan and again in 1927 by manilal joshi. noted filmmaker kanjibhai rathod made it in hindi in 1931 after the films became talkies. j. j. madan remade it in hindi in 1931. in 1936, it was produced by east india pictures in persian. in 1940, dharmaveer singh made the same story in punjabi, and in 1941, sarnad pictures made a version in pushtu language. in 1945 it was made in hindi featuring swaran lata as leila and nazir ahmed as majnu. it was a box - office hit .
film name: ghar ka chirag (1967) singer (s): mohd. rafi & chorus lyrics: kaifi azmi
film name: chacha chowdhary (1953) singer (s): asha bhosle & mohd. rafi lyrics: rajinder krishan
film name: gateway of india (1957) singer (s): mohd. rafi & chorus lyrics: rajinder krishan
film name: sultana daku (1972) singer (s): asha bhosle & mohd. rafi lyrics: kaifi azmi
kaish amari comes from a wealthy arab family. at the tender age of six he is sent to school and gets friendly with a young girl named laila .
tales of undying love travel, and how. what was once a local legend in persia in the ninth century spread far and wide, thanks to numerous poets, translations and folk art, until it became one of the most oft - used elements in the lyrics of hindi film songs. the lovers laila and qais (who got the nickname “majnu”, meaning “mad”, for his antics after getting separated from laila), who could never live together or consummate their passion, became a symbol for tragic romance in the vein of romeo and juliet, khosrow and shirin, sassi and punnu, sohni and mahiwal, and mirza and sahiban .
laila kept making appearances throughout the decade in a number of hit songs such as gandi baat (r... rajkumar, 2013) and matargashti (tamasha, 2015). the tamil hit mental manadhil from mani ratnam’s romantic drama o kadhal kanmani (2015) opens with the lines “like - a like my laila. ”
film name: fifty - fifty (1956) singer (s): mohd. rafi & kishore kumar lyrics: rajinder krishan
film name: khota - paisa (1958) singer (s): asha bhosle & mohd. rafi lyrics: rajinder krishan
film name: pooja ke phool (1964) singer (s): asha bhosle & mohd. rafi lyrics: rajinder krishan
film name: dekh kabira roya (1957) singer (s): asha bhosle & mohd. rafi lyrics: rajinder krishan
kaish amari comes from a wealthy islamic family. at the tender age of six he is sent to school and gets friendly with a young girl named laila. both of them become close friends, so much so that kaish gets himself punished and beaten for her. they mature in age so does their love much to the chagrin of laila' s dad, who wants her to marry a wealthy arabian, bahksh, a noble prince. now the region is aflame with their love story, kaish, who is now known as majnu, cannot get laila out of his mind and roams around the desert semi - senile, without food or drink, while laila is getting wed to the man of her father' s choice. the question remains will love triumph in the end or is this young couple fated to be separated for the rest of their lives .
film name: neela aakash (1965) singer (s): asha bhosle & mohd. rafi lyrics: raja mehdi ali khan
film name: aakhri dao (1958) singer (s): asha bhosle, mohd. rafi & chorus lyrics: majrooh sultanpuri
film name: ek shola (1958) singer (s): geeta dutt, mohd. rafi & chorus lyrics: majrooh sultanpuri
film name: neend hamari khwab tumhare (1966) singer (s): asha bhosle & mohd. rafi lyrics: rajinder krishan
film name: pooja ke phool (1964) singer (s): asha bhosle, mohd. rafi & chorus lyrics: rajinder krishan
film name: hindustan ki kasam (1973) singer (s): manna dey, mohd. rafi & chorus lyrics: kaifi azmi
in 2012, another hit song pyar ki pungi, from sriram raghavan’s spy thriller agent vinod, had the lines “khidki pe koi khada hain, laila ka taaka bhida hain. ”
film name: haqeeqat (1964) singer (s): mohd. rafi, talat mehmood, manna dey & bhupendra lyrics: kaifi azmi
the lead pair had plenty of takers; ranjeeta was not your typical hindi film beauty, curls, curves and fair skin. with her unconventional looks, she presented an indefinable extra. laila’s beauty, they say, lay in the eyes of the beholder. same was the case with director h. s. rawail’s heroine here. rishi had won over plenty of teeny - boppers with “bobby”. in the intervening period they had grown up a little and could appreciate the travails of majnu better. with long locks, fierce eyes and bruised body, rishi was aeons removed from the sugar - as - sweet debut performance. he was loved all the same. never mind he was not gaunt like majnu, he conveyed the spirit even if the flesh was not always there .
