Considering some of you might not understand the reason for all the fuss and excitement, I ought to back up and provide some context.
I must admit that till fairly recently, I’d never been a huge fan of 1930s Hindi film music. My first brush with the decade was when I watched Main ban ki chidiya bankeas a teenager—it was showing on Chitrahaar—and was in splits because it was so funny. Ashok Kumar was so awkward, the singing was so nasal, the entire song was so far removed from what I liked (the songs of the 50s and 60s), that I couldn’t bring myself to regard the song with anything but mirth.
I still know very little about the songs of the 30s, and would be hard put to it to name even ten songs from the decade. But if asked to name just one song from the decade, the song that I would name without even stopping to think would be the utterly brilliant Baabul mora naihar chhooto (I actually went out on a limb and named this song as my pick for the 30s in this article I wrote to commemorate hundred years of Indian cinema).
When I was reading Balaji Vitthal and Anirudha Bhattacharjee’s The Prince Musician, I came across a mention of this film, which I had never heard of. But the songs listed as being part of Sitaaron Se Aage were familiar to me, and both leads—Ashok Kumar and Vyjyanthimala—are among my favourites. Recently, reading HQ Chowdhury’s Incomparable Sachin Dev Burman, I was reminded again of Sitaaron Se Aage, and decided it was high time I watched it.
And what a showcase of SD Burman’s music this film is—right from the start. It begins with Sambhalke yeh duniya hai nagar hoshiyaaron ka, with Lattu (Johnny Walker) and his cronies, the pickpockets Bajjarbattu and Nikhattu, going about relieving passersby of their belongings. The three end up outside a theatre, where the superstar actor Rajesh (Ashok Kumar) has just completed yet another highly-acclaimed performance.
As frequent visitors to this blog would know by now, one of my weaknesses is good music—and there have been, over the years, dozens of films that I’ve watched primarily because they had good scores. In some instances, just one song that I really liked. More often than not, my luck’s been pretty shoddy and I’ve ended up sitting through frightful films like Akashdeep, Saaranga, and Akeli Mat Jaiyo.
With Waaris, which I watched mostly because of Raahi matwaale, I had hopes [cautious, considering my track record, but hopes nevertheless]. It stars Suraiya and Talat Mahmood, both favourites of mine, and it was produced by Sohrab Modi, who even if (when acting) had a penchant for ‘declaiming to the skies’, did make some good films.