RMIM Archive Article "181".
From the RMIM Article Archive maintained by Satish Subramanian
#
# RMIM Archives..
# Subject: "The Perfect Note" -- An interview with Khaiyyam
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# Posted by: Ashok (ADhareshwar@WorldBank.Org)
# Source: Filmfare, December 95
# Author: Kavita Mishra
#
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The Perfect Note
An interview with Khayyam by Kavita Mishra.
(Filmfare, December 1995)
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Nestled between a row of concrete blocks, there's a modest little
three-bedroom apartment. The strains of an old film ditty fill
the mid-day air. Music director Khaiyyam is at once transported
to the halcyon past ....
Right from his first film 'Footpath,' Khaiyyam's dulcet melodies
have struck a chord in music lovers. His other notable works
like 'Lala Rukh,' 'Phir Subah Hogi,' 'Shagun,' 'Ahista Ahista,'
'Kabhi Kabhie,' 'Razia Sultan,' 'Bazaar,' and 'Umrao Jaan' have
won him legions of fans.
Asha Bhosle's supple-throated rendition of his ghazals in 'Umrao
Jaan' won her the National Award for best playback singer. One
is also reminded of his haunting "ae dil-e-nadaan" from 'Razia
Sultan.'
Yet, surprisingly, this music director is not inundated with
offers. Perhaps the capricious tastes of the audience and
Khaiyyam's refusal to kowtow to the crass commercial dictates have
made him opt out ...
You pub into the mind of the music wizard for a few answers.
Excerpts:
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Now that melody has made a comeback, why is a composer of
your calibre out of work?
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Who says melody has made a comeback? Melody has always been
associated with only Madan Mohan, Jaidev, and Khaiyyam. Melody
according to today's composers is rehashing folk tunes with back-
up from modern electronic instruments. And the rest of the tunes
are heavily influenced by Western music.
Believe me, conditions are so appalling that producers often
insist that music directors plagiarise from the hit tunes of
various languages. Sorry, I won't make any compromises.
I had a nasty experience once. I had been signed to compose the
music for 'Barsaat Ki Raat.' Meanwhile, Bharat Bhushan's brother
Chandra brought a cassette of Ustad Fateh Ali Khan's (Nusrat
Fateh Ali Khan's father) qawwali and was adamant that the qawwali
in his film would have the same tune. The tune was undoubtedly
good, but I refused to toe the line and left the film instead.
Since I am a fastidious person people think it is better not to
work with me.
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Do you feel it is wrong to compromise?
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Who am I to say what is wrong or right? But I would like to know
what compels the composers to listen to film-makers.
Most composers have invented a formula for success. All they do
is pick tunes from various languages, even old popular Hindi
numbers, rework them and pass them off as their own. They don't
have to work hard and yet manage to make big bucks. I don't need
such cash. The money I have made from my previous work is enough
for me to survive.
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But surely you agree that the music market is booming today,
especially the film music market?
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Today's so-called good music popular because of the hype from the
music companies. Since they buy the music at a high price and
spend a lot on its publicity, the music companies are desperate
to recover their money. They dole out free cassettes to taxi
autoriskshaw drivers. The songs are blared at public functions
and on the radio regularly. But this music has no sustaining
power. It fades out as soon as another film's music hits the
market. Today, hype sells. We never had this kind of advantage
in our times.
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You mentioned that we are in an age where electronic gizmos
reign, but surely you too have indulged in them?
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Yes, I have. In 'Footpath,' I used the Solo Vox and the Clavier.
But they never sounded synthetic. I've also used these
instruments in the ghazal "shaam-e-gham ki kasam." I introduced
electronic instruments in 1953. The Clavier was first introduced
in the industry by Kalyanji which I later used in a cabaret
number "ara ram ram ram."
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Is it true that Jaddanbai (mother of the legendary actress
Nargis) was responsible for your first film 'Footpath'?
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Yes, that's right. I had composed music for two of her films,
'Parda' and 'Pyar Ki Baat.' When producer Chandulal Shah
announced 'Footpath' starring Dilip Kumar, he had three or four
composers in mind. That's when Jaddanbai took me to meet him.
He told me that he would sign the music director whose
compositions impressed him the most. Luckily for me, my work was
appreciated by Dilip Kumar, Anwar Hussain, and Chandulalji.
I got the chance of a lifetime to work with Majrooh Sultanpuri
and Sardar Jaffrey. The music was a hit. Offers poured in, but
I was under contract with Ranjeet Movietone. I couldn't sign
outside films. Unfortunately, despite the good music, 'Footpath'
did not do well. Perhaps the audience couldn't accept Dilip
Kumar in a negative role.
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You composed under the name Sharmaji. What made you switch
to Khaiyyam in 'Footpath'?
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I worked jointly with several music directors in the films I did
before 'Footpath.' My full name is unusually long--Khaiyyam
Mohamed Zahoor Hashmi. So I preferred a pseudonym. Writer Zia
Sarhadi suggested that I change my name when I signed 'Footpath.'
He said 'Khaiyyam' sounded much better.
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People say you are headstrong and have an inflated ego.
