{"id":318440,"date":"2023-12-14T13:25:59","date_gmt":"2023-12-14T13:25:59","guid":{"rendered":"https:\/\/popularindinews.com\/?p=318440"},"modified":"2023-12-14T13:25:59","modified_gmt":"2023-12-14T13:25:59","slug":"when-lataji-didnt-sing-for-raj-kapoor","status":"publish","type":"post","link":"https:\/\/popularindinews.com\/tv-movies\/when-lataji-didnt-sing-for-raj-kapoor\/","title":{"rendered":"When Lataji Didn’t Sing For Raj Kapoor"},"content":{"rendered":"
‘Were it not for the voices of Lata Mangeshkar and Mukesh, what would my cinema be?’ Raj Kapoor had once famously said.<\/p>\n
He wasn’t being dramatic.<\/p>\n
From the time he started his career, Lataji<\/em> played a pivotal part in his films.<\/p>\n “Not from the start,” Lataji<\/em> once corrected Subhash K Jha<\/strong>.<\/p>\n “I was not part of his first film (as director<\/em>) Aag<\/em>. The music for Aag<\/em> was by Ram Ganguly. But I sang all 10 songs of Barsaat<\/em>. Woh bhi ek iteffaq thi<\/em> (that too was by chance<\/em>).”<\/p>\n “Ram Ganguly was to do the songs, but then Rajsaab<\/em> suddenly changed his mind and brought Shankar-Jaikishan into the project. Every song in Barsaat<\/em> was a hit and we became a team: Rajsaab<\/em>, Mukesh Bhai<\/em>, Shailendraji<\/em>, Harsrat Jaipuriji<\/em> and me.”<\/p>\n Raj Kapoor and Lataji<\/em> met through composer Anil Biswas.<\/p>\n “I think Anil Biswaji<\/em> told Rajsaab<\/em> about me,” Lata had said.<\/p>\n “He came to one of his recordings with me, heard me out and left quietly. I didn’t think it would be the beginning of a professional bonding that would be so rewarding.”<\/p>\n <\/p>\n After Barsaat<\/em> came Awaara<\/em> in 1951 and Shree 420<\/em> in 1955.<\/p>\n In both, Lataji<\/em> sang some imperishable solos and duets.<\/p>\n Raj Kapoor believed she was the soul of his films and wanted to make Satyam Shivam Sundaram<\/em> with Lataji<\/em> in the lead. Of course, the film he had in mind with Lataji<\/em> was entirely different from what it shaped up to be with Zeenat Aman.<\/p>\n <\/p>\n Satyam Shivam Sundaram<\/em> caused the first major rift between Lataji<\/em> and Rajsaab<\/em>.<\/p>\n He had promised that the songs would be composed by Lataji<\/em>‘s talented brother Hridaynath Mangeshkar. But when she was on a concert tour abroad, she heard that Hridaynath was replaced by Laxmikant-Pyarelal.<\/p>\n To her credit, Lataji<\/em> didn’t hold this against the director for too long.<\/p>\n <\/p>\n A more serious rift between the duo occurred during the recording of the song Ang Lag Jaa Balma<\/em>, in Mera Naam Joker<\/em> when Lataji<\/em> objected to what she thought were vulgar lyrics.<\/p>\n When it flopped, he attributed it to her chilling absence.<\/p>\n So how did he coax her back? Rajsaab<\/em> did a clever thing. He signed Laxmikant-Pyarelal, known to be very close to Lataji<\/em>, for Bobby<\/em> and tasked them to get her to agree to sing.<\/p>\n The trick worked!<\/p>\n “Hamara aur<\/em> Rajsaab<\/em> ka bahot gehra aur toot bandhan tha. Hum bahot ladte the<\/em> (we used to fight a lot<\/em>) but he could make me bend my rules for him. In Sangam<\/em>, I sang Buddha Mil Gaya<\/em> which I wasn’t comfortable with. I didn’t sing for him in Mera Naam Joker<\/em>, but if you listen carefully to some of the musical pieces in Satyam Shivam Sundaram<\/em>, you would hear bits of Mera Naam Joker<\/em>.”<\/p>\n That perhaps was the great film-maker’s token gesture for making up to his muse.<\/p>\n <\/p>\n