laila (bhanumathi ramakrishna) is the daughter of ameer sarvaar (mukkamala), and khais (akkineni nageswara rao), the son of ameer umri (arani satyanarayana). love blossoms between laila and khais as they grow up. ameer sarvaar, unable to dissuade his daughter from seeing khais, shifts to mecca. khais follows her to mecca and roams in the streets uttering her name. people take him to be a mad person (majnu) and throw stones at him. the story takes a lot of twists and turns from here on. the king of iraq (c. s. r), who comes on a visit to mecca, sees laila and decides to marry her. meanwhile, ameer umri pleads with his erstwhile friend sarvaar to save his son. sarvaar agrees to get his daughter married to khais if it is proved that he is not mad. a test is conducted and khais emerges successful. just when the marriage is to be performed, sarvaar receives a proposal from the king of iraq that he wishes to marry laila. sarvaar changes his mind, and performs his daughter’s marriage with the king. laila leaves for iraq and khais wanders aimlessly in the desert. the king already has a mistress zareena (sriranjani jr). on coming to know of laila’s story, she tries to help her. soon thereafter, the prince to repents, calls laila his sister and sends her back to khais. the lovers are about to meet in the desert, but fate wills it otherwise and a heavy sandstorm takes its toll .
laila is the daughter of ameer sarvaar (played by mukkamala krishnamurthy), and khais, the son of ameer umri (arani satyanarayana). love blossoms between laila and khais as they grow up. ameer sarvaar, unable to dissuade his daughter from seeing khais, shifts to mecca. khais follows her to mecca and roams in the streets uttering her name. people take him to be a mad person (majnu) and throw stones at him. the story takes a lot of twists and turns from here on. the king of iraq (played by c. s. r. anjaneyulu), who comes on a visit to mecca, sees laila and decides to marry her. meanwhile, ameer umri pleads with his erstwhile friend sarvaar to save his son. sarvaar agrees to get his daughter married to khais if it is proved that he is not mad. a test is conducted and khais emerges successful. just when the marriage is to be performed, sarvaar receives a proposal from the king of iraq that he wishes to marry laila. sarvaar changes his mind, and performs his daughter’s marriage with the king. laila leaves for iraq and khais wanders aimlessly in the desert. the king already has a mistress zareena (played by jr. sriranjani). on coming to know of laila’s story, she tries to help her. soon thereafter, the prince too repents, calls laila his sister and sends her back to khais. the lovers are about to meet in the desert, but fate wills it otherwise and a heavy sandstorm takes its toll .
film name: railway platform (1955) singer (s): asha bhosle, mohd. rafi, batish, manmohan & chorus lyrics: sahir ludhiyanvi
with his first film, rathnamala, turning a box - office hit, studio owner and director ramakrishna was on the look out for a suitable subject for bharani’s next venture. fascinated by the first hindi talkie version of laila majnu (1945), which he had seen in bombay, he made the choice. his production chief d. l. narayana agreed with him. a projection of the hindi version was arranged for his actress - wife bhanumathi and akkineni nageswara rao, whom he had thought of for the protagonist’s role. samudrala raghavacharya was assigned the job of writing the script and the dialogue .
laila reappears in the arabic - flavoured aap se miliye from nasir hussain’s 1969 lost - and - found saga pyar ka mausam. seema (asha parekh) performs to the lata mangeshkar song (“arre pyar ke sehraon mein firte hain ye bhage, oonth hai inke peeche laila koi aage. ”) on stage along with her troupe members, as a besotted sunil (shashi kapoor) gazes at her with awe .
