“This girl brought tears in my eyes,” was the instant reaction of Free India’s First Prime Minister Pandit Jawaharlal Nehru to a private song, penned by poet-lyricist Pradeep, Aie mere watan ke logon, zara aankh mein bhar lo paani, jo Shaheed huve hain unki, zara yaad karo qurbani, rendered by legendary Lata Mangeshkar. Beta, tum ne to aaj mujhe rula diya were his exact words, as Indira Gandhi was standing near him. Ghar kab aarahi ho (When are you coming home?), he asked, as Nehru invited her to Prime Minister’s Teen Murti residence for tea.
Nehru had described the Sino-Indian War in 1962 as the Great Betrayal and he never recovered from its shock, till his end came on May 27, 1964. When Lata Mangeshkar sang this song in the presence of Nehru on January 27, 1963, tears rolled in his eyes. That was the magic and mesmerizing spell of Lata Mangeshkar.
Nargis paid the greatest and the biggest tribute to Lata Mangeshkar. When Lata became the first Indian to stage a performance at the Royal Albert Hall in London in 1974, Nargis welcomed Lata on to the dais, with stirring words: “Moaziz Khawateen-o-Hazraat, Lata kisi tareef ke nahin balki parastish ke qaabil hain. Unki aawaaz sun ne ke baad kuch aisa alamtaari ho jata hai, jise bayaan karna mushkil hai. Uhn samjhiye, jaise kisi Dargah ya Mandir mein jaayen, to wahaan pahunch kar Sar, ibaadat ke liye, khud-ba-khud jhukh jata hai aur aankhon se besaaqta aansoon behate hain. Lata. Kitna chhota naam hai. Lekin, unki shaqsiyat bahut unchi hai. Himalay se bhi unchi. Phir ek martaba Lata Mangeshkar se dhar-khwaast karti hun woh ek bar phir stage par aayen aur yeh gana sunayen: Saathi re, tujh bin jia udaas re, yeh kaisi unbhujh pyaas re, aajaa.”
Mallika-e-Tarannum Noor Jehaan said of Lata Mangeshkar, “People say Lata Ji considers me as a phenomenon. I say that is her humility. Lata is Lata. No singer like her has ever been born.”
Lata Mangeshkar strode like a colossus for over six decades. A legend in her own lifetime, she did not gain her high position in her life as a gratis from someone; but she struggled hard to get there and remain at the top for decades.
The Nehruvian era was unmistakably the Golden Era of the Hindi Cinema. There were hopes, dreams and aspirations in the air. There was an air of optimism and exultation.
Poets turned lyricists. Different types of music directors had come up, each with distinct style, like Naushad, Shankar-Jaikishen, Lakshmikant-Pyarelal, Kalyanji-Anandji, Roshan and Ravi, all had each a style of his own. That was when the Hindi film music scaled new heights. Lata Mangeshkar reached the peak of her talent during that era, where’s he remained uncontested and unchallenged.
If Lata Mangeshkar remained unbeaten, that was because she was simply unbeatable. With 30,000 songs recorded in different Indian languages, she was hailed as the Nightingale of India.
Quit Filmfare Awards
At the height of her singing career in 1966, Lata decided not to accept Filmfare Awards, with the sole intention of promoting new singing talent in Hindi Cinema. Far from being overbearing, she wanted new talent to thrive. But she remained the most popular choice for singing songs in Hindi Cinema.
In fact, the only woman music director, Usha Khanna, also sang songs, but Lata, too, rendered songs under her baton.
Lata’s evergreen songs include Usha Khanna composition, Majhi meri kismat ke, jee chaahe jahaan le chal in Hum Hindustani, which was picturized on the legendary Asha Parekh.
There were occasions when films succeeded sheerly on strength of her songs, at the box-office. Lata’s voice was considered the Gift of God.
It was the Mangeshkar Magic, as it were, that was at work, since Asha Bhosle and the younger sisters, Usha and Meena, too, had fairly long innings. It goes to prove that it was sheer talent that sustained the Mangeshkar clan, in an otherwise cutthroat commercial industry.
Asha Bhosle once recalled confiding in her elder-sister Lata that she was nervous about a particular song, just ahead of its recording. Lata told Asha, “You are Mangeshkar first and then Bhonsle. People love the way Mangeshkars sing. Just be your normal self and sing. Your song will be a hit.” True to the word of Lata, Asha’s song became a hit.
It is the way that the Mangeshkar sisters sing that made them stand apart in the film industry. Many singers were there, but Lata excelled. That explains how Lata faced and managed to overcome the stiff competition and hold on to her position at the top.
Lata was on very good terms with all her contemporary singers, despite temporary misunderstanding with Mohammad Rafi, which was soon sorted out. She once said, “We have one thing in common. We all love singing.”