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Perhaps people feel that way because I only take on a project if
I like the theme of a film and am sure that there's scope for
music. Just knowing the story is not enough. I have to sit with
the producer, the director and get to know every minute detail
about the film.
For example, if the hero and heroine of the film are collegians,
I'd like to know where they are studying. And if they get
married during the course of the film, I want to know what they
talk about before and after they get married, their beliefs and
attitudes. I take on a film only if the film-maker understands
and appreciates my requirements.
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While the music of the majority of your films was popular,
most of the films were commercial failures.
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Call it destiny. Life is like that. I have worked with many
people. The music of 'Footpath,' 'Lala Rukh,' 'Phir Subah Hogi,'
'Razia Sultan,' and 'Shagun' was popular. Unfortunately the
films did not generate good box office collections. However, my
work was always appreciated.
Let me tell you of an incident that happened years ago. Ramesh
Sehgal (of 'Shaheed' and 'Samadhi' fame) was making 'Phir Subah
Hogi' on Tolstoy's 'Crime and Punishment.' Sahir Ludhianvi was
to pen the lyrics. He suggested my name as the music director
arguing that the subject needed someone who could understand its
depth. The producer was sure Raj Kapoor would insist on Shankar-
Jaikishen, yet he arranged a sitting for me.
I had composed five tunes for the title song and Rajji heard each
one out. At the sitting he didn't react at all. Then he took
Sehgal into another room. When Sehgal emerged after 45 minutes,
he hugged me and said I had made it. Rajji was so thrilled with
all five tunes that he asked me to pick the one I thought most
appropriate. He used to carry a tape of the film's songs with
him all the time. But since the film didn't run, our association
ended there.
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You often claim that you were partly responsible for the
revival of 'Pakeeza.' How come?
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This is no tall claim. Kamal Amrohi had signed me for 'Shankar
Husain.' During one of our meetings, my wife Jajgit asked
Kamalsaab to revive 'Pakeeza.' He was reluctant though, saying
that Meena Kumari no longer looked the same and that she'd put on
too much weight. Besides, he'd need Rs 25 lakhs to complete the
film.
Jagjit assured him that Meena Kumari had lost quite a bit of
weight because of her illness. And that she would persuade Meena
Kumari to complete the film. When Meena was approached, she
asked my wife whether Chandan (Kamal Amrohi) was still interested
in seeing the project through. As far as finance was concerned,
I suggested that he complete 'Pakeeza' first and that 'Shankar
Husain' could wait.
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Is it true that Meena Kumari recorded her ghazals when she
was ill?
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Actually, Meena had composed some 'shairis' and she said that
after I composed the music for it, Jagjit should record them.
She felt Jagjit's voice matched hers. But I insisted that the
'shairi' be recorded in her own voice.
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Asha Bhosle sang all the songs in 'Umrao Jaan.' Any
particular reason?
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Of course. If I'd taken on Lataji who had rendered all the songs
in 'Pakeeza,' the film would have had a 'Pakeeza' hangover.
Especially since both the films are UP-based. Besides, Lataji's
voice is high-pitched and thin. And the heroine of 'Umrao Jaan,'
Rekha, has a base voice, so I though Asha Bhosle's voice, which
has 'kashish,' would be ideal.
Apart from ghazals, I also used a traditional song from Uttar
Pradesh in the film. I think I am the only music director to
make use of songs from the region in which the film is set.
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Despite the three hit films you've done together--Kabhi
Kabhie, Trishul, and Noorie--why hasn't Yash Chopra taken
you on again?
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When Yash Chopra signed me on for 'Kabhi Kabhie,' he was frank
enough to tell me that he had had to deal with stiff opposition.
He had been warned that though I gave good music, I wasn't
auspicious as a member of the film's unit because I had many
flops to my discredit. But God is merciful and to my good
fortune, the film became a big hit.
Then I did two more films with him. However, the subject of
'Silsila' did not inspire me and I told Yashji that I didn't want
to do the film. He asked me to reconsider my decision, but ...
Later, Shiv-Hari stepped in. So I guess he didn't need me any
more. On a personal level we are still friends.
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How do you keep yourself busy these days?
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I am working on the music of the epic serial 'The Great Maratha.'
That's pretty time consuming. I also read the works of great
poets like Ghalib, Momin, Daag. I am inspired by their verse and
set their works to music.
I gave a new dimension to ghazals. I experimented with the form.
I got Mohammad Rafi to render the ghazals of Mirza Ghalib and
added my own nuances to the compositions.
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Are you happy about the changing trends is music?
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Today the accent is on sound and hip beats which Western singers
like Michael Jackson and Madonna have popularized.The
youngsters of today are influenced by it.
Of today's composers, I think Rahman's music is suited to current
tastes. But pure melody has a greater life. Nothing can change
that.
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My comment:
In a recent interview with Filmfare, Nusrat Fateh Ali Khan does
confirm that the qawwali "ye ishk ishk hai ishk ishk" was based on one
of the hits of his father and that it was used in 'Barsaat Ki Raat'
with his father's permission.
Ashok
From the RMIM Article Archive maintained by Satish Subramanian