RMIM Archive Article "198".


From the RMIM Article Archive maintained by Satish Subramanian

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# RMIM Archives..
# Subject: Geeta Dutt
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# Posted by: Hemant Parikh (parikh@ibm.net)
# Author: Raju Bharatan (for most part)
# Source: various
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------------------------------------------------------------ Geeta Dutt ------------------------------------------------------------ She was the blithe spirit of our popular music. All the more so under the baton of O.P . Nayyar who owed his "Aar Paar" breakthrough to her. Here is a peep into GEETA DUTT's solo repertoire for this composer. On the occasion of her 22nd death anniversary falling on July 20,1994 a study by RAJU BHARATAN. Complied by Hemant Parikh. Who recommended O.P. Nayyar as a music director to Guru Dutt for "Baaz"? Inimitable Geeta Roy of course, when she was all set to become Geeta Dutt Which number arguably rates as the hottest tune composed by O.P. Nayyar- yesterday, today or tomorrow? Mera naam Chin-Chin-Choo, the Helen foot-tapper from "Howrah Bridge". What a grim irony that Mera naam Chin-Chin-Choo turned out to be Geeta's swan song for O.P. I turn the spotlight here on Geeta Dutt's solos for O.P Nayyar, since it is not my style to halve the anniversary credit by bringing in the singer's duets too. At twelve o'clock on July 20, we were into 22 years without Geeta Dutt. Yet this blithe spirit of our popular music has been in the public ear all these 22 years Geeta's vocal mystique, it is unique. Especially under the seductive baton of O.P. Nayyar. The story of their ear-riveting association be-gins with Dalsukh Pancholi's "Asmaan" in 1952, flopping like nobody's show business in the face of Geeta Roy's vocals in it; for O.P.Nayyar, being vibrant as vibrant could be. Vibrant in the shape of Pom pom pom baaja bole dholak dhin dhin dhin (the GE28021 record I had to beg, borrow or steal for Ameen Sayani to play during Binaca for birth play during anniversary), Arre kya hoon main na bahaar hoon, Dekho jaadoo bhare more naina and that stunner: Dil hai diwana jawaan hai zamana. "Asmaan" bombed so explosively that O.P. Nayyar switched wholesale to Asha Bhonsle for all the 12 songs of his next film, P.L. Santoshi's "Chham Chhama Chham". Characteristically, Geeta never held this against O.P., commending his name to Guru Dutt to score the music for the 1953 Geeta Bali - Guru Dutt starrer, "Baaz". And Guru Dutt shot the movie almost entirely on a ship. What memorable solos O.P. composed for Geeta to articulate while working for the first time with a creative director like Guru Dutt and a super heroine like Geeta Bali. Remembar Geeta Roy's Zara saamne aa zara aankh mila on Geeta Bali? And Geeta Roy rendering the very opposite style of tune in the very opposite style of scene that Geeta Bali, alone could take in her acting stride; Ai dil ai diwane aag laga li kyun daaman mein. There were, in the same "Baaz", other numbers that the listener of taste recalls to this day as Geeta-O.P. at their brightest; Maanjhi albele chalo re haule haule, Ai watan ke nauja waan jaag aur jaga ke chal, Taare chaandni afsaane samaan bahaar hai suhane and Jaage panchchi savera hua. What composing by O.P., what vocalising by Geeta! Yet "Baaz" failed. But not the vocals of Geeta or the tunes of O.P. In fact, the solo numbers scored by O.P. Nayyar for Geeta Roy in "Asmaan" and "Baaz" have become collectors items in the 22 years Geeta has been off but never away. As for Geeta-O.P.'s "Aar Paar", its impact is still fresh in our ears. For "Aar Paar" (1954) was the breakthrough film for Guru Dutt and O.P.Nayyar alike. It is well to remember that Geeta Roy, in posing