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10 masterpieces of Pradeep Kumar

Actor Pradeep Kumar appeared in some great songs in the 1950s and 1960s. To mark his 98th birth anniversary on January 4, we list 10 masterpieces.

Six of these numbers were sung by Mohammed Rafi, whose voice went perfectly with the actor’s persona. Two each were recorded by Hemant Kumar and Mukesh. The list is chronological.

1 Vande Mataram – Anand Math (1952)

Though the version sung by Lata Mangeshkar became more popular, the battlefield song rendered by Hemant Kumar and featuring Pradeep Kumar had its own charm. It was based on the famous poem by Bankim Chandra Chatterjee, with Hemant Kumar creating the tune. This has remained one of the evergreen patriotic anthems.

 

2 Zindagi Pyaar Ki Do Chaar – Anarkali (1953)

Pradeep Kumar played Salim to Bina Rai’s Anarkali in this film set in the Mughal era. While Lata’s ‘Yeh Zindagi Usi Ki Hai’ was a classic, C. Ramchandra composed other great songs, including ‘Zindagi Pyaar Ki Do Chaar Ghadi Hoti Hai’, sung by Hemant Kumar. Lyrics were by Rajendra Krishan.

 

3 Ek Manzil Raahi Do – Sanjog (1961)

Pradeep Kumar and Anita Guha got together on this breezy duet sung by Mukesh and Lata. Music was by Madan Mohan, with Rajendra Krishan writing, “Ek manzil raahi do phir pyaar na kaise ho, phir pyaar na kaise ho; Saath miley jab dil ko phir pyaar na kaise ho”.

4 Aapne Yaad Dilaya – Aarti (1962)

Roshan composed this song in a ghazal style, making good use of sitar. Rafi and Lata sang it, and Pradeep Kumar was paired with Meena Kumari. Majrooh Sultanpuri wrote, “Aapne yaad dilaya toh mujhe yaad aaya, ke mere dil pe pada tha koi gham ka saaya”. The actor also appeared in the Rafi hit ‘Ab Kya Misaal Doon’.

5 Sau Baar Janam Lenge – Ustadon Ke Ustad (1963)

A melancholic song sung by Rafi, this was filmed on Pradeep Kumar and Shakila. Music was by Ravi, who used raag Kaunshi Kanada. Lyricist Asad Bhopali wrote, “Sau baar janam lenge, sau baar janam lenge, ae jaan-e-wafa phir bhi, hum tumse na judaa honge”. 

6 Paaon Choo Lene Do – Taj Mahal (1963)

The film featured Pradeep Kumar as Shahjehan and Bina Rai as Mumtaz Mahal. Roshan composed the gems ‘Jo Vaada Kiya Woh’ and ‘Jo Baat Tujh Mein Hai’. Another beauty was ‘Paaon Choo Lene Do’, sung by Rafi and Lata. Sahir Ludhianvi wrote the lyrics, ‘Paaon choo lene do phoolon ko inaayat hogi, inaayat hogi; warna humko nahin inko bhi shikaayat hogi, shikaayat hogi”.

7 Man Re Tu Kaahe Na Dheer Dhare – Chitralekha (1964)

The combination of Roshan and Sahir worked wonders again, with Rafi proving perfect for Pradeep Kumar. The philosophical words were, “Man re tu kaahe na dheer dhare, voh nirmohi, moh na jaane, jinka moh kare”. The composition was in raag Yaman.

8 Dil Jo Na Keh Saka – Bheegi Raat (1965)

This one has been used in many Rafi sad song collections. Pradeep Kumar was on screen with Meena Kumari and Ashok Kumar. Roshan composed the music, and Majrooh began with, “Dil jo na keh saka, wohi raaz-e-dil, kehne ki raat aayi”. The female version was sung by Lata.

 

9 Hum Intezaar Karenge – Bahu Begum (1967)

This song was also in two versions – a Rafi solo and a Asha-Rafi duet. This was one of Sahir’s best songs on the subject of longing, as he wrote, “Hum imtezaar karenge, hum intezaar karenge tera qayamat tak, khuda kare ke qayamat ho aur tu aaye”. Roshan composed once again, and Pradeep Kumar was paired opposite Meena Kumari.

 

10 Raat Aur Din – Raat Aur Din (1967)

Mukesh lent voice to Pradeep Kumar in this classic composed by Shankar-Jaikishan. The female version was sung by Lata for Nargis. Hasrat Jaipuri’s words were, “Raat aur din diya jaley, mere man mein phir bhi andhiyara hai, jaane kahaan hai woh saathi, tu jo miley jeevan ujiyaara hai”.

 

Some interesting statistics. One is that four of these songs were recorded in two versions. The other is that five of them were composed by Roshan. Their ‘combination’ in Taj Mahal was probably the most memorable of the lot.

Narendra Kusnur
Narendra Kusnur is one of India’s best known music journalists. Born with a musical spoon, so to speak, Naren, who dubs himself Kaansen, is a late bloomer in music criticism. He was (is!) an aficionado first, and then strayed into writing on music. But in the last two decades, he has made up for most of what he didn’t do earlier.

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