As a precursor to Hansraj Behl's death anniversary on May 20, we pick 5 of his best songs...
With 71 films and over 500 songs, Hansraj Behl was no lightweight but never came to be considered a premier music director of the Hindi film industry. His work over four decades was mostly in B-grade films and his work in Punjabi films also may have worked against him. Despite his diminutive stature, he gained the respect of music lovers as an underrated but accomplished composer. As a precursor to his death anniversary on May 20, here are five of my picks from his repertoire:
Jahan Daal Daal Par Sone Ki Chidiya Karti Hai Basera (Sikandar-E-Azam, 1965)
This Doordarshan staple is probably Hansraj Behl’s best known song, specially for the kids of 80s and 90s. Sikandar-E-Azam was a historical period drama starring Dara Singh as Alexander, Prithviraj Kapoor as Porus and Prem Nath and Prem Chopra in one of their few positive roles as Porus’ sons. Hansraj Behl took Rajendra Krishan’s powerful lyrics and turned them into a patriotic song that has the power to move even cynics. The song is a semi-classical composition, with some long interludes that disrupt the song’s flow but work very well onscreen. One can’t help but notice how Rafi appears to hold himself back and that, to me, adds to song’s impact.
Haye Jiya Roye (Milan, 1958)
This beauty of a song is, for me, Hansraj Behl’s best song. A song that would perhaps have gotten much wider recognition had it featured in a bigger film and on a bigger star than Nalini Jaywant. Haye Jiya Roye, an amalgamation of Raag Darbari and Raag Kafi, uses a tabla, a flute and a sarangi to express the protagonist’s pathos and strings for dramatic effect. The highlight of this song is, of course, the voice of Lata Mangeshkar, who was perhaps at the peak of her career. A nitpick – Hansraj Behl, like many music directors of the time, chose to let Lata Manageshkar sing at a very high pitch in this song. Lata carries of those high notes competently enough but I wonder how it would have sounded at a lower pitch.
Nain Dwar Se Man Mein Who Aake (Saawan, 1959)
This is a two-part song. The first part is a Mukesh, Lata duet notable for its dual tempo and mood. Mukesh’s section on Bharat Bhushan is slow and melancholic while Lata’s section on Ameeta is fast-tempo and upbeat. The transitions back and forth between the two sections are a little abrupt but the overall effect is pitch perfect. The second part of the song is a Lata Mangeshkar solo that echoes Mukesh’s section in the first part. Although short, this Lata solo a lovely listen.
Jab Raat Nahin Katati (Changez Khan, 1957)
This lovely composition is another showcase of Lata Mangeshkar’s formidable range. In terms of instrumentation, Lata’s voice is supported by a strident shehnai and very little else. A solid song and great company for sleepless nights.
Haye Chanda Gaye Pardes (Chakori, 1949)
I love this song for the freshness of Lata Mangeshkar’s voice. This was before or around the time Aayeega Aanewala (Mahal, 1949) transformed her from a thin-voiced newcomer to the much sought-after superstar singer. Hansraj Behl’s mellow tune and Lata’s effortless singing make this an eminently listenable song.
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