Haunting Melodies
The voice of Lata Mangeshkar haunted generations of music-lovers across languages. Her rendition of ghazals, despite being a non-Urdu knowing person, set her apart. Being Maharashtrian, she took care to ensure that her typical accent does not reflect in her rendition of songs. She took care to copiously learn the correct pronunciation of Urdu words.
Lata Mangeshkar reached the top and remained there, sheerly on strength of her talent and her capacity to sing with her heart, which touched the hearts of her audience. She faced stiffest competition and managed to overcome it, by dint of her talent and rare quality of pathos in her voice that she was endowed with. None could even compete with her, as no one else possess that quality of voice that made Lata Mangeshkar stand apart in the galaxy of stars.
Lata withstood competition from the likes of Noor Jehaan, who was the reigning singing-star in Hindi Cinema, when Lata stepped into the industry. Then, there were the likes of Suraiya and other singers like Shamshaad Begum and Mubarak Begum.
Besides, there were the likes of Geeta Roy nee Dutt, Suman Hemady nee Kalyanpur, Sudha Malhotra, Usha Timothy, Krishna Kalle, Kamal Barot (who sang in Himalay Ki God Mein), Sharada from Hyderabad (Dekho mera dil machal gaya), Runa Laila from Bangladesh, Vani Jairam, Hemlata, Anuradha Paudwal and eversomany aspiring singers, who all made a determined bid.
All of them otherwise did manage to make a mark, but failed to come anywhere near Lata Mangeshkar.
Evergreen Numbers
Given her talent and a rare quality of voice, her songs have been immortalized. Her greatest rendering is the Anthem of Love, Pyaar kiya to darna kya in Mughal-e-Azam. She brought out in her voice that element of defiance and daring that was built into the lyrics of Shakeel Badayuni, making the song timeless. An equally appealing song of Lata Mangeshkar is Yeh rang-e-mehfil, yeh jashn-e-bahara, aise mein uhn hi khirama-khirama, Allah kare tu bhi aajaaye in Mr X In Bombay.
Lata Mangeshkar rendered some of the best ghazals under the baton of music directors Roshan and Madan Mohan.
In fact, Lata sang Ghazals like no other singer could. Even Suraiya was left wondering, at the ethereal quality of the voice of Lata. In fact, Aie dilruba, nazren mila, kuch to mile, gham ka sila in Rustum Sohrab, showed how Lata even surpassed Suraiya.
Among Lata’s evergreen numbers are: Agar mujh se mohobat hai mujhe sab apne gham de do in Aap ki Parchhaiyaan; Naghma-o-sher ki saughaat kise pesh karun in Ghazal; Khuda-e-bartar, teri zameen par, zameen ki khaatir yeh jung kyon hai and Jurm-e-ulfat pe hume log saza dete hain, kaise nadaan hain, sholon ko hawa dete hain in Taj Mahal; Haal-e-dil uhn unhe sunaaya gaya, aankh hi ko zubaan banaya gaya in Jahaan Aara; Oh beqaraar dil, ho chuka hai mujh ko aansoonon se pyaar in Kohra; and Hai isi mein pyaar ki abroo, woh jafa karen, main wafa karun and Aap ki nazron ne samjha pyaar ke qaabil mujhe in Anpadh.
Lata Mangeshkar magic created the screen persona of numerous stars like Madhubala, Nargis, Nutan, Meena Kumari, Waheeda Rehman, Vyjayantimala, Asha Parekh, Mala Sinha, Nanda, Sharmila Tagor, Sadhana, Saira Bano and Kalpana. Lata sang even for Mandakini in Ram Teri Ganga Maili, Bhagyashree Patwardhan in Maine Pyaar Kiya, Madhuri Dikshit and Kajol in Dilwaale Dulhania Le Jaayenge.
Lata Mangeshkar could sing any type of song with great ease and felicity. Lata could sing Naath in Mughal-e-Azam with fervour: Beqas pe karam kijiye Sarkar-e-Madina. Similarly her Bhajan, Prabhu tero naam and Allah tero naam, Ishwar tero naam in Hum Dono, brings out the deep devotional feelings.
Lata could sing classical songs, as well, like no other contemporary singer could. For example, Balma maane na in Opera House; Nainon mein badra chhaye in Mera Saaya; and Koi matwala aayaa mere dwaare in Love In Tokyo are shining examples of her training in classical music.
Some of her gems include: Aaj hai pyaar ka faisla aie Sanam, aaj mera muqaddar badal jaaiyega in Leader; Tere pyaar mein dildar in Mere Mehboob; Lo aayee Milan ki raat suhaani aaj in Aashiq; Tadap yeh din-raat ki ; Neel Gagan ki chhaon mein; and Tumhe yaad karte-karte in Aamrapali; Ruk ja raat, tears ja re Chanda in Dil Ek Mandir; and Hum pyaar ka sauda karte hain ek baar in Zindgi.