an early threat to Lata, had broken through long before Guru Dutt and O.P. Nayyar found public acceptance. Yes, if the Mangeshkar was already number one by 1953, she was "first only among three equals". Lata, Geeta and Shamshad Be-gum. Asha Bhonsle came into the reckoning only after these three and was still struggling in 1953. But Our theme song here is Geeta going solo in the sultry custody of O.P. And the Geeta solos for O.P. in "Aar Paar" may, each, be pinpointed as an ever green; Yeh lo main haari piya, Babuji dhire chalna pyaar mein, Hoon abhi main jawaan and that heart stopper on the obverse of the N50848 Sun sun sun sun zaalima record: Jaa jaa jaa jaa bewafaa. The Sun sun sun sun zaalima duet was a straight lift, but Jaa jaa jaa jaa bewafaa was a mood creation by O.P. - epitomised by Geeta in that antithetic idiom that so set off her vim and vitality as a joie-de-vivre performer. We had a fresh insight into this "other" mood of Geeta as, in "Mr & Mrs 55", without the slightest sense of inhibition, she took on C.H. Atma, under the same O.P., and invested Preetam aan milo with her own vocal persona. Saroj Mohini Nayyar, as the one who wrote the Atma original, was shaky about this Geeta edition. But Saroj Mohini could feel shaky only until Geeta's voice came over after that she knew she was listening to a live enactor, not a mere singer. May be Madhubala's visage was half the battle won. But can you imagine Madhubala without Geeta in such "Mr & Mrs 55" solo as Thandi hawa kaali ghata? Geeta had this gift of putting her vocal stamp even on Madhubala! On Madhubala as on Cuckoo - Neele aasmaane. O P. Nayyar's composing, at this make-or-break stage in this career, had a swinging rhythm that was best captured by mood specialist Geeta Dutt. Look at the way Geeta put over for O.P., in "Musafirkhana" that charming romantic solo on Shyama; Dil dee daala nazrana. It was a simple tune equally simply put across, that is why it was so lucidly picked up by the simple ear and the simple mind. What was "Choomantar" but a Johny Walker - Shyama - Karan Dewan extension of "Musafirkhana". Before you could say "Chhoomantar", Geeta had established her O.P. sway on your heart with Jab baddal lehraaya jiya jhoom jhoom ke gaaya, Gori gori raat hai taaron ki baaraat hai and Raat nashili rang rangili mast hawa. What a shame these carefree re- minders of our youth are numbers so little heard today. Oh, but I have missed out on a film that is current soft- drink coin: "Miss Coca Cola". The Pepsi people could never have found a vocal match for Geeta, had she been living to vivify the fizz in Coca-Cola. Geeta Bali had yet to wed Shammi Kapoor when she was his "Miss Coca Cola" in the film of that name! And how can we forget from "Miss Coca Cola" such Geeta-O.P. ear-catchers as Sach sach bol nahin batiyaan bana, Teri kaafir nigah kar gayi dil ko tabaah and Ban dhadkan kajra naina dole re. We rarely get to hear these numbers, will Vividh Bharati and Doodarshan oblige, now that the Coca-Colonisation of India by the USA is in full swing? "C.I.D", of course, was the Raj Khosla directed Guru Dutt film that brought O.P. Nayyar zooming on as a live challenger to Shanker-Jaikishan in the year (1956) in which that swiftly advancing duo bagged their maiden Filmfare Best music award for "Chori Chori". All the film award entries, I remember, were counted in my editorial charge in the Times Of India building and Lata-Manna Dey, at their best in "Chori Chori", just about managed to edge out Geeta-Rafi at their best in "C.I.D". Shanker-Jaikishan, too, needed to be at their most innovative to snatch that 1956 filmfare award from O.P. Nayyar, who was to beat this duo to it the following year with "Naya Daur" - without Geeta Dutt! With Geeta Dutt, in "C.I.D", O.P. had but one