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Other Reviews AFSAR (1950) PREM PUJARI (1970)
See Also Burmanda's Gems GUIDE - Piya tose Naina laage re AFSAR - Naina Deewane, ik nahin maane HOUSE NO 44 - Phaili hui Hain Sapno ki Baahen |
P rem Pujari is best remembered as the film that bore the mantle of being Dev Anand's directorial debut. While the film itself is sadly forgotten as a sincere attempt gone wrong, the music in true Navketan mould is unforgettable. This soundtrack, a turn of the decade offering from the Burman Baton, dresses vintage charm in a modern 70s garb. After taking the nation by storm with Aradhana a year earlier, Dada Burman proved that the early 70s were indeed a renaissance period for his music. Without losing his strong melodic base he managed to keep his compositions in tune with the changing times. The soundtrack of Prem Pujari is a mixed bag, with some immortal, some good but lesser heard and other average songs. This film is one of those late 60s-early 70s fares which would take the viewer for a whirlwind tour of the world. The sweep of the foriegn locales in the film is reflected with the same grandeur in the music. Keeping with the needs of the subject Dada moulds his music to reflect the western setting of the film without losing sight of the Indian base. The pick of the lot is undoubtedly Phoolon ke rang se. Rendered with characteristic tenderness by Kishore Kumar, this Neeraj-penned beauty finds a permanent place in the all time greats of Hindi Film Music. The song has a minimal yet evolved orchestration. Sweeping violins with creatively interspersed santoor and brass pieces give the song a soft romantic feel. Following close on the heels of Phoolon ke rang se is the Lata stunner Rangeela Re. This song has an unusual beat for a sad song. But then it's a sad song with a difference.... It's a sad song, dance song and drunk song all rolled into one! Lata's delightful Hey Rangeela.. is a very 'colourful' start to a song that is essentially a lament. All in all it is a multi-hued song in terms of singing, orchestration and also emotional content. Surely the creme-la-creme of the Lata-SDB oeuvre. Burmanda is in his comfort zone with the Kishore-Lata duet Shokhiyon mein ghola jaaye. This is a sweet and lilting tune with pleasing lyrics in the trademark SDB style. Kishore is vibrant and Lata sweet as honey. They both manage to summon a great deal of warmth making this song very enjoyable. Burmanda had a series of such duets in the 70s Apne hoton ki bansi (Gambler) and Gori Gori Gaon ki (Yeh Gulistan Hamara), Aaj Madhosh hua jaaye re (Sharmilee) to name a few. Prem Pujari also boasts of a rare patriotic song
from the Burman stable. Taqat watan ki humse hai is a
refreshing, off-beat song that never fails to pump up the adrelin. Set to a
robust marching tune and some great whistling, the song is sung spiritedly by a
chorus. Incidentally, this chorus is provided by artists no less than Mohd Rafi
and Manna Dey! It is a marathon of a song that appears at different
points in the film. Neeraj revels in penning a series of inspiring stanzas.
From this point onwards, the sheen of the track
starts diminishing a just a little. Doongi Tenu Reshmi roomal
is a folk number that tries very hard to get the Punjabi flavour both in the
lyrics and music but somehow falls short on both counts. Lata sounds out of
place with so much exuberance. Also the constant high pitch of the song does
not do much justice to her vocals. An Asha, Geeta or Shamshad Begum would
have been a better choice. The song however does have a foot-tapping rhythm and
some interesting dhol pieces that make it good for occasional hearings.
Yaaron neelam karo susti is
a peppy masti number by Bhupendra and Kishore Kumar. The orchestra accompanies
the singing with abandon. Kishore Kumar clearly outsings Bhupendra here. The
song is foot-tapping and spirited but in the larger scheme of things, does
not manage to rise over being a mere footnote in the soundtrack.
Finally we reach the title song of the film in the
voice of the maestro himself. Prem ke Pujari is a
slightly off-the track SD Burman song. It does not have the typical
Bhatiyali(manjhi songs) flavour that we normally associate with Dada's voice.
Dada also does not indulge in the vocal calisthenics of the Kahe ko roye
type. He sings Prem ke Pujari with uncharacteristic calm
. There is a strange magnetism in SDB's voice that carries the mysticism
of the mountains. It's like a serene, primordial sound wafting out from
deep within the bowels of those monasteries nestled high up in the
Himalayas. The accompanying music uses voilins, strings and pahadi folk
instruments to complete the effect.
Lyrically, this film is a contender
for Neeraj's all time greatest work for Hindi cinema. The poet is in
full form as he pens flowery and romantic verses for Phoolon ke
rang se and Shokhiyon mein ghola jaaye. He
brings an unusual vibrance to Rangeela Re, his acid test song with
Burmanda and inspires chest-thumping patriotism with Taqat watan ki.
All in all Prem Pujari is one of the landmark
soundtracks from Dada's autumn years. It easily finds a place in the top 20
soundtracks of the decade and is a collectible track even if it is just for Phoolon
ke rang se and Rangeela Re.
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