film name: veer - zaara (2004) singer (s): ahmed hussain, mohd. hussain, mohd. vakil, javed hussain & chorus lyrics: javed akhtar
lovers, laila and majnu, face implacable opposition to their marriage. he ends up in exile, derided as a madman and living the life of a pauper in the desert whilst she finds herself unhappily married and living in a palace. not even evidence that their union has been divinely ordained can bring about a happy ending. but as
the love story ends... ...... .. the love legend begins... ...... .
note: 1. this film was dedicated to the loving memory of madan mohan. 2. three additional songs were recorded by music director jaidev after the sudden demise of madan mohan. 3. * madanji sings as he composes the mukhda of this song. laila majnu was the first golden jubilee hit of madanji' s career and the music was a rousing success, but madanji did not live to see this. 4. * * madanji sings as he composes the various antras of this hit song, which went on to be the no 1 song of the year including on binaca geetmala. for many weeks, audiences showered the screen with coins during the screening of this song in theatres .
if the film fails to capture the intensity of love, it fails equally in projecting the hosti­lity between the respective families of the lovers — the main cause behind the tragedy. the violent confrontations which should have been telling omens of the impending doom, are re­duced to clowning by kais’s friends (asrani, paintal, etc .). the last duel between kais and tabrez (ranjeet), laila’s bro­ther, borders on a caricature .
the year also saw the rage of laila majnu (in which he sang all the songs of rising star rishi kapoor, too) under the baton of madan mohan and jaidev; and the third and second ranking in binacas finals that year were: meri mehbooba (dharamveer; laxmikant - pyarelal) and pardah hai pardah (amar akbar anthony; laxmikant - pyarelal .) in 1978, lps apnapan got rafi a filmfare nomination though eventually the song landed up with a lyric award (anand bakshi) instead & apos; aadmi musaafir hai .
kaish amari comes from a wealthy islamic family. at the tender age of six he is sent to school and gets friendly with a young girl named laila. both of them become close friends, so much so... see full summary »
the film’s arrival at the box office was preceded by a mad interest in its audio cassettes; set - ups at the cinema halls usually just had a cut - out of majnu covered in sweat and blood. next to his bruised frame were written sahir’s lyrics and abrar alvi’s heart - piercing dialogues which drew heavily from persian - arab myths and traditions. at most places, the film had a long and remarkable run, necessitating a new round of hoardings to mark the silver jubilee. at others, where it had a limited engagement, it came back for a second round, then the third, each time cinegoers turned up in hundreds to soak in the travails of the love - birds .
trivia: madan mohan had recorded six songs for the movie and passed away during the making of the film. three songs were composed by jaidev. however, both were credited for all the songs .
laila’s recall value was further enhanced with sonu nigam using the name in the lyrics of his superhit song tu from his 1998 album kismat. the video featured nigam, one of the hottest indipop stars of the time, and bipasha basu, who was yet to make her bollywood debut .
undoubtedly, the most versatile male voice in hindi film music, rafi was first heard behind the screen in 1941 when he was hardly 15, in the punjabi film, gul buloch, and in the same year he sang for his first hindi film, gaon ki gori, in bombay. his first break had been given by the late shyam sunder, but the song that made him famous was the jugnu duet (1947), yahaan badla wafa ka, which he sang with noorjehan. soon, he drew notice to himself with ek dil ke tukde hazaar hue (pyar ki jeet) and main zindagi mein hardum rota hi raha hoon (barsaat) .
