Song Sketch

Mose Chhal Kiye Jaaye – Kya Se Kya Ho Gaya – Guide – The Twofold Stunner

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DIRECTOR’S CUT – Vijay Anand

After Vijay Anand and S D Burman had recorded a couple of songs for ‘Guide’, written by Shailendra, they knew that they had taken the right decision, (despite his phenomenal fees)….of taking Shailendra to write the lyrics for the film.
Shailendra was delivering and how !!!
Fifty years and more, down the line, EVERY song of ‘Guide’ is still fresh in the minds of people who love music.
Burman da was at his creative best and he decided to experiment with his music. Starting a song with the verse instead of the routine ‘mukhdaa’…. (Aaj phir jeeney ki tamanna hai)
But here, he gets bold and does something that is even more brazen and challenging. Probably a feat no other music director will ever be able to ever repeat!!!
The Writer / Director, Vijay Anand, wants his songs to take his story forward. He opts for two different songs…back to back and Burman da composes those two songs.
Catch him if you can….

Both songs are very different….
Both songs have the same notes !!!!
The Lata Mangeshkar version is an accusation. The man she loves, has cheated her. Not with another woman, but his greed has taken preference over his love for her.
The Mohammad Rafi song is an emotional, romantic plea. He believes that he has done a lot for the woman he has fallen in love with. He has supported her and made her a star. If he has forged her signature, it is only because he loves her and is possessive about her. For him, his love for her is the dominant factor.
Vijay Anand, with his screenplay and direction, has justified both the characters. Shailendra writes in his simple style. The first song starts with violins joined by a tabla. The tabla in this song, is incidentally played by the great santoor maestro, Pandit Shiv Kumar Sharma !!!
A sitar joins in and finally a flute…. by none other than the great flautist Hariprasad Chaurasia
Waheeda Rehman is performing on stage and Dev Anand is watching and listening from the wings.

In the late 60’s, started a trend that exists till date ( with rare exceptions ). The Director of the film, explains to the choreographer what he wants in a particular song and then sits by the side to watch the shooting. Right from the dance steps, to the expressions of the performer(s), to the camera movements and placement, is done by the choreographer. In fact, sometimes, the Director does not even attend the shooting of the song.
Not so with Directors like Vijay Anand. He would ask the Choreographer to show him the dance steps and decide on the camera movement on his own. That is why, there is something special about the shooting of all the dances and songs of Guide
Waheeda’s graceful movements are followed as gracefully by Vijay Anand’s camera as she starts singing.

Mosey chhal, kiye jaaye, haye re haye haye,
Dekho, sainyya beimaan….

The interlude is brought up by violins, sitar and flute…
Samjhaa ke main toh haari,
Dhamkaaya, dinhi gaari,
Aur karoon bhi kya,
Dekho, moraa jiyaraa kalpaaye,
Dekho sainyya beimaan…

The next interlude starts with a sitar, joined by a taar shehnaai and flute…
Mann ka hai bairi kaala,
Dil jisey de daala,
Preet mori, pal pal roye,
Tadpaaye, tarsaaye,
Mujhey haaye haaye,
Dekho sainyya beimaan…

The ‘coda’ or ending piece is mainly violins, building up to a crescendo with suspense. On the screen we see a frantic Dev Anand trying in vain to escape from the nets that surround him, depicting his impending arrest. On the last bang, he is trapped completely. This bang is actually the beginning of the next song.
The above song is all about Burmanda’s great music and Shailendra’s simple words (another word kalpaaye which is common among the Hindi speaking people but rarely used in poetry or songs)
It is all about Lata Mangeshkar’s GREAT singing. She sings this very difficult composition with such ease that one can just sit back and wonder at her talent. Remember, those were the days when the whole song had to be recorded in one go. It is all about Waheeda Rehman’s dancing ability. Very few actresses at that time could do it as well.
But for me, it is Vijay Anand who stands out with his breath-taking shots. The faultless camera movements are something that can never be surpassed.

On the last bang of the previous song enters Mohammad Rafi’s divine voice. It is the wail of a broken heart.
Kya sey kya, ho gaya,
Bewafa, tere pyar mein,
Chaaha kya, kya mila,
Bewafa, tere pyar mein….

The interlude is made up with a female chorus and violins, ending with a flute.
Chalo suhana, bharam toh toota,
Jaana ke husn kya hai,
Kehti hai, jisko pyaar duniya,
Kya cheez, kya balaa hai,
Dil ne kya, na sahaa,
Bewafa, tere pyar mein…

Another interlude with a female chorus and maddening violins.
Tere mere, dil ke beech, ab toh,
Sadiyon ke faasley hain
Yakeen hoga, kisey ke hum tum,
Ek raah sang chaley hain,
Hona hai, aur kya,
Bewafa, tere pyar mein…

In Cinema, it is very easy to show oppression of a character. Look down upon him, a lonely figure. Vijay Anand uses top angle shots to express Dev Anand’s isolation, but he, at times, uses a low camera. He wants to look at the characters with equipoise. The man has made mistakes, but he loves the woman. He has made his sacrifices too, only for love. All through this song, we see Dev Anand looking fresh and casual. In the last line, Vijay Anand brings us back to reality with a thud. Wonderful music, beautiful lines, Mohammad Rafi’s excellent rendition and Vijay Anand’s faultless direction, add them all and you have a lovely song.
Vijay Anand could have used a duet to serve his purpose, he opts for two solo songs where both put forward their point of view. The film had started with his release from jail. The story is narrated in a flashback.
This is the end of the flashback. The Director has beautifully narrated, to his captive audience, how Dev Anand has gone behind bars. The rest of his story is yet to unfold.
Vijay Anand, the great screenplay writer and director has, with the help of his actors, music director, lyricist and the rest of the crew, written his name in the history of Indian Cinema with a MASTERPIECE called Guide.



    January 22, 2019 at 12:33 am

    Very timely tribute to the twin songs on the eve of great Goldie’s birth anniversary. Reams can be written on the quality of songs, the lyrics and the music, the picturizations, the camera angles, the symbolisms.
    You are the son of great Shailendra. Is it true that Shailendra ji was angry with Navketan for not hiring him for Tere Ghar ke Samne, after giving stupendous lyrics in Kala Bazaar, and had refused to do Guide. Afterwards, as Hasrat Sahab could not deliver the desired lyrics for a song in a situation where later Din dhal jaate was incorporated, Goldie had to literally beg Shailendra ji to write the songs at whatever price he quoted. And what soulful numbers he delivered. Hats off to all the legends associated with Guide.

    • Dinesh Shankar Shailendra

      January 22, 2019 at 3:24 pm

      Thank you jaivk ji…. What you have said about Shailendra being upset is absolutely right… He was angry at being the second choice and he charged Vijay Anand and Dev Anand a ‘packet’ for ‘Guide’…

  2. Vijay Jai

    January 24, 2019 at 10:06 am

    Thanks for your reply. My favourite Guide number is Wahan Kaun hai Tera.
    I think Shailendra ji has encapsulated the entire essence of life, of all the great philosophies in this one song. You’re privileged to be his son.

  3. Pingback: Carnival of Blogs on Golden Era of Hindi Film Music, February, 2019 – The world is too small? or Is it?

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