An Album that speaks Pain - Mughal-E-Azam

It's said that the Nightingale has the most painful melody of all the birds in the world. Although it goes without saying that the voice of the cuckoo is the most sweetest and the song of the mynah, the most exhilarating, in terms of both melody and the deep pain that it resonates, nothing can beat the song of the Nightingale.

What is it that makes the Nightingale so different? Why is the voice of the Nightingale so unforgettable? What is there in that voice that makes us all go deep as if in a trance?

In one word, it's - Pain!!!

P-A-I-N.... Pain, the most elementary of all emotions, the most plentiful of all passions but yet the most dreaded and unappreciated of all feelings.

It's Pain that brings out the best and the worst in Man - it's Pain that is the final proof of Love and then again it's Pain that purifies and signifies the Truth of Love....

The song of the Nightingale is the Song of Pain - and do you remember what Lord Byron had to say about Pain?

Our most beautiful songs are those that remind us of our pains 

Or as the great Shailendra once said

Hai Sabse Madhur Woh Geet Jisse Hum,
Ghum Ke Suron Mein Gaate Hain....

And yet it has many different shades - no one pain is equivalent to another though they may have the same entymology - the difference is striking. As an example, look at the songs of Mughal-E-Azam; each and every song is a revelation of a facet of pain

Listen to any of the Lata Mangeshkar numbers and you will find that each and every one of them is about pain - it's as if the lyrics of this film were written not by Shakeel Badayuni, the music of this movie was composed not by Naushad and the songs of this movie were not sung by Lata Mangeshkar, Mohammed Rafi or Shamshad Begum - it's as if the entire score of this film was created, maintained and crafted to perfection by pain itself

Whether it's 'Mohabbat Ki Jhooti Kahaani Pe Roye' that speaks of the disillusionment with love, whether it's 'Bekas Pe Karam Kijiye' that implores an unsympathetic and disinterested God for support, whether it's 'Humen Kaash Tumse Mohabbat Na Hoti' that speaks of a frustrated regret of unrequited love or finally, whether it's 'Khuda Nigahebaan Ho Tumhaara' that speaks of the final journey, this is an album of pain.

This pain is manifest in many other forms too, as the pain of a rebellious love as in "Zindabad Zindabad" or as in the society and world defying love strains of "Pyar Kiya To Darna Kya" or even in the song celebrating the love affair of the greatest lover on Earth ever - of Radha as she speaks of her amour with a frankness that's unblemished and pure as the most dazzling of all love in "Mohe Panghat Pe Nandlal Chhedd Gayo Re".

Even the Quawaali in the film depicts the pain loving facet of love - who can forget the greatest love duet ever - "Teri Mehfil Mein" or the other great Quawwali that speaks of the inevitibility of separation at the time of love "Jab Raat Hai Aisi Matwaali"

Who can forget the Pain of this Album? I cannot but remember that this is the most beautiful album on Pain and the way it portrays Pain - no album on the whole can come near it in it's perfection - it's true that there have been some gems and some beautiful compositions in some other movies but nothing can compare to Mughal-E-Azam when it comes to pain....

To be more precise, I would say,

Ye Dil Ki Lagi Kum Kya Hogi, Ye Ishq Bhala Kam Kya Hoga?
Jab Raat Hai Aisi Matwaali, Phir Subaah Kaa Aalam Kya Hoga?

Although this is indeed Naushad's gift to Lata Mangeshkar (there is a story of Lata asking Naushad that he had created an entire album to showcase Mohammed Rafi - Baiju Bawra - then why would he not create one for her. Naushad responded with two eternal scores Mother India and Mughal-E-Azam), there is no doubting that no one other than Lata could have done justice to this great movie

This is not to take anything away from Shamshad Begum or Mohammed Rafi - both of them are unsurpassed in their rendition of their songs and match the great Lata with an abandon and ferocity that only a genious can proclaim

One can only appreciate the slight hint of satire and mockery of love in Shamshad Begum's voice when she sings in her deep baritone voice -

Mohabbat Karne Waalon Ka Hai Bas Itna Hi Afsaana
Tadapna Chhupke-Chhupke, Aah Bharna, Ghutke Mar Jaana
Kisi Din Muskurakar Ye Tamasha Hum Bhi Dekhenge