ah! to be young and in love in the 70s! the decade had many attractions for love - birds, each more intoxicating than the other. it opened with the epochal love story “heer - raanjha” where young men could not have enough of the ample charms of priya rajvansh or the peerless voice of mohammed rafi in “yeh duniya yeh mehfil mere kaam ki nahin”. then came raj kapoor’s “bobby” that introduced the fresh - as - dew dimple kapadia with rishi kapoor; the boy teeming with baby fat. laxmikant - pyarelal’s a music score touched the pulse of the youth in a way that was yards ahead of madan mohan’s score in “heer - raanjha”. three years after “bobby” came the greatest love story of them all, “laila majnu” that once again presented rishi kapoor; this time with ranjeeta, the girl who could have retired post this film yet be known to posterity .
the lovers’ first meeting in the market place promises a forceful depiction of the first stirring of love, but, the sequence peters out when you see kais (rishi kapoor) appear­ing and disappearing as if by magic. later, during his noc­turnal visits into laila’s (ran­jeeta) bedroom, he recites ver­ses like one who was doing it without knowing the meaning of the lines .
so far so good, but “laila majnu” worked primarily for its songs and music. madan mohan gave music to most of the songs before the hand of fate snatched him away, leaving jaidev to take care of the unfinished task. sahir ludhianvi, then probably at the peak of his popularity – “kabhi kabhie” which propelled him to another level came around the same time – dished out lyrics that conveyed the angst of denial, the joy of the one madly in love, and the final inescapable surrender to the almighty. with songs like “tere dar pe aaya hun”, “hoke mayoos tere dar se”, “ab agar hum se” and “likh kar tera naam zameen par” sahir covered the spectrum from belief and faith to open defiance and blasphemy. the youngsters, not far from either of the two experiences, nodded in their approval .
since 1966, the world of indian film music has been losing its stalwarts one by one though music has its own way of evading the sound of silence. with the death of the gentleman giant, mohammed rafi (55), the field of playback singing has lost another voice. a series of shock deaths have dominated in 1980 and rafis departure came close on the heels of uttam kumars, a week earlier .
then of course was the small matter of mohammed rafi scaling newer heights; the film helped him recover much of the ground he had lost to kishore kumar over the past few years. he was particularly memorably in the higher scales of songs “likh kar tera naam” and “ab agar humse”. lata mangeshkar gave him able support, but hers was essentially a supporting role in a music score that was clearly designed to present the best of rafi .
this was also the year which saw the advent of the prestigious filmfare awards and binaca geet mala, both being the most representative studies of trends (the latter in music only). naushad bagged the very first filmfare award for best music (baiju bawra) and rafi was firmly established as no. 1 with his unforgettable man tarpat hari darshan ko aaj, tu ganga ki mauj and duniya ke rakhwaale, and the film headed the first binaca geet mala, too .
relating the ageless love story of layla and qais, the mad man – majnun in arabic translates to a mad man – the film’s message of love, eternal, undying, unflagging, struck a cord at the box office. the theme won over those who had read a bit of literature and knew a thing or two about the warring tribes of the arab world – apparently, the tribes would rather perish than give away their girl in marriage to a guy from the rival clan .
yet, bairaag (1974) reminded people that rafi was alive and with a lot of fight still left in him. after all, peetey peetey kabhi kabhi, / yoon jaam badal jaate hain! and with lata again, rafi made sure there would be no close encounters of the 1963 - kind: vaada kar le saajna, (haath ki safai; 1975). and finally, in 1977, rafi proved once again that hum kissi se kum nahin. in the film, all four songs sung by rafi became superhits: the title qawaali, kya hua tera vaada (which fetched him the filmfare award after a break of nine long years), chaand mera dil and yeh ladka haaye allah .
note: 1. * madanji sings as he composes the third antra of this emotional song, the tune of which was different from the first two antras, and has some high portions, which he is creating in this rehearsal. madanji recorded this song in his lifetime, though the film released 2 years later. 2. * * madanji sings as he composes the mukhda of this song. he had also rehearsed the song with all musicians and kishoreda, but died a few days before scheduled recording. the song was finally recorded a month later by his assistants. 3. all other songs except song yeh pyar ka nasha were recorded by madanji in his lifetime. this song, like song 5, was recorded by his assistants later .
