Magical RD and his Background Scores: A musical tale!
- In LifeStyle & Sports
- 03:18 AM, Sep 24, 2015
- Shwetank Bhushan
The lovers of Hindi film music have been entertained over the years by music director RD Burman's songs, popularly known as Pancham Da. His repository of music didn't end only with songs, but they extended beyond and ornamented the background scores as well. A little-known fact that many have found convenient to push under the carpet, some never even thought about the impact of background scores on visuals.
The concept of songs in a movie is peculiar in our part of the world. Though songs do not add character to the cinema and, as per classical definitions, distract from the cinematic expression, unless of course one is talking of a musical, we love it. Having said that, one cannot deny that, it is the quality of the background music or the absence of it that underlines the character of the film, rather than the songs.
Who can forget the memorable Banshee wails as the background score in Sholay? Pancham Da brought several innovations to background music in Hindi movies. I suggest you to set your earphone right before you proceed further.
Father Sachin Dev Burman sent him to learn Sarod under Ustad Ali Akbar Khan, and he also learned to play Tabla from Brajen Biswas. Though Pancham Da could play many musical instruments, the Harmonica (mouth organ) was closest to his heart. The song "Hai Apna Dil To Awara" most suitably exhibits his harmonica skills. Pancham da's reputation with the harmonica was such that even other composers sought him out to play for their songs. As he played it for Laxmikant–Pyarelel's 'Janewalo Zara Mud Ke Dekho Mujhe' in 'Dosti' (1964).
Under the guidance S. D. Burman, Pancham Da also played the harmonica as background score for 'Solva Saal' (1958) and Kishore Kumar's 'Door Gagan Ki Chhaon Mein' (1964). The harmonica and the passion for background scores somehow stuck with him. Watch this to understand how background scores create the impact on the visuals. (90 Secs)
RD had many musical super hits like Teesri Manzil, Kati Patang, Amar Prem, Karvan, Hare Rama Hare Krishna, Yadon Ki Barat, Aandhi, Masoom and 1942 A Love Story to his name. Only he could pull off the childish innocence of Love Story, the gravitas of Amar Prem and the supremely confident pop rhythms of Yadon Ki Barat.
RD was supremely proficient at scoring in every idiom and his range was from Kishore-Manna De-Mehmood's 'Ek Chatur Naar Kar Ke Singar' (Padosan) to Gulzar and Asha's 'Mera Kuchh Saaman Tumhare Paas Pada Hai' (Ijaazat). But since he was a pace-setter, a trend setter in the 70s and the 80s, he was possibly the first one to compose signature Bond-style title tracks of Shaan, Shalimar, Deewar, The Burning Train and many more.
Once Rahul Rawail asked RD, who did several films together, to make a unique background score for the opening scene of 'Betaab'. It was a big Bollywood occasion, as for the first time (other than a Kapoor) a mega star's son was being launched. RD created a memorable signature tune, in which a handsome, masculine man riding a horse through the jungle appeared on the screen. In a typical Bollywood-style; it was a declaration, Dharmendra's elder son Sunny Deol had arrived. Total Filmi. (65 Secs)
If you recall Satte Pe Satta, it was an utterly light, hilarious at times, easy going regular Amitabh Bachchan flick. But in the opening scene when the audience first sees Babu (a second role played by Mr. Bachchan himself), a grey-haired, blued eyed hardcore criminal, as he comes out of jail for another mission, the background score creates a furor. (Watch: 60 Secs)
RD engineered sound in his compositions like no other music director. He often used to incorporate sounds from our real life incidents rather than creating through a digital medium. RD took inspiration from roadside sounds and included it in his music. He believed that anything that synthesizes with any form of sound and if used appropriately can produce an appealing musical note. Pancham da often used bamboo sticks, cups, glass bottles and other utensils to create the background scores.
RD was someone who understood how to bring alive the fear and desperation in that iconic chase sequence through a sea of umbrellas for the 1985 Sunny Deol starred 'Arjun'. Contrastingly, in an incredibly romantic flick 'Sagar', he created a tune with the help of jingles, whistle and splash of the sea. Listen to this background music that epitomized the sensuous Dimple Kapadia sizzled every time she appeared on the screen. (50 Secs)
Pancham da also worked for 'Ali Baba Aur Chalis Chor', which was one of its kind of a movie. One can forget the whole movie except the magic of the famous eerie background score for the 'Khulja Sim-Sim' section. It was created by recording the sound produced by dropping stones, pebbles and assorted utensils from a height, mixing the same and then playing the mixed sound in reverse. These have become standard software products now.
Ramesh Sippy's Shakti was an outstanding film and very special to me in more ways than one. I only heard about the legendary Dilip Kumar from my dad's mouth, and I would wonder how come anyone be a better actor than Amitabh Bachchan? It was the face-off between the father and son, on the screen and at home. In fact, I was too young to understand the strained father-son relationship and its intricacies. But I confess that my instincts were rooted for Mr. Bachchan. It was a cult to the core film and once more the intensity of the characters was brought by the background score of RD. No need of mentioning the magical performances of both Dilip Kumar and Amitabh Bachchan. RD just made the movie unforgettable with his background score. Listen to this and it will remind every confrontation in a flash. (45 Secs)
Many considered that much of RD's early work were inspired by foreign composers, yet he remained unique and inspirational influence to the younger array of music directors. They too started to use new instruments and modernize the recording technology.
RD was by far the stand-out talent, at all times innovative and at all times experimenting. RD's insights into Western notation, his hold on electronics, gave him a rare edge. RD's influence extended to his peers' music as well. There is a story that RD helped improvise Kalyanji-Anandji composed legendary song 'Ye Mera Dil' (DON). Some say the duo was inspired by RD, some call it total rubbish. I am not sure yet sharing the part, we are talking about, and it has that RD flavor. (23 Secs)
When it comes to background music, one film that stands head and shoulders above all other Indian movies was SHOLAY. The film of the millennium had the greatest star cast ever assembled, the greatest story ever told, at least the way it was told. It also had many influences from the past including the tossing of the coin to one's advantage, but what about the music?
Sholay's background music was central to the film's narrative core, its fifth dimension along with superb story-telling, fitting star cast, their mind-blowing performances and the enormity of the canvas. Just listening to this theme music, rare instances where a film could be identified with just the opening chords of a guitar. One can easily claim the reverse that because Sholay was such a phenomenon, the tune is recognized. This too, cannot be challenged.
In fact, what the audience might have expected considering it an action movie, and what was heard during the entire 188 minutes, however, was palpably different. Remember the scene in which Thakur's family was wiped off by Gabbar and his goons one by one, shot by shot? The only sounds heard are gunshots, hooves of horse slowly trotting down the hill and the elaborate creaking of a lawn swing. The scene was not about action but the sheer terror that was profoundly created by the genius of Pancham da.
There are hundreds of such scenes in Sholay that can be elaborately described. But restricting myself to background score, cannot close without talking about my favorite scene. During the night when the village is asleep, a man (a wandering thief) sitting far on the steps of Thakur's courtyard, shares his solitude with his mouth-organ. A young widow (once a vibrant girl whose dreams were shattered one afternoon) turns off the kerosene lamps on the balcony, one by one.
The uncluttered, uncomplicated strains of the harmonica weave a bond between the two characters, a relationship, I have no words to describe, but we all witnessed.
You must have noticed by now that I am a huge fan of Amitabh Bachchan, and all those cult scenes are fresh in my mind. But when I recall them, it comes along with the background score. That is the power of music and the brilliance of RD that he had become part of our vintage mindset without us being aware of it.
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