This article is written by Mr. Nagesh Sidhanti

A ghazal usually deals with the whole spectrum of human experience, with its central concern being love. The underdog’s bard , Sahir Ludhianvi, who refused to eulogise Khuda(God), Husn(Beauty) and Jaam(Wine), occasionally departed from his bitter but sensitive lyrics. The result of one such welcome exception is the song ‘Door Rahkar Na Karo Baat‘ from the movie Amaanat, Starring Manoj Kumar and Sadhana.

Sahir Ludhianvi, had this uncanny ability of giving his poetry an intellectual aura with socially relevant and fascinating questions posed, capturing the imagination of rebellious youth especially. The transference of his Faizian ideologies into intensely lyrical pitch, was the quintessence of this progressive writer.

Yet, Sahir seemed to have chosen a tender moment, while penning ‘Door Rahkar ‘ enhancing the significance of the lines. Here he renounces his often-stifled romantic outlook into a neatly conveyed affirmation to the beloved.

[audio:http://www.mohdrafi.com/audio/Amaanat_DoorRehekarNaKaro.mp3]

Here are the simple but well adorned lines.

Door Rahkar Na Karo Baat, Qareeb Aajao,
Yaad Rahejayegi Yeh Raat, Qareeb Aajao,

Sahir, with these opening lines, summerises the mood of the song, with a gentle compulsion. An assurance to the girl, hesitant in her first crush but bold enough to break confines of forbidden conventions, when bestowed with confidence.

Ek Muddat Se, Tamannah Thi, Tumhe Chooneki,
Aaj Bas Mein Nahin, Jazbaat, Kareeb Aajao,

After the protagonist achieves a comfort level, he then goes on to subtly express his yearning to consummate his love and his helplessness in dealing with his own emotions… a crushing urge to manifest his love at physical level.

Sard Jhonkon Se, Bhadakte Hein, Badan Mein Sholay,
Jaan Le Legi, Yeh Barsaat, Kareeb Aajao,

Sahir deliberately brings in a metaphorical suggestion of cold breeze igniting the bodily desires, brushing strokes of intensity and passion. That when love is unbridled, even rain serves as an aphrodisiacal agent and the man conveniently blames the rain-induced nostalgia for his excited state.

Is Qadar Humse Jhijakne Ki Zuroorat Kya Hai,
Zindagi Bhar Ka Hai, Ab Saath, Kareeb Aa Jaao

Here, Sahir makes a masterly closing statement of intimating the girl that her hesitation can be safely rested under the manly assurance of lifetime companionship, that their love is beyond the trappings of common infatuation.

Ravi Shankar Sharma, the composer epitomized the beauty of the women in his composition, Jaan-e-Bahaar Husn Tera Bemisaal Hai, an oh-so-romantic genre of song by Rafi Sahab.  On this occasion however, Ravi employs a minimal but intense tune to suit Rafi Sahab’s tonal quality. The collective understanding of  Ravi and Sahir of the woman’s hesitation in love, has been clearly acknowledged by the use of soft instrumentation.  Ravi adapts his favorite Raag Malkauns, which is a late evening raag, to this song. This pentatonic raag, usually brings out meditative and introverted andaaz to the rendition, as in case of ‘Door Rahkar’.

The prelude as well as interlude Baansuri, beautifully sets up a soothing ambience, complimenting the poet’s intent. Ravi, the tunesmith then orchestrates the song with  pleasing tonal variations, thus setting up stage for Mohammed Rafi sahab to do the honors.

When Rafi Sahab takes up alluring lyrics such as this one , its often an unfair deal to the poet. In ‘ Door Rahkar ‘ Rafi Sahab unwittingly relegates both ‘shabhd’ and ‘ raag’ into peripheral components, with amazing invocation of pure ‘ bhaav’.  This normally is the grudging admission of principal players of a song architecture, the lyricists and the composers, whenever Rafi Sahab undertakes the rendition.

Rafi Sahab sings Door Rahkar with a softly undulating texture in his voice, for the lines such as ‘ ek muddat se tamannah thi tumhe choone ki’ in the repeat line of antara. The voice modulation is in between a tremor and a quiver. His ability to control the throw in fractional values, makes the nearest competing singer fight for the sixth place.  He then packs the song ambience,  and reinforces the assurance in the phrase ‘ qareeb aa jaao’, in his own inimitable ways. Just observe his attention to detail, as in the way he pronounces the word ‘qareeb’. The high octave notes in the antara are handled like fish taken to water with sudden transition of repeat lines in introverted mode. All antaras are unique and are dealt with renewed style each time. Rafi Sahab finally leaves no ambiguity to the woman in question when he sings ‘ zindagi bhar ka hai ab saath’ with an everlasting and comforting emotional caress. Just similar to the way his rendition leaves his bhakts in helplessly transcendental state.

Yet another affirmation gets immortalized in the voice of the virtuoso.

This blog was published on Sunday, June 21st, 2009 at 5:50 pm and is filed under Audio Songs, Meri Awaaz Suno. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.