over a career span of 25 years (1950 - 1975), madan mohan composed music for 95 released hindi films and 12 shelved films. these 100 plus films featured almost 700 songs, many of which are remembered to this day while some have been lost over the years. he was extremely versatile, but he is best remembered for his ghazals, pathos - laden songs and classical based songs due to their immense popularity. his songs with lata mangeshkar in particular have become a part of indian film music history. note: for copyright reasons, we are unable to feature the entire songs. however, for a reference and reminder purpose a very short excerpt of each available song can be heard. some sources of the missing songs have been located and will be made available in due course .
over a career span of 25 years (1950 - 1975), madan mohan composed music for 95 released hindi films and 12 shelved films. these 100 plus films featured almost 700 songs, many of which are remembered to this day while some have been lost over the years. he was extremely versatile, but he is best remembered for his ghazals, pathos - laden songs and classical based songs due to their immense popularity. his songs with lata mangeshkar in particular have become a part of indian film music history. note: for copyright reasons, we are unable to feature the entire songs. however, for a reference and reminder purpose a very short excerpt of each available song can be heard. some sources of the missing songs have been located and will be made available in due course. (select from the 2 categories listed below )
over a career span of 25 years (1950 - 1975), madan mohan composed music for 95 released hindi films and 12 shelved films. these 100 plus films featured almost 700 songs, many of which are remembered to this day while some have been lost over the years. he was extremely versatile, but he is best remembered for his ghazals, pathos - laden songs and classical based songs due to their immense popularity. his songs with lata mangeshkar in particular have become a part of indian film music history. note: for copyright reasons, we are unable to feature the entire songs. however, for a reference and reminder purpose a very short excerpt of each available song can be heard. some sources of the missing songs have been located and will be made available (through the
unreleased songs
sub - section below) in due course .
since then, rafi has sung for nearly 30 years; only once, for a brief period after 1969 (aradhana; rajesh khanna; kishore kumar), being overshadowed by any other male singer though there were stiff competitors throughout. he is believed to have recorded a little less than 30, 000 songs, his repertoire covering almost every musical range, every indian language, and every film actors lips. he won six filmfare awards, four of them being when there was no separate award for male and female playback singers (which separation started in 1961). he was awarded the padmashri in 1967, and has been abroad for singing tours more than 25 times. he also had the singular honour of singing & apos; and how! & apos; what is unanimously considered the finest lyric ever written in hindi films, neerajs caravaan guzar gaya, gubaar dekhte rahe (nai umar ki nai fasal; roshan; 1964) .
this sunday will be 25 years since we lost the voice of mohd rafi. but lost, says who & apos; by anil grover
but rafi took the music world by storm for the first time with naushads musical, baiju bawra (1953), whose songs were picturised on the then favourite gayak - kavi - kalakar bharat bhooshan. naushad showed great confidence indeed in rafi to risk him for a classical - based big - budget musical although he was still cutting his musical teeth and talat mehmood was reigning supreme at that time .
if rafi believed that insaaf ka mandir hai yeh, / bhagwan ka ghar hai (amar; 1954) he still had to be a mite careful as he warned ai dil hai mushkil jeena yahaan, / zara hat ke zara bach ke, / yeh hai bambai meri jaan (cid; 1956). but his laal laal gaal (mr x; 1957) and his champi, tel maalish (pyasa; 1957) made the growing legion of his fans tell him, yoon to humne laakh haseen dekhe hain, / tumsa nahin dekha (tumsa nahin dekha; 1958) and there was no possibility of this songbird fearing, chal ud ja re panchhi, / ab yeh desh hua begaana (bhabhi; 1958). in fact, by now, his fans began muttering hum bekhudi mein tum ko pukaare chale gaye (kala pani; 1959), and rafi entered the 60s yelling, ai mohabbat zindabad (mughal - e - azam; 1960). the khoya khoya chaand (kala bazar; 1960) was overwhelmed by the chaudhvin ka chand (title song; 1960) .
till 1969, it was rafi all the way in that decade, and in particular, 1962 saw the complete reign of rafi and / or lata in the binaca geet mala, except for a couple of songs by the perennial no. 2, mukesh. sau saal pahele, / mujhe tum se pyaar tha, / aaj bhi hai aur kal bhi rahega (jab pyar kisi se hota hai) said his avid listeners, and even his critics were swept off their feet by the typhoon of yahoo! (junglee) and they reluctantly admitted, ahsaan tera hoga mujh par (junglee), for they, too, could now see that ab kya misaal doon (aarti) .
