Movie Name : Hum Dil De Chuke Sanam
Singer : Kay Kay, Dominique and Chorus
Music Director : Ismail Darbar
Year: 1999
The Hindi film song has often been the bane of the elite film critic, so much so that ‘artful’ directors make it a scoring point to highlight that their film boasts of no songs. The critic and the director may have a valid point if one were to look at the propensity of the small town middle class hero/heroine to visit exotic foreign locales to profess their love; with 50 dancers in tow. But to put the blame on the song, rather than its errant practitioner would be a classic case of throwing the baby with the bath water. For the film song, if enacted with purpose and sincerity towards the art, can be a potent tool in depicting the intricacies of a situation and the underlying emotions, making the audience relate completely to the drama unfolding on the screen. Midway through Hum Dil De Chuke Sanam, Sanjay Leela Bhansali comes up with the classic song situation; the tragedy of a lover who is forced to make a choice between his values and his love. The Italian Samir (Salman Khan) comes to the Rajasthani musical gharana of Darbar (Vikram Gokhale) to learn music and falls in love with the family beauty and Darbar’s daughter Nandini (Aishwarya Rai). But the Rajasthani ‘maryada’ can not sanction such an alliance and Darbar asks for a heart breaking ‘guru dakshina’; Samir will have to leave Nandini and return back to Italy. Nandini is heart broken, Samir is devastated, but a true ‘shishya’ can never forsake the dakshina and Samir leaves the household, knowing well that he has lost Nandini forever. Desolate and lonely in the scorching desert, a ruined Samir can not comprehend the wicked blow that fate has suddenly dealt him; and therein lays the impact of ‘Tadap Tadap ke’. In simple direct style it captures the infinite pain of a man who simply is not able to apportion any reason for his state of misery. It has an intensity that matches the pain of its lead character. ‘Tadap Tadap ke,’ is the quintessential film song, perfect in its timing, lasting in its impact. Hum Dil De Chuke Sanam was the debut movie of Ismail Darbar and he delivers a fantastic score with a superb blend of folk [Kaipoche, Dholi taro, …], classical [Albela sajan aayo] and regular [Ankhonki gustakhiya, Jhonka hawa ka aaj bhi…]. The success of the score lies in the fact that all of its 10 songs have a distinct individual feel and are seamlessly integrated into the narrative, a fair credit for which should also go to Sanjay Bhansali. Ismail Darbar and Mehboob’s personal story is what typical Bollywood film folk fairytales are made of. One a spoilt brat who left his Surat home at the age of fourteen to pursue his dream of playing violin in Mumbai, another a youngster grown on classical Urdu poetry after being forced to leave an English Convent school for a Urdu one by his stringent father. Ismail and Mehboob got introduced to each other through mutual friends and spent hours making music at Mehboob’s fish and fowl shop at Bandra. The result was a databank of songs which proved its purpose when Sanjay Leela Bhansali, at the insistence of a friend asked Ismail to come up with songs for two complex situations for his forthcoming film Hum Dil De Chuke Sanam. The results fascinated Sanjay and two more strugglers in the industry found their salvation. ‘Tadap Tadap ke,’ has a searing intensity to it and Sanjay Leela Bhansali further accentuates it by using it at the dramatic high points of his story. What can be more tragic than having lost your lover once? Finding her and losing her again. Samir returns to Italy and becomes a musician and Nandini marries Vanraj (Ajay Devgan) under family pressure. But when the gallant Vanraj comes to know about his wife’s past love, he takes her to Italy to reunite the estranged lovers. After an elaborate search Samir is found, but in the process Nandini also finds the meaning of love and her own sense of duty towards a relationship. Samir and Nandini meet, but they realize that Nandini has traveled too far to return. Samir ‘excuses’ her ‘only for this one life’; for the next six he wants her completely for himself. And as Nandini rushes back to Vanraj and conjugal love, a heart broken Samir cries like a small boy who has lost his favorite toy. His plea to God is heart rending: Agar Mile Khuda To Poochhoonga Khudaya Jism Mujhe Deke Mitti Ka Sheeshay Sa Dil Kyon Banaya Aur Us Pe Diya Fitrat Ke Woh Karta Hai Mohabbat Wah Re Wah Teri Kudrat Wah Re Wah Teri Kudrat Us Pe De Diya Kismat Kabhi Hai Milan Kabhi Furqat Kabhi Hai Milan Kabhi Furqat Hai Yehi Kya Vo Mohabbat Wah Re Wah Teri Kudrat [Fitrat – tendency, nature; Furqat – separation] ‘Tadap Tadap ke,’ typifies the power of the film song; the unforgettable impact created when the tune, the lyrics, the rendition and the settings are in perfect harmony to the situation. It is the reason why the film song will never go out of fashion. Bejaan Dil Ko Bejaan Dil Ko Bejaan Dil Ko Tere Ishq Ne Zinda Kiya Phir Tere Ishq Ne Hi Is Dil Ko Tabah Kiya Tadap Tadapke Is Dil Se Aah Nikalti Rahi Hai Mujhko Saza Di Pyaar Ki Aisa Kya Gunaah Kiya To Lut Gaye Haan Lut Gaye To Lut Gaye Hum Teri Mohabbat Mein Ajab Hai Ishq Yaara Pal Do Pal Ki Khushiyaan Gam Ke Khazaane Milte Hain Milti Hai Tanhaiyaan Kabhi Aansoon Kabhi Aahein Kabhi Shikve Kabhi Naalein Tera Chehra Nazar Aaye Tera Chehra Nazar Aaye Mujhe Din Ke Ujaalon Mein Teri Yaadein Tadpayein Teri Yaadein Tadpayein Raaton Ke Andheron Mein Tera Chehra Nazar Aaye Machal Machalke Is Dil Se Aah Nikalti Rahi Hai Mujhko Saza Di Pyaar Ki Aisa Kya Gunaah Kiya To Lut Gaye Haan Lut Gaye To Lut Gaye Hum Teri Mohabbat Mein [Naalein – laments, cries] Agar Mile Khuda To Poochhoonga Khudaya Jism Mujhe Deke Mitti Ka Sheeshay Sa Dil Kyon Banaya Aur Us Pe Diya Fitrat Ke Woh Karta Hai Mohabbat Wah Re Wah Teri Kudrat Wah Re Wah Teri Kudrat Us Pe De Diya Kismat Kabhi Hai Milan Kabhi Furqat Kabhi Hai Milan Kabhi Furqat Hai Yehi Kya Vo Mohabbat Wah Re Wah Teri Kudrat Sisak Sisakke Is Dil Se Aah Nikalti Rahi Hai Mujhko Saza Di Pyaar Ki Aisa Kya Gunaah Kiya To Lut Gaye Haan Lut Gaye To Lut Gaye Hum Teri Mohabbat Mein Tadap Tadapke Is Dil Se Aah Nikalti Rahi Hai Mujhko Saza Di pyaar Ki Aisa Kya Gunaah Kiya To Lut Gaye Haan Lut Gaye To Lut Gaye Hum Teri Mohabbat Mein
