Musical-e-Azam

BY NARENDRA KUSNUR

Notes on the music of Mughal-e-Azam, the film and the play

On huge public demand, the run of Feroz Abbas Khan's musical play Mughal-e-Azam at Bandra's Bal Gandharva Rang Mandir has been extended by five shows from November 4 to 6, with more announced for November 12, 13, 19 and 20. I caught the premiere of this season on October 20. Since then, the shows have had two sets of actors for some roles, with Nissar Khan playing Mughal Emperor Akbar in both. The one I attended had Dhanveer Singh as Salim and Priyanka Barve as Anarkali.

Much has been written about the performances, chaste Urdu dialogues, sets, choreography, Manish Malhotra's costumes and the overall scale and grandeur of the play. Here, I shall focus only on the music. This too has two aspects. One was that the play used songs from the original 1960 film, composed by the legendary Naushad and written by Shakeel Badayuni. The other was the background music for this play by Piyush Kanojia.

The latter was very tastefully done, fitting the mood and situations, and also in sync with the theatrical experience the audience was expecting. From dramatic high-volume parts to the melancholic portions to the use of silence, Piyush was perfect. Sound design was by Richard Nowell and programming by Atul Raninga.

That takes us to Naushad's music. In the original film, Anarkali's songs were sung by Lata Mangeshkar, and it was appropriate that an earlier recorded message by the Nightingale was played at the start. Here, her songs were rendered live by Priyanka (or by Neha Sargam, who played Anarkali in the other shows) against a pre-recorded orchestral and choral score.

Without much debate, many old music followers will agree that the Mughal-e-Azam soundtrack is among the top from Naushad's vast repertoire of work. The comparison will always be with Baiju Bawra, also a period film and released eight years earlier. It would be unfair and unrealistic to compare the two, and judgement will be based on individual taste and choice. From his filmography, some may also put Mother India in a similar bracket.

In the album released by Saregama HMV on the streaming platforms, 15 songs of Mughal-e-Azam are available. Because of time constraints and adaptation of the script, only the main ones were used in Feroz Abbas Khan's stage adaptation. Two new songs were added too, including the 'Salim Chisti' number recorded by Mujtaba Naza.

The film, and the play presented by Shapoorji Pallonji, are about the love between Prince Salim and lowly courtesan Anarkali, and the resistance of the former's father Emperor Akbar. In the film, Dilip Kumar and Madhubala played the lovers, and Prithviraj Kapoor the King.

The songs thus use subjects like love, pathos and rejection, besides situational subjects. And like Baiju Bawra, Naushad made intense use of Hindustani classical raags, though his use of western string arrangements was more prominent in the latter. To begin with, Lata's 'Pyaar Kiya Toh Darna Kya', where Naushad was inspired by a folk song, was set in raag Durga.

The song was set in the Emperor's court, and for the play, a brilliantly choreographed Kathak dance sequence was used, with Anarkali singing, "Pyaar kiya toh darna kya, jab pyaar kiya toh darna kya, pyaar kiya koi chori nahin ki, chhup chhup aahe bharna kya". The song started with a brief intro, showcasing the genius of Shakeel. It went: "Insaan kisise duniya mein ek baar mohabbat karta hai, is dard ko lekar jeeta hai, is dard ko lekar marta hai". Even today, the song strikes a chord among those in love, specially if they are facing resistance.

Choreography for the play was done by Mayuri Upadhya, and another highlight was 'Teri Mehfil Mein Aazmakar Hum Bhi Dekhenge', featuring Anarkali and Bahaar (Rupsha Mukherjee), who is an ardent and envious admirer of Salim. The film version, sung by Lata and Shamshad Begum, used qawwali-styled passages and choruses, and marvellous rhythms.

Naushad had used raag Gara in 'Mohe Panghat Pe', set in the Janmasthami period, Darbari Kanhada in the sad lament of 'Mohabbat Ki Jhooti Kahaani Pe Roye' and Kedar in the chaste 'Bekas Pe Karam Keejiye', said to be among the pinnacles of Lata's Urdu recitals.

The lyrics of Shakeel added to the impact. Check 'Mohabbat Ki Jhoothi', for instance. The opening lines were "Mohabbat ki jhoothi kahaani pe roye, kahaani pe roye; badi chot khaayee, jawaani pe roye, jawaani pe roye". He continued, "Na socha na samjha, na dekha na bhaala, teri arzoo ne hamein maar daala, teri pyaar ki meherbaani pe roye, roye". The expression of pathos was immaculate the effect was heightened on stage, with the light zooming on Priyanka.

Though the Mughal-e-Azam film soundtrack was dominated by Lata's voice, there was also a brilliant contribution by Rafi in 'Aye Mohabbat Zindabad' and classical legend Bade Ghulam Ali Khan on two songs. Legend has it that director K. Asif was hellbent on using Khan's voice and the singer was just not keen on singing in films. To fob off the director, Khan quoted a ridiculous price, but was granted that, and had no option. In the play, the Rafi song was modified, and the classical vocalist's songs weren't used.

Watching the play from one of the rear parts of the auditorium, one could sense the response of the audience to the music. There were those who knew each song, and felt like humming along, probably not doing so as they would disturb others. There were those too who were clueless about the songs or the depth behind them, watching in admiration of the costumes and the lavishness. There may have been a few who went home and tried to find more about the film's music through their streaming apps.

Now that the play has returned, one would expect more re-runs in other cities. One would be happy if efforts are made to promote the soundtrack as something one could individually appreciate. Here, the record label may have to renew its marketing effort. In the history of Hindi film music, Mughal-e-Azam has a special place, and it's only appropriate that the younger generation appreciate its true worth.