This is one of the reasons Shamshad Begum and Geeta Dutt were the only ones that could withstand the Lata phenomenon. While great songstresses like Rajkumari, Suraiya and the great voices of the 40s like Amirbai Karnataki fell victims to her powerful and sweet cuckoo-like voice, it was only the above two that stood and could still count for something. Maybe this is the reason why this is one of the best female duets ever in the history of Hindi Cinema

Just look at Lata's response to this skeptic challenge

Humne Maana Mohabbat Zindagi Barbaad Karti Hai

Ye Kya Kam Hai Ke Mar Jaane Pe Duniya Yaad Karti Hai

Kisike Ishq Mein Khudko Mitakar Hum Bhi Dekhenge

Ghadi Bharko Tere Nazdeek Aakar Hum Bhi Dekhenge

So prophetic a word - maybe this is the silent admission of what she would again declare much later to the angry Emperor in the 'dance of the spring'

Aaj Kahenge Dil Ka Fasaana

Jaan Bhi Le Le Chaahe Zamaana

Maut Wohi Jo Duniya Dekhe,

Ghut Ghutkar Yun Marna Kya!

Jab Pyar Kiya To Darna Kya!

Or look at the final authority of a condemned love - only Mohammed Rafi could declare it with so much adour

Wafa Ke Raah Mein Aashiq Ki Idd Hoti Hai
Khushi Manaao, Mohabbat Shaheed Hoti Hai

What a song, what a singer! No doubt, Rafi is the 'Voice of God'.... and Naushad salutes the genious by allowing him the chance to lead a 100 man orchestra and Rafi returns the favour by not only leading it to success but also by keeping his majestic 'taan' on the 100....

Listen at him as he admonishes those who dare to destroy the might of love; hear him as he brings their doom to their own hearts, hear him as he appeals to their conscience -

Taaj Hukumat Jiska Mazhab; Phir Uska Imaan Kahaan

Jiske Dil Mein Pyaar Na Ho, Woh Pathhar Hai, Insaan Kahaan!

Each and every song is a gem - if pain had to show itself in all it's varied colours, there is no doubt it would choose to be clothed in the tunes of Naushad's Mughal-E-Azam

Listen to Lata sing these lines in her most anguished tones

Na Socha Tha, Hoton Ko Seena Padega,
Mohabbat Chhipakar Bhi Jeena Padega,
Jeeye To Magar Zindagani Pe Roye

Or look at the way, she implores God for his support

Hai Waqt-E-Madad, Aaiyeye Bigdi Ko Banaane
Goshida Nahin Aapse Kucch Dil Ke Fasaane
Zakhmon Se Bharaa Hai Kisi Majboor Ka Seena

Who can not but be pained by such a request? After hearing Anarkali cry for help in these anguished tones, I remember asking God how he could be so merciless? How could he let Anarkali suffer so much - where was his Godliness when Anarkali needed him the most

The greatness of Anarkali is also signalled by this great voice as she wonders aloud - 

Chhup Na Sakega Ishq Hamaara

Chaaron Taraf Hai Unka Nazaara

Parda Nahin Jab Koi Khuda Se; Bandon Se Parda Karna Kya

Jab Pyaar Kiya To Darna Kya!

But what I remember the most from the film - other than the anthem of love is the song wherein Anarkali says a last loving farewell to her love -

Khuda Nigehbaan Ho Tumhaara
Dhadakte Dil Ka Payaam Le Lo
Tumhaari Duniya Se Jaa Rahen Hain
Uthho Hamaara Salaam Le Lo

Hai Waqt-E-Rukhsat,Gale Lagaa Lo
Khataa Humaari Tum Baksh Daalo
Bichhadane Waale Ka Dil Naa Todo
Zaraa Mohabbat Se Kaam Le Lo

Uthhe Janaazaa Jo Kal Hamara
Qasam Hai Tumko, Na Dena Kaandha
Naa Ho Mohabbat Hamaari Ruswaa
Ye Aansuon Ka Payaam Le Lo

Someday I will speak of this one beautiful song in isolation but today let me just remember this song in all it's pristine glory.

As Anarkali told Shehzaada Salim on being awarded thorns in the Quawaali competition

"Zah-E-Naseeb, Kaanton Ko Murjhaane Ka Khhauff Nahin Hota"

Coming back to the Nightingale, have you ever heard her song? Tell me - I know it breaks your heart but sometimes it's good to have a broken heart