solo - but what a solo! The spell of Jaata kahaan hai diwane abides. Its Kuchch tere dil mein fifi kuchch mere dil mein fifi punchline by Geeta represented O.P. Nayyar's trendy counter to S.D. Burman's Tip-tip-tip-tip-tip--tip-tip effect given by the same Geeta Roy on Geeta Bali in the Dekh ke akeli mohe beguiler of "Baazi". There was a raging in controversy in the letters' section of Screen about why Geeta's Jaata kahaan hai diwane was deleted from "C.I.D." Which is the Geeta number you would choose from between O.P.'s Jaata kahaan hai diwane and S.D.'s Dekh ke akeli mohe? The choice lies between Geeta Roy and Geeta Dutt! When he bagged "Mr. Lambu", for O.P. Nayyar it was a dream come true, for the film gave him his first opportunity to compose for Suraiya. At the time, I remember expressing my disappointment to O.P. for the way he had scored Suraiya's two solos in "Mr..Lambu" as Yaad karun tori batiyaan and Soyi hai kahaan jaakar taqdeer mohabbat ki. But today these Suraiya numbers sound pleasant enough. As pleasant as Geeta's lone solo in "Mr. Lambu", Aaj jo hum tum mil gaye pyaar mein? Well, for Geeta, Suraiya was no competition. Even Lata was not, for the word "competition" did not exist in Geeta's vocal lexicon. That is why Geeta could pack her all even into a below-grade crimusical like "Shrimati 420". There were no fewer than three Geeta-O.P. solos in "Shrimati 420" and each was part of a Nayyar wave that then swept our cinema: Meri zindagi ke humsafar phenkna yahaan bhi ek nazar, Hum ko chhod ke kahaan jaaoge saiyyan and Badi rangili zindagi hai ha seen hai dillagi hai. What a great idea it would be if HMV issued a Cassette made up exclusively of Geeta's OP solos in the 1952-60 phase. For come 1961 and Geeta sadly, is out of O.P. Nayyar's recording room. Which then is the timeless number with which Geeta Dutt came closest to matching her own Mera naam Chin-Chin-Choo? We are talking of O.P. Nayyar. so I say it is Chor lootere daaku in "Ustad". I know Asha successfully grappled with every sironise twist and turn in an O.P. tune in later years, but Chor lootere daaku came at a time when Geeta alone could do that for O.P. Nayyar. And whether the number be Chor lootere daaku or Mera naam Chin-Chin-Choo, Geeta had the God given gift of sounding sensuous without sounding salacious. Geeta alone had this knack of never making even an O.P. tune sound voluptuous. I concede Asha took over from Geeta in style, yet the fact remains that there is not one O.P. tune you can recall that Geeta coarsened . "It is sad therefore that a sizzler like Chor lootere daaku represents the phase (1957) in which O.P. Nayyar began the business of banishing Geeta by having ears only for Asha. The solos and duets alike of Geeta, I find, are severely rationed by O.P., starting with "Ustad". In O.P. chartbusters like "Tumsa Nahin Dekha" and "Naya Daur", even in Nayyar quickies of this period like "Hum Sub Chor Hain" and "Qaidi", it is Asha almost all the way, barring that almost mandatory interpolation by Shamshad Begum. With "Phagun", the Madhubala-Bharat Bhooshan all-Pilu musical coming at the fag-end of 1957, O.P.'s obsession with Asha is complete - all 11 songs in the film carry her vocals. This I emphasise not as a criticism of Asha, who came up the hard way, but merely as OP not being any longer pre-pared to entertain the idea of resummoning his one time chief artiste, Geeta Dutt. This was when Geeta made that famous phone call to O.P. to ask: "What have I done to you that you now don't send for me at all?" How does O.P. feel about such Asha concentration and Geeta inattention today? "Very guilty" says O.P. "But love knows no reason, only a season!" Even in such a season, in "Duniya Rang Rangeeli" in which there were six songs by Asha tuned by O.P., Geeta