1963 saw a feud between lata mangeshkar and mohd rafi & apos; but this was one time that lata could not obliterate a person once she boycotted him. dil todnewaale, / tujhe dil dhoondh raha hai (son of india; 1963) said rafi and although they both said, awaaz de ke, / humme tum bulaao (professor; 1963), they stopped singing duets for about three years. it was suman kalyanpur who then rose to the top with rafis dil ek mandir hai (title song; 1963) despite the promise between the two, lata and rafi, jo vaada kiya woh nibhaana padega (taj mahal; 1963) .
maybe rafi felt inwardly depressed, kabhi na kabhi, / kahin na kahin, / koi na koi to aayega (sharabi; 1964) and might have secretly courted lata with tere husn ki kya taarif karoon (leader; 1964) and phir wohi dil laya hoon (title song; 1964). he even revealed, yeh mera prem patra padh kar / ke tum naaraaz na ho na (sangam; 1964) but the two hit songs of that year remained separate solos by the two: mere mehboob tujhe, / meri mohabbat ki kasam (title song) and tum kamsin ho (ayee milan ki bela) .
nevertheless, rafi did not lose any hold on the mike and listeners continued telling him, taarif karoon kya uski, / jis ne tumhe banaya (kashmir ki kali). but soon the patchup came. if rafi lamented, chaahunga main tujhe saanjh savere (dosti; 1965) it was now time to open up: dil jo na keh saka, / wohi raaz - e - dil, / kehne ki raat aayi (bheegi raat; 1966). rafi had had enough; kya se kya hogaya, / bewafa, tere pyar mein (guide; 1966). and finally lata did return to him for those dulcet duets once again and rafi said: bahaaron phool barsaao, / mera mehboob aaya hai (suraj; 1966) !
meri awaaz suno, / pyaar ka raaz suno (naunihal; 1967) said rafi to his fans as if he was an aasmaan se aaya farishta (an evening in paris; 1968) and though he told them in return, tum bin jaoon kahaan (pyar ka mausam; 1969) little did he realise that for the first time he would lose ground to that very singer who sang that very number in a separate solo: kishore kumar. but then jab dil se dil takraata hai, / mat poochhiye kya ho jata hai (sunghursh; 1969) .
rafi desperately tried to convince people, main ek raaja hoon (uphaar; 1972) but except for a teri bindiya re (abhimaan; 1973) here, and a woh kya hai (anuraag; 1973) there, rafi was forced into the background. even his return with yaadon ki baraat; 1974) was in the company of his self - avowed fan, kishore & apos; yaadon ki baraat nikli hai aaj, / dil ke dwaare & apos; the other being with asha bhosle, chura liya hai tumne jo dil ko .
and now look at 1979 - 80! just when rafi had made a complete comeback, hes gone! laxmikant - pyarelal gave him all seven songs in sargam (four solos, three duets with lata) and walked away with the best music award, all seven being top of the pops. they gave him four out of six in suhaag (the other two being ashas) and they have been raging through the binaca geet mala. they gave him five out of six (the other being lata) in aasha and did well enough .
another indication of his sure return is the fact that dev anand who did not go in for rafi ever since gambler (1969) & apos; in which, too, he had just one ghazal & apos; returned to him after 10 years in the latest man pasand though in just one song, under the baton of rajesh roshan, with tina munim. the weekly binaca geet malas in 1980 have clearly shown so far that rafi is dominating, sometimes with as many as 10 songs as compared to kishores two (on may 28) out of a total of 16 toppers !
as lata mangeshkar said after his death: the void that was created by saigals death had been filled by rafi saab. he sang with me for 33 years. he was an exceptional singer. 
kar chale hum fida jaan - - tan saathiyon / ab tumhaare hawaale watan saathiyon ...
