LATA MANGESHKAR .. Chand Madham Hai Aasman Chup Hai .. Madhubala
"She is waiting and longing for her beloved on a dim moonlit night when everything is asleep. She is looking over the white clouds caressing the mountains in the far-away valley. She is requesting her Love to come back while she is young and passionate. She is waiting him anxiously all night till the twilight of the dawn appears".
Such songs are divine and are created in the heavens. The mesmerising composition by Madan Mohan, the magic of Sahir Ludhianvi's poetry, narrating deep angst, solitude and futile desire to meet her beloved, and sarswati Lata ji describing the agony, despair and anguish so beautifully in her miraculous and gripping voice, to make it one of the finest creations of Hindi songs of Bollywood for movie Railway Platform.
DAILYMOTION
YOUTUBE
THE LYRICS WITH POSSIBLE TRANSLATION ARE:
چا ند مدھم ھے آسما ں چپ ھے
chaand maddham hai aasmaaN chup hai !
(The moon is dim and sky is calm
نیند کی گود میں جہاں چپ ھے
neend ki goad mein jahaaN chup hai
(In the lap of slumber, the whole world is drowsed)
چا ند مدھم ھے آسما ں چپ ھے
chaand maddham hai aasmaaN chup hai !
دور وادی میں دودھیا بادل
duur vaadi meiN duudhiya baadal
(The white clouds, in the far-away valley,
چھپ کے پربت کو پیار کرتے ھیں
Shhup ke parbat ko pyaar karate haiN !
cuddle with the mountain in hiding)
cuddle with the mountain in hiding)
دل میں ناکام حسرتیں لیکر
dil mein naakaam hasarateiN lekar
(with futile desires in my heart,
ھم تیرا انتظار کرتے ھیں
ham tera intezaar karate hain
I am waiting for you all night)
چا ند مدھم ھے آسما ں چپ ھے
chaand maddham hai aasmaaN chup hai!
ان بہاروں کے سائے میں آ جا
in bahaaroN ke saaye meiN aaja
(Please come while I am under the shadows of infatuation
پھر محبت جواں رہے نا رہے
phir mohabbat javaan rahe na rahe
who knows, my love remains as youthful or not)
زندگی تیرے نامرادوں پر
zindagi tere na-muradooN par
(The life, on a distraught person like me,
کل تلک مہرباں رہے نا رہے
kal talak mehrbaaN rahe na rahe
may not be kind tomorrow)
چا ند مدھم ھے آسما ں چپ ھے
chaand maddham hai aasmaan chup hai
روز کی طرح آج بھی تارے
roz ki tarah aaj bhi taarey
(Like every day, the stars
(Like every day, the stars
صبح کی گرد میں نا کھو جائیں
subah ki gard meiN na kho jaayeiN
may not disappear in the twilight of the dawn)
آ تیرے غم میں جاگتی آنکھیں
aa terey gham mein jaagati aankheiN
(Please come, so that my sleepless eyes which are awake anguished for you,
کم سے کم ایک رات سو جائیں
kam se kam ek raat so jaayeiN!
may sleep at least for a night)
چا ند مدھم ھے آسما ں چپ ھے
chaand maddham hai aasmaan chup hai
चांद मद्धम है आसमां चुप है नींद की गोद में जहां चुप है दुर वादी में दूधिया बादल झुक के पर्वत को प्यार करते हैं दिल में नाकाम हसरतें लेकर हम तेरा इंतजार करते हैं इन बहारों के सायें में आ जा फिर मोहब्बत जवां रहे ना रहे ज़िंदगी तेरे नामुरादों पर कल तलक़ मेहरबां रहे ना रहे रोज कि तरह आज भी तारे सुबह कि गर्द में ना खो जाएं आ तेरे ग़म में जागती आंख़ें कम से कम एक रात सो जाएं चांद मद्धम है आसमां चुप है नींद की गोद में जहां चुप है
Born on June 25, 1924, at Baghdad, where father Rai Bahadur Chunilal was working as an Accountant General with the Iraqi Police, Madan spent the first five years of his life in the Middle East. They moved to home town, Chakwal in Jhelum district of Punjab, now in Pakistan.
In 1945, with the end of World War II, Madan Mohan resigned from the Army and joined All India Radio, Lucknow as a programme assistant.
He began working in Bollywood as an assistant to music director to S.D. Burman in the film Do Bhai. He also assisted composer Shyam Sunder, in the films Actress and Nirdosh, and spent a lot of time in his company.
Madan's first recorded song for a film was Preet Lagaa Ke Maine Ye Phal Paayaa in Ankhen (1950), sung by Mukesh.The film was a success. In Madhosh, he composed a famous song Meiree Yaad Mein Tum Na. Soon after, Madan Mohan composed music for Aashiana (1952) which shoot him to the top of the ladder. He considered this film to be among his bests, for the magical quality of its tunes - particularly, the song of Talat - Main Paagal Mera Manavaa Paagal, Bhai Bhai (1956), was a big success.
