This post was initially written some years ago for my friend Atul’s popular blog, atulsongaday.me. This piece is reproduced here with his permission.
I have this blue rexine-clad diary of mine, now thirty-odd years old, which I still preserve. I was into my mid-teens when someone gave me this diary. Not that I wrote in it about the humdrum of small town India of the time, life was too humdrum in the city to write about. There was no TV station, not even a TV relay center in Jamshedpur. The day’s newspaper came in the evening from Calcutta (still Calcutta those days, not Kolkata!) as there was none from our city. No theatre of note, no hobby clubs, nothing whatsoever to engage a teenager those days.
However, there was one source of excitement, the Hindi cinema. Our town had five single screen cinemas (“talkies”, as they were called), three more if one counted the three cinemas on the town’s outskirts. Life revolved around Fridays, the day a new movie would get released. Not that new movies were released in our town the day they were in Bombay or Delhi. (As they would mention in the venerable trade broadsheet weekly, “Screen”, Bombay circuit, Delhi/ Punjab circuit or Nizam circuit (Hyderabad etc.). Never mind if the movie was being screened three months after the Bombay release, Fridays were most looked forward to!
I kept a record in my blue diary all the movies I had seen. Even the name of the cinema and the date.
Another section of the diary also recorded the countdown of songs in Binaca Geet Mala.
1977 was a most interesting year for film buffs like me, that last few months of the year saw the release of two of the best movies I had ever seen, “Amar, Akbar, Anthony”, and “Hum Kisise Kam Nahin”. But the catch was that these movies got released in Jamshedpur close to my 10th standard (ICSE) exams. Using techniques I have discussed in my blog, I managed to see both just before the exams. That I got reasonably good marks is perhaps a testimony to the good feelings these movies suffused me with!
Now coming to the song under discussion. As per my blue diary, I saw “Hum Kisise Kam Nahin” on 14th October 1977.
And what a movie it was! If there ever was a musical, this was one. Some nine songs, and each one of them a gem! From Rafi, to Kishore, to Asha, to RD. And all set to music by the great RD Burman.
Right from the word go when the logo of “Nasir Hussain Films” appeared with shayari in the background:
“Kya ishq ne samjha hai, kya husn ne jaana hai,
Ham khaq-nasheenon ke, thokar mein zamana hai.”
Huge round of applause from the enraptured crowd in the cinema followed, but naturally.
A summary of the story:
Sanjay (young Tariq played by Master Bunty) is (kind of) betrothed to Kaajal (Young Kaajal Kiran played by Baby Rani Bannerji); you should see the movie to know the circumstances. They are very much in love, and as all the 9 year olds in the Hindi cinema of yore, even sang heavy-duty numbers like “Kya hua tera vaada” with appropriate actions for lines like “dil ki tarah se haath miley hain, kaise bhala chhootengey kabhi.”
When Master Sanjay become Mr Sanjay, he realizes that Miss Kaajal has vanished from his life. Throw in Mr Rajesh (Rishi Kapoor) who is in love with Miss Sunita in London (Zeenat Aman in a guest appearance) but she is planned to be married off to Mr Ranjeet by her tyrant father (the great Ajit in a guest role).
Mr Sanjay’s and Miss Kaajal’s paths cross several times but the socio-economic divide between them is too acute for them to even get to know each other‘s pasts. And Mr Rajesh is trying to woo Miss Kaajal for an agenda of his (and a couple of villainous characters, Amjad Khan being one) own. He still pines for Miss Sunita.
The goal for him: a leather belt bulging with diamonds worth Rs 25 crores (in 1977, this was of some value!!)
Note: Please do notice the usage Mr Rajesh, Miss Kaajal etc. Hindi movies somehow do not accept the fact that it is perfectly OK to call someone Mr Singh or Miss Gupta or Mr Verma. A character is always identified by his/ her first name, never the surname lest the mention sully the character with caste implications! When child artistes are named in the credit rolls, they are always Master him and a Baby her.
Never mind the story, this film is bursting with some great songs. Including the ones in the “All India Pop Competition” being conveniently held in Nainital where the entire dramatis personae of the movie is working, holidaying, plotting, romancing. The right guys get the right girls in the end, the right set of diamonds show up with the right claimant. All is well in the end as it ought to be.
The key highlight of the movie is Rafi’s song: “Kya hua tera vaada.”
This is the song which reunites Mr Sanjay and Miss Kaajal in a pub. (We, in the audience, had all lost hope that they would ever meet up.) But Master Sanjay and Baby Kaajal show up in a flashback-like sequence as Tariq sings.
The beauty of the song is that even in the then disco-ized environs of Bollywood, Rafi held his own with this somber number. This fetched him the National Playback Singer of the Year as well as the Filmfare award for the best male singer. Those I think were the last of his National and Filmfare awards. This was some 2-3 years before his demise.
My blue diary records that other songs pipped “Kya hua tera vaada” to the post in the finals of “Binaca Geet Mala 1978”. It was placed at the 3rd position. The number one song of the year was Hemlata’s “Ankhiyon ke Jharokhe sey” from the eponymous film and the number two was Rafi’s own “Aadmi musafir hai” from Apnapan.