Aap To Aise Na The

My selection of songs for this post may well come as a bit of a surprise to those who know me. My tendency to stay within my self-defined time warp would appear to be seriously challenged here. The main actors here actually began their careers when I was already in high school – now this seriously undermines my “old hindi songs” label :-)

Not really !

This post is all about just one 1980 film – Aap To Aise Na The. And, though less than three decades have passed by since, heaven knows there have been at least four or five generations in this period.

So 1980 could well qualify as “old” – and in any case, it would be a pity to allow such nitpicking to come in the way of enjoying songs of this quality. Perhaps I will draw a line at 1988 – being the year of Tezaab and Qayamat Se Qayamat Tak.

I cannot speak for others but I cannot help feeling that from this time onwards, things just became different in Hindi films. We had a new set of actors coming up (Aamir, Juhi, Madhuri) , a new set of music directors (Nadeem Shravan, Jatin Lalit) and even a new style to film-making and music composition. Gulshan Kumar and his T-series took off and music – and even singers - suddenly seemed to become a commodity.

But this is stuff for another post – we are not discussing the changes in the music landscape here. Let us just say that even 1988 was all of twenty years ago (wow, how time flies ! Perhaps I should book a flight to India on time instead of on another airline - I should reach there real quick. ;-). (Sorry, I know even by my PJ standards, this is pretty much scraping the bottom of the barrel but restraint places too heavy a demand on my natural self and I just have to let myself go every now and then. Some will wistfully eye the “then” piece but there is a “now” inextricably attached to this expression – so just cope with it).

So where was I ? I think even I have forgotten now. Even by my not-inconsiderable digression standards, this is one hell of a detour. Almost like going to Malad from Churchgate when the destination was actually supposed to be Colaba.

So let me get back on-topic.

Aap To Aise Na The.

(Aji, hum to hamesha aise hi rahe hain ! Jab se hosh sambhala hai….aap ne hosh sambhala bhi hai ?…nahin, aapse guftagu jo karne lag gaye na… ok, STOP. None of this nonsense…back to topic. I do not want to be certified mad……………………..I would rather be uncertified. ;-) ).

So there was this movie which was released during the AB days. A mention must be made of this time period because at that time – when AB ruled like a colossus - there was not much space for other movies to exist, let alone leave much of a mark. And I do not recall ATANT actually doing too much at the box-office though I think it was a moderate success. With a hero like Deepak Parashar and a typical love-triangle story, that ATANT did not tank completely has probably a lot to with the then-upcoming actor Raj Babbar. And of course, the songs.

Or rather, one song. Which has three versions to it.

There is the Manhar Udhas version – picturised on Ranjeeta and Raj Babbar.

There is the Hemlata version – picturised on Ranjeeta.

And there is the Mohammad Rafi version picturised on Deepak Parashar (just realized, the name almost sounds like a male version of Deepika Padukone).

Normally I would always go with Rafi as my first choice to listen to – but in this particular case, I cannot help feeling that Manhar’s version is the best of the lot. I know this sounds blasphemous but it is not just the voice, it is the music and the picturisation also that influences me.

I find the Rafi version - the faster version - a louder version too, compared to the Manhar version which is more deliberate, romantic and has the outdoors as an added advantage. Not to say that Rafi saab’s version is not good – it is just that I personally prefer the slower rhythm version.

The Hemlata version - also in slow rhythm - I find decent. There are other Hemlata songs (like in Ankhiyon Ke Jharokhon Se) where she is outstanding – I cannot help feeling that here she does not quite match up to that high standard. But the overall effect, thanks also to the soft music, is still pleasing.

The lyrics all through are excellent though – they are penned by Nida Fazli and the music is by Usha Khanna.

As with most songs that are close to my heart, I can listen to this any number of times. Any of the versions actually – I just love this song so much that the version does not matter.

I am presenting all three versions here for you to enjoy and comment on. Let me know what you think of them.

So just sit back, completely erase the nonsense of this post from your mind (assuming you actually read it) and just enjoy.

The Manhar Udhas version
http://www.youtube.com/watch?v=vjh20uFlzKI

The Hemlata version
http://www.youtube.com/watch?v=gfmWA1QL7t8&NR=1

The Mohammad Rafi version
http://www.youtube.com/watch?v=QntH-Uq9YiY&NR=1