She rendered some memorable songs like
Apne, apne huve parlay in Apne Huve Paraaye; Sansaar se bhaage phirte ho, Bhagwan ko tum kya paaoge in Chitralekha; Tumhi mere Mandir, tumhi meri Pooja in Khaandaan; Chhodh de saari duniya kisi ke liye, yeh munaasib nahi aadmi ke liye in Saraswati Chandra; Raat bhi hai kuch bheegi-bheegi and Tere bachpan ko jawani ki dua deti hun in Mujhe Jeene Do; Suno sajna in Aaye Din Bahaar Ke; Dil beqraar sa hai in Ishara; Unki pehli nazar kya asar kar gayi, mujh ko kya ho gaya hai Khuda jaane in April Fool; Aji humse rooth kar kahaan jaaiyega in Aarzoo; and,Tera, mera pyaar Amar, phir kyon mujh ko lagta hai dar in Asli-Naqli.
Early Struggles
Born on September 28, 1929, Lata was the eldest in the family of Deenanath Mangeshkar, when the latter passed away in 1942.
All of 13 years, the burden of looking after the large family fell on her shoulders, with all siblings, Asha, Usha, Meena and brother Hridaynath Mangeshkar, dependent on her. Immediately she started working for Master Vinayak, who was father of actress Nanda.
In 1945, Lata, moved to Mumbai, when Master Vinayak, who was helping her in her career, moved his company headquarters to Mumbai. In Mumbai, she started formal training in Hindustani Classical Music from Ustad Aman Ali Khan of Bhindibazaar Gharana.
Prophetic Prediction
In 1948, music director Ghulam Haider introduced Lata to renowned producer Shasdhar Mukherjee, who was making Shaheed. But, he was dismissive of Lata, because of her thin voice. Ghulam Haider, who mentored her, was furious with Shasdhar Mukherjee and went on to predict that a time will come when producers will make a beeline to her, fall at her feet and beg her to sing in their films. He truly proved to be prophetic.
Ghulam Haider became the first music director to show such complete trust in the talent of Lata. Later, with the sole exception of O P Nayyar, all other music directors were all out get Lata to sing for them.
Ghulam Haider gave Lata her major break in his film Majboor in 1948, with the song, Dil mera thoda, mujhe kahin ka na chhoda.
Barsaat, A Turning Point
Lata Mangeshkar got noticed in the film Mahal, which had music by Khemchand Prakash. Her song, Aayega asnewala, was picturized on Madhubala that launched her.
Lata’s career formally took off with Raj Kapoor’s Barsaat in 1949, when he had a brand new team in place, with Nargis as the heroine, Shailendra-Hasrat Jaipuri as lyricists and Shankar-Jaikishen duo as music directors. Lata Mangeshkar became the most sought after singer.
In fact, Shankar-Jaikishen formally launched Lata Mangeshkar. Earlier, Lata used to imitate Noor Jehaan. But, Shankar-Jaikishen gave Lata her voice that captured the imagination of the people. Barsaat was a runaway musical sensation, with all songs proving to be a great hit. It was followed by Aah, Aawara, Shri 420, Chori-Chori and all the films brought out the best in Lata.
On a parallel plane, music director Naushad Ali, who gave his smash hit, Anmol Ghadi, with Noor Jehaan, in 1946, and later, after trying out Shamshaad Begum for a while, was soon quick to turn to Lata Mangeshkar. Lata became the newest sensation, with Baiju Bawara, Amar and Mother India, all proving to be big musical hits.
Among Lata’s all-time hits can be counted her song in Amar, Na shikwa hai koyee, na koyee gila hai, salaamat rahe tu, yeh meri dua hai … Ajab teri mehfil mein dekha tamasha, kahin roshni hai, kahin hai andhera, muqaddar charaaghon ke badle huve hain, koyee bujh raha hai, koyee jal raha hai.
Pathos in Her Voice
Only Lata could bring out the pathos and disillusionment of Madhubala in the film, who gets to know the shady side of the protagonist, played by Dilip Kumar, in her voice.
Chitalkar Ramachandra also helped unearth the goldmine of talent in Lata. Mehfil mein jal uthi shama, parwane ke liye in Nirala, was again picturized on Madhubala, which became an all-time hit.
Anarkali, in which the title-role was played by Bina Rai, was a massive musical hit. Yeh zindgi usiki hai, jo kisi ka ho gaya, pyaar hi mein kho gaya, by Lata remains among her all-time hits. Albela and Azad are among her major hits. Lata was at her singing best in the song, Main jagoon saari rain, sajan tum so jaao in Bahurani. Another such a song is Mujhe yaad karne waale, tere saath-saath hun main, in Rishte-Naate.