Dutt left a vocal mark, all her own in the sole solo she got in the film: Kya yeh tu ne kiya ishara. From such an occasional Geeta crumb, I conclude that O.P. at times suffered from pricks of conscience. It was the call of such a conscience that presumably made O.P. offer Geeta such solo sops in 1958 as Bach bach bach kahun sach sach sach in "Farishta" and Channda chaandni mein jab chamke kya ho aa mile jo koyi chham se in "Mujrim". Yet there was one film in 1958 in which O.P. Nayyar had to settle for Geeta Dutt as his main singer afresh. This, traumatically for Geeta, was the Waheeda Rehnnan Guru Dutt starrer: "Twelve O'Clock". We had here, hoon the still super-supple throat of Geeta three such O.P. lilters as Kaisa jaadu balam tum ne daara, Aji o suno to nahin tum ne humen pehchana and Arre tauba taurba yeh teri ada. Thus was the "Clock" chimingly turned back to "Twelve" before Geeta Dutt disappeared from O.P. Nayyar's recording room. Asha Bhonsle went on to sing for O.P. Nayyar as many as 81 solo plus chorus-backed numbers, but the digits get reversed in the solo case of Geeta to 18. Yet what a watershed these 18 Geeta solos mark in O.P.'s career: O. P.Nayyar might have created some sort of a recording by getting Asha to figure in all songs of "Phagun", all 14 songs of "Basant", all 9 songs of "Hongkong", all 7 songs of "Mitti Mein Sona", all 6 songs in the case of each of three films: "C.I.D. 909", "The Killers" and "Pran Jaye Par Vachan Na Jaye". The Chain se hum ko kabhi aap ane jeene na diya collaboration of Asha-O.P. may have a pang and a tang all its own. Yet Asha Bhonsle, as a human being first and a imputative being after, will be the first, I know, to spare a Thandi thandi hawa poochche unka pata thought for a Geeta who hid her light under a bushel so that her husband's might shine the brighter . A husband who, when he went back to O.P. Nayyar for "Baharen Phir Bhi Aayengi", knew it had to be Asha it could not be his wife even for a tune right up Geeta's, alley like Koyi keh de keh de kehde zamane se jaa ke ki hum ghabra ke mohabbat kar baithe.... An Asha shraddhanjali to Geeta, is it not overdue, now that Ms. Bhonsle has sung like a champion for 22 years without any competition from Ms.Dutt? ------------------------------------------------------------ From the Record GEETA DUTT IN MEMORIAM ------------------------------------------------------------ This marvel of a musical montage will bring you bitter-sweet memories of bygone years. Bitter, because the voice that presents it is the voice of Geeta Dutt who is no more with us. And sweet, because sweetness was the keynote of her music. Geeta's was the voice that lent a rare sensitivity and poise, an uncanny grace and dignity, to every song she warbled, It had also in it a subtle blend of talent and imagination of originality and virtuosity - the kind of blend we find so beautifully reflected in the rich legacy of recorded repertoire she has left behind Indeed, her sudden death at 41 has left a void in the melody world that is hard to fill, . Born in a well-known family of Zamindars from East Bengal, now Bangla Desh, Geeta Dutt migrated to Bombay soon after partition in 1947, Timbre and tone were in her blood and before long did she blaze a new trail as a singer par excellence, Maestros of the eminence of S, D, Burman and O, P, Nayyar found her silken voice ideally suited for films and harnessed it to best advantage, From then on, for almost two decades, Geeta had her sway over millions of her fans, singing as many as 5,000 songs in a variety of languages- from Bengali and Hindi to Punjabi, Marathi and even Gujarati Songs like Mera Sundar Sapna Beet Gaya and Tadbeer se bigdi hui, with their perennial appeal, are the finest examples of her eloquent musical expression Geeta