In 1957, Madan composed the music for Dekh Kabira Roya. The music was a smash hit. Songs like Hamse Aaya Na Gayaa, Kaun Aayaa Mere Man Ke Dwaare, Meiree Veena Tum Bin Roye became chartbusters of the year. Slowly but surely, Madan started shaping his musical style which become famous as Madan Mohan style in the following years.
The famous "Madan Mohan style" was established in the true sense with Adalat (1958) when he composed some outstanding melodies - Jaanaa Tha Hamse Door, Yoon Hasaraton Ke Daagh, Unko Ye shikaayat Hai, Jaa Ja Re Jaa Saajanaa, Zameen Se Hamein Aasmaan Par... so many great melodies in one movie. This was the movie which made Madan Mohan the uncrowned king of ghazals.
With Sanjog, Madan Mohan changed his orchestration style dramatically. It was more refined, more melodious and with a unique musical arrangement. Anpadh (1962), Manmauji (1962), Aap Ki Parchhaiyan (1964) and Ghazal (1964) witnessed this transformation of his musical style. This new style of Madan Mohan was more soulful and widely followed in the industry. Other composers of the day now started getting influenced by him.
The year, 1964 witnessed eight releases in a row having Madan Mohan's compositions, including Aap Ki Parchhaiyan (a love story), Ghazal (a musical), Haqeeqat (war film), Jahanara (costume drama), Pooja Ke Phool (family drama), Suhagan (social theme) and Woh Kaun Thi? (mystery). Madan Mohan handled each subject gracefully and came out with many all-time hits for these films. The last mentioned actually became a trendsetter for haunting melodies. The tune of Naina Barse Rimjhim Rimjhim from Woh Kaun Thi?, had originated in Madan Mohan's mind some 12 years earlier. For want of a fitting lyric and effective film situation, he had put it on the back burner for so long. His decision to fit it in this film highlighted his understanding of song situations.
In the year 1970, Madan Mohan's film Dastak was released. It was like a musical art movie giving full scope to the composer to showcase his talent. The songs Baiyaan Naa Dharo, Mai Ri Main Kaase Kahoon and Ham Hain Mataay-e-Kuchao fetched him the National Award for best music direction for that year. This was the first time that Madan Mohan's contribution got recognition at the national level. Till then, as far as awards were concerned, he was totally neglected by the film fraternity as well as the Government of India.
The song was Tum Jo Mil Gaye Ho, rendered very effectively by Mohammed Rafi for the movie Hanste Zakhm (1973) was yet another example of novelty.
His favourite lyricists were Raja Mehndi Ali Khan, Rajendra Krishan, and Kaifi Azmi. Majrooh Sultanpuri and Sahir Ludhianvi also wrote for him for a few films.
The King of Melodies, who was at the peak of his popularity, died in 1975, at the age of 51, from cirrhosis of the liver. Ironically, two films released soon afterwards - Mausam (1975) and Laila Majnu (1975) became resounding musical successes.
However, three decades later, The film Veer-Zaara (2004), paid a fitting tribute for a composer - the director, Yash Chopra, took some of his unused compositions and used them in the film. The spectacular success of Veer-Zaara (2004), especially its soundtrack (with a 75-year-old Lata Mangeshkar still as melodious as ever), established Madan Mohan as one of the elite composers of all time...
Death is the end of life, but in the case of Madan Mohan it cannot be so. Madan lives in our hearts and will continue to entertain us for all time to come.
Poets like Sahir were responsible for elevating the status of the lyricist in the film industry; he would work only with music directors who could do justice to his lyrics, like Madan Madam, Khayyam, S D Burman and Roshan. Even today, Sahir's poetry is considered the gold standard for lyrics.
Death is the end of life, but in the case of Madan Mohan it cannot be so. Madan lives in our hearts and will continue to entertain us for all time to come.
Poets like Sahir were responsible for elevating the status of the lyricist in the film industry; he would work only with music directors who could do justice to his lyrics, like Madan Madam, Khayyam, S D Burman and Roshan. Even today, Sahir's poetry is considered the gold standard for lyrics.
An informative and beautiful blog. Congrats!
ReplyDeleteMurad Khan, Lyallpur
Dear Murad sahib, I feel privileged and proud for your nice comments. I REALLY feel honored with your kind comments and complements appreciating my efforts. Such nice comments provide me inspiration and strength to compile videos with more confidence.
DeleteBest regards
MUKHTAR
LYALLPUR
I think the actress who sang “Chand madham hai aasmaan chup hai” on the silver screen for the film ‘Railway Platform’ is Nalini Jaywant not Madhubala.
ReplyDelete