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laila majnu is a 1976 hindi movie based on the legendary story of layla and majnun . this film version is directed by harnam singh rawail and stars rishi kapoor , ranjeeta , danny denzongpa , aruna irani , asrani , iftekhar , tom alter and ranjeet . the film 's music is by madan mohan and jaidev . layla and majnun , and layla and majnun also known as the madman and layla - ( persian : لیلی و مجنون ) in arabic مجنون و ليلى ( majnun and layla ) or قيس وليلى ( qays and layla ) , in persian : لیلی و مجنون ( leyli and madjnun ) , ( leyli və məcnun ) in azeri - is a classical arabic story of star-crossed lovers . it is based on the real story of a young man called qays ibn al-mulawwah ( arabic : قيس بن الملوح ) from the northern arabian peninsula . in one version , he spent his youth together with layla , tending their flocks . in the other version , upon seeing layla he fell passionately in love with her . in both versions , however , he went mad when her father prevented him from marrying her ; for that reason he came to be called majnun layla , which means " layla 's lunatic . " it is a love story that originated as poem in 11th century arabia , later was adopted by the persian poet nizami ganjavi who also wrote " khosrow and shirin " . it is the third of his five long narrative poems , khamsa ( the quintet ) . 
laila majnu is a 1976 hindi movie based on the legendary story of layla and majnun. this film version is directed by harnam singh rawail and stars rishi kapoor, ranjeeta, danny denzongpa, aruna irani, asrani, iftekhar, tom alter and ranjeet. the film's music is by madan mohan and jaidev. layla and majnun, and layla and majnun also known as the madman and layla - (persian: لیلی و مجنون) in arabic مجنون و ليلى (majnun and layla) or قيس وليلى (qays and layla), in persian: لیلی و مجنون (leyli and madjnun), (leyli və məcnun) in azeri - is a classical arabic story of star-crossed lovers. it is based on the real story of a young man called qays ibn al-mulawwah (arabic: قيس بن الملوح) from the northern arabian peninsula. in one version, he spent his youth together with layla, tending their flocks. in the other version, upon seeing layla he fell passionately in love with her. in both versions, however, he went mad when her father prevented him from marrying her; for that reason he came to be called majnun layla, which means " layla's lunatic. " it is a love story that originated as poem in 11th century arabia, later was adopted by the persian poet nizami ganjavi who also wrote " khosrow and shirin ". it is the third of his five long narrative poems, khamsa (the quintet).
laila majnu is a 1976 hindi movie based on the legendary story of layla and majnun. this film version is directed by harnam singh rawail and stars rishi kapoor, ranjeeta, danny denzongpa, aruna irani, asrani, iftekhar, tom alter and ranjeet. the film's music is by madan mohan and jaidev. layla and majnun, and layla and majnun also known as the madman and layla - (persian: لیلی و مجنون) in arabic مجنون و ليلى (majnun and layla) or قيس وليلى (qays and layla), in persian: لیلی و مجنون (leyli and madjnun), (leyli və məcnun) in azeri - is a classical arabic story of star-crossed lovers. it is based on the real story of a young man called qays ibn al-mulawwah (arabic: قيس بن الملوح) from the northern arabian peninsula. in one version, he spent his youth together with layla, tending their flocks. in the other version, upon seeing layla he fell passionately in love with her. in both versions, however, he went mad when her father prevented him from marrying her; for that reason he came to be called majnun layla, which means " layla's lunatic. " it is a love story that originated as poem in 11th century arabia, later was adopted by the persian poet nizami ganjavi who also wrote " khosrow and shirin ". it is the third of his five long narrative poems, khamsa (the quintet).