Book Review | The Other RK Who Gifted Classics
Music, specifically songs, were the most effective marketing tool in the days of radio where, incidentally Raj Khosla had started his journey
Raj Khosla? “No, I don’t know any RK other than Raj Kapoor.” This was a 20-something I was talking to. So I asked him, “Have you heard the song Bindiya chamkegi?” “Of course I have!” he beamed. “And Jhumka gira re?” “Oh! Who hasn’t?” “And Lag ja galey?” “Yes, and I’ve also loved the ad using this song!” “Naina barse? Aakhon hi aakhon mein? Ye hai Bambai meri jaan?” “All of them!! I’ve even seen the film by that name…”
Unforgettable, all, from CID (1956), Woh Kaun Thi? (1964), Mera Saya (1966), Mera Gaon Mera Desh (1971), Do Raaste (1969), Main Tulsi Tere Aangan Ki (1978). Directed, all, by Raj Khosla (1925-1991). What is more, these films had more songs that generations twice removed from him still hum, remix, jig to. How’s that possible? Because Raj Khosla had imbibed the ragas of Jagannath Bua ‘Gunidas’. Inspired by K.L. Saigal, he’d started in films to be a playback singer. As director had S.D. Burman, O.P. Nayyar, Madan Mohan, and Laxmikant-Pyarelal to score for him.
Small wonder, his is the name behind some of Hindi cinema’s most hummed tunes, most haunting songs, most enduring soundtracks. Raj Khosla: The Authorised Biography by Amborish Roychoudhury, with co-authors Anita Khosla and Uma Khosla Kapur, renders exceptional service to lovers of both, music and cinema, by providing QR codes that take you right into the songs.
Music, specifically songs, were the most effective marketing tool in the days of radio where, incidentally Raj Khosla had started his journey. But RK was more than the sum of his parts. However, the term ‘Biography’ is a misnomer here. For, the author doesn’t dwell on the personal quirks and equations of the filmmaker who cancelled shots and delayed shoots at any pretext. Rather, he focuses on creations of the filmmaker who’s been woefully side-tracked by students of India’s popular cinema.
Attention has always been grabbed by RK’s guru — the enigmatic Guru Dutt who lived and lost all for love. By Dev Anand, who was the steady support for the director in his early years as too in his late life. By his leading ladies — Geeta Bali, Madhubala, Waheeda Rehman, Sadhana, Asha Parekh, Mumtaz — whose characterisation earned him the sobriquet, ‘Women’s Director.’
If we train our attention the Roychoudhury way, we find a director whose versatility took him from thrillers to mystery, from suspense to romance, from family drama to dacoit films. And in each genre he has left viewers with classics.
One interesting bit I garnered from the biography: Raj Khosla deftly wove his life into his films. Here he sang a Saigal-sounding song. There his voice is the announcer on the radio we hear. The joint family in Do Raaste came out of his own experiences. Indeed, the elder brother played by Balraj Sahni, was named Nabendu Ghosh after the screen-writer of RK’s debut film, Milap. Anita, which came after Woh Kaun Thi? was titled after his own daughter. Astoundingly, Main Tulsi Tere Aangan Ki took a leaf out of his married life to model the other woman whose son is raised by the ideal Indian wife, Nutan.
Milap released in 1955, the year I was born. Full 70 summers later people might not remember the director who was as distinctive as he was flawed. But they cannot forget Raj Khosla’s creations. That is some achievement!
Ratnottama Sengupta is a film journalist, festival curator and author. She is a recipient of the National Film Award.
Raj Khosla: The Authorised Biography
By Amborish Roychoudhury, Anita Khosla, Uma Khosla Kapur
Hachette India
pp. 368; Rs 799