Dutt s marriage in 1 953 with Guru Dutt, the versatile producer - director - -actor, was an event to remember in the world of film music. She lent her voice to almost all the films produced by her husband - like "Pyaasa", "Mr. and Mrs. 55", "Baazi", "Aar Paar", "C.I.D" , "Kagaz- ke- Phool" and "Sahib Bibi Aur Ghulam". And it is sheer delight to hear these songs even today, This disc offers you the very epitome of her emotional world in all its varied facets of the little joys and sorrows that shaped her musical being. ------------------------------------------------------------ Addition By Hemant Parikh. ------------------------------------------------------------ (Source Raju Bharatan & Vandana Majumdar Articles) Geeta Roy / Geeta Dutt Died July 20, 1972 she was only 41. ( Born 1931) - 1952 "Asmaan" First O.P. Nayyar -Geeta Dutt combina- tion film flopped. - 1953 Geeta Roy suggested Music Director O.P. Nayyar's name to Guru Dutt for the film "Baaz" * ing Guru Dutt & Geeta Bali. - 1953 She was among the first three equal famous singers 1) Lata Mangeshkar, 2) Geeta Dutt, 3) Samshad Begum. - 1957 O.P. Nayaar never asked Geeta Dutt to sing for Bharat Bhusahan & Madhubala starrer "Phagoon". - 1958 O.P. Nayyar called her for the film " Twelve O' Clock" *ing Guru Dutt, Waheeda Rahman. - During the film "Pyaasa" Guru Dutt fell in love with Waheeda Rahman. Geeta could not face her Husband linked with other woman, She stayed up all night her friends suggested her to take alcohol. - Guru Dutt stopped Geeta Dutt and Waheeda Rahman sign- ing films out side his banner. Soon Geeta Dutt lived separately. - Guru Dutt passed away in the year 1964 ( 10th October). It had been said that Geeta Dutt sold her Jewellery to pay Guru Dutt's artistes. Her house was auctioned. She started doing stage shows to support her kids. - Like the doomed love story of the choti bahu in "Sahib Bibi Aur Ghulam", both Meena Kumari and Geeta Dutt who had infused into the role with the haunting Na jaon saiya shoodake baiya became alcoholics themselves. Ironically like the legendery Meena Kumari Geeeta Dutt too finally sccumbed to the deadly cirrhosis of the liver in 1972.. Jo dusro ko khush kar gaye who khud khun ke aansoo pee gaye. - Geeta Dutt sang 18 solo's for O.P. Nayyar - Asha Bhonsle sang 81 solo's for O.P. Nayyar - 1971 - Geeta Dutt sang her last song for the film "Anubhav" for the Music director Kanu Roy. - Born in Zamindar Family East Bengal ( Now the new Bangaladesh) - She migrated to Bombay ( Now Mumbai) in the year 1947. - 1953 - She married Guru Dutt Padkukone. - She too tried comiting suicide. - Dev Anand introduced Geeta Roy to Guru Dutt at a party. They met again, when Geeta was recording Tadbeer se bigdi hui taqdeer bana le. Soon, Guru Dutt was madly in love with her. He wrote her long, love letters and they would go for quiet drives together. - Geeta Dutt till today remains one of the most Beauti- ful female singers in the Indian Music Industry. - Geeta Dutt sang most of her best songs for S.D.Burman and O.P. Nayyar. But she also sang for Madan Mohan, Shanker Jaikishan, Hemant Kumar, C. Ramchandra, Vasant Desai, Ravi, Chitragupa, Naushad & Kanu Roy. - Geeta Dutt sang her most famous-duets with Mohammad Rafi. But she also sang with Asha Bhonsle, Lata Mangeshkar, Hemant Kumar, Talat Mahmod and Mukesh. I hope this will paint picures in your mind about the legen- dry singer Geeta Dutt. If there is any corrections to be made please e-mail me. Happy reading. -- Hemant Parikh ( Music Fan) parikh@ibm.net Address: 15 - Sheppard Ave, Mount Roskill, Auckland - 4 New Zealand. Ph: 0064 9 629 3598 Mobile: 0064 9 629 359 Fax: 0064 9 376 2223 -----------------------------------------------------------------
From the RMIM Article Archive maintained by Satish Subramanian