अनमोल रतन (Precious Jewels) - 2

Friends,

This is the second song in the series from the film 'Bewafa' (1952).

Song #2: दिल मतवाला लाख संभाला … 

Film       : Bewafa (1952)

Director : M. L. Anand

Cast       : Raj Kapoor, Nargis and Ashok Kumar

Lyrics          : Sarashar Sailani

Composer    : Alla Rakha Quereshi

Solo Singers : Lata Mangeshkar and Talat Mahmood

Alla Rakha Quereshi

The stylistic music of Bewafa was worthy of kudos. The simple reason being that it was composed by the world famous Tabla maestro Ustad Alla Rakha. 

Alla Rakha Quereshi was born on April 29, 1919, at Phagwal village of Jammu, 80 kms from Lahore. Khan was fascinated with the sound of tabla since the age of 12. The determined young lad ran away from the house and became a disciple of Mian Qader Baksh of the Punjab Gharana, who initiated him into the world of music.

 

He started his musical career as an accompanist in Lahore and then as an AlI India Radio staffer in Mumbai in 1940. Soon after he would compose music for a couple of Hindi films from 1943-48. He composed music for around 40 films in his film music career. Some of the well known films where Alla Rakha was music composer are Maa Baap (1944), Sabak (1950), Bewafa (1952), Khandaan (1955) and Parveen (1957).

In the film 4 songs were in Talat Mahmood's voice. 'Tum Ko Fursat Ho Meri Jaan..', 'Tu Aaye Na Aaye Ae Teri Khushi....', 'Dil Matwala...' and 'Kaam Haathon Ka Hai...'.

Lata sang 3 songs. 'Badnasibi Ka Gila Ae Dil-e-Nashaad Na Kar..', 'Isi Ka Naam Duniya Hai...' and 'Dil Matwala Laakh Sambhala...'. The song 'Aa Jao Mere Dilruba..' was sung by Geeta Dutt and 'O Tana Der Na Tana Na Na..' was sung by Shamshad Begum. 

USP of the song: 

a) Music composed by Tabla Maestro - late Alla Rakha

b) Same song, different composition sung solo by male (Talat) and female singer (Lata)

It has been a strange coincidence that whenever the same song has been sung by a male singer and a female singer in the same film, the male version has got more popular among the audience. I wonder what could be the reason of the fascination for the male voice. 

Some examples that come to my mind are as follows; I am sure there are many more...

1) Zindagi bhar nahin bhoolegi barasaat ki raat... - Rafi and Lata - Gateway of India

2) Jeevan ke safar mein raahi... - Kishore and Lata - Munimji

3) Zindagi ek safar hai suhana... - Kishore and Asha Bhosale - Andaz

4) Dil hoom hoom karein ghabaraye - Lata and Bhupen Hazarika - Rudali

5) Kuch na kaho kuch bhi na kaho... - Lata and Kumar Shanu - 1942, A love story

कहानी behind the song: 

The film depicts the story of a poor girl Roopa (Nargis) who is forced by her alcoholic uncle to work. When she can't meet her uncle's demand to earn money she is thrown out of the house by her uncle when her neighbour Raj (Raj Kapoor) comes to her aid and loans her some money but despite it she finds it difficult to make ends meet and she meets Ashok - a famous painter - for whom she starts acting as a model for his paintings. Roopa's portraits as painted by Ashok become a big hit. Later Roopa marries Ashok but soon Raj reenters her life. Roopa is extremely happy seeing her childhood friend Raj again after a long time and introduces him to Ashok. Both of them urge Raj to sing a song. Raj then sings 'Dil matawala...' for Roopa. The song continues to linger on Roopa's mind and next day morning she sings the same song. The story then follows the love triangle between Roopa, Raj and Ashok. 

Lata's version below has a beautiful musical prelude to it which is equally enjoyable to the actual song.

Lata's version

Talat's version is extremely soft and soothing to ears; don't miss the facial expressions of all the 3 actors, particularly just before the line 'Kar gaye baatein do matawale...'. 

In a strand, till today the bewitching effect of Talat's velvety voice in 'Bewafa' lingers on.

Talat's version

Lyrics: (courtesy: http://www.hindigeetmala.net)