These songs remain unmatched till date for the quality of singing of Lata Mangeshkar.
Another renowned music director to tap the talent of Lata was S D Burman. Her Phaili huvi hai sapnon ki bahen, aajaa chal den kahin door in House No 44, or her Chaand phir nikla in Paying Guest ensured that S D Burman depended on Lata for good songs.
S D Burman-Lata team proved to be guarantee for some really captivating songs. For example, Yeh meri zindgi, ek paagal hawa and Raat ka sama, jhoome chandrama, tan mora nache re, jaise bijuria in Ziddi and Aaj phir jeene ki tamanna hai, Piya tose naina laage re and Mo se chhal kiye jaai, in Guide proved the breadth of talent of Lata Mangeshkar.
With Lakshmikant-Pyarelal, Lata delivered great hits, in films like Parasmani, Sati Savitri, Aaye Din Bahaar Ke and Lootera. In Mere Humdum, Mere Dost, Lata gave two evergreen numbers, Allah, yeh ada, kaisi hai in haseenon mein and Tum jaao kahin, tum ko ikhtiyaar, hum jaai kahaan sajna, hum ne to kiya hai pyaar.
With music director Ravi, Lata gave some gems like Mori chham-chham baaje paayaliya and Laage na mora jiya in Ghunghat. In Do Badan, is her magical number, Lo aagayee unki yaad, woh nahi aaye.
Lending voice to Hemant Kumar musical compositions, Lata gave gems like Kuch dil ne kaha, kuch bhi nahi in Anupama; Aie mohobat mere, duniya mein tera kaam na tha in Bees Saal Baad; Man mora naache, tan mora naache in Do Dil ; and Vande Mataram in Anand Math.
Even for lesser known music directors, like G S Kohli, Lata Mangeshkar gave smash hits like Mere do naina matwaare, kiske liye in Namaste Ji.
Avoidable Controversy
Lata Mangeshkar fell out from Mohammad Rafi over a trivial issue, involving demand for royalty for singers. It was a wholly avoidable controversy, but it took its toll in the world Hindi film songs.
Lata and Mohammed Rafi stopped singing together. Their fans were hit the worst. Rafi duets were recorded along with Suman Kalyanpur, who became known as Poor Man’s Lata. Tum ne pukara aur hum chale aaye in Raaj Kumar was during that period.
It went for quite sometime, before the two patched and resumed singing together. This came as a huge relief for lovers of the Hindi Cinema songs.
Great Duets
Lata Mangeshkar gave memorable and magical duets with leading singers of her time.
With Mohammed Rafi, she gave the greatest duets of all times. Aawaaz deke humein tum bulaao, mohobat mein itna na hum ko sataao and Main chali, main chali peechhe-peechhe jahaan in Professor. Another such striking duet is Ek Shahenshah ne banwaake haseen Taj Mahal, saari duniya ko mohobat ki nishaani di hai in Leader. More memorable is the duet, Jeet hi lenge baazi hum, tum khel adhura chhoote na in the unfinished film, Shola Aur Shabnam.
With Mukesh, her duet, Bahaaron thaam lo ab dil, mera mehboob aataa hai, in Namaste Ji; Mehtaab tera chehra and Oh shama, mujhe phoonkh de in Aashiq; Apni ulfat pe zamaane ka na pehra hota, to kitna achha hota in Sasuraal ; and Aa ab laut chale in Jis Desh Mein Ganga Behti Hai are still haunting.
With Manna Dey, one such magical duet is Tum Gagan ke Chandrama ho, main dhara ki dhool hun in Sati Savitri. Their duets, like Yeh raat bheegi-bheegi in Chori-Chori and Pyaar huva iqraar huva hai pyaar se phir kyon darta hai dil in Shri 420 cast a magic spell on generations of music lovers.
With Mahendra Kapoor, Lata gave memorable duets. Phool ban jaaunga, shart yeh hai magar in Pyaar Kiye Ja; Yeh kali jab talak phool ban ke khile, intezaar karo in Aaye Din Bahaar Ke; Zara sambhaaliye, adaayen aapki, ke mere haath se dil mera jaane laga in Bada Aadmi; and Tere pyaar ka aasraa chaahta hun, wafa kar raha hun, wafa chaahta hun in Dhool ka Phool.
With Hemant Kumar, Lata sang some soulful duets like, Ek baar zara phir keh do, mujhe sharma ke tum deewana in Bin Badal Barsaat.
Bharat-Ratna
Befitting her contribution to the Indian Cinema, Lata Mangeshkar was conferred the highest civilian award of the country, the Bharat-Ratna, in 2001. Lata conferred the Dadasaheb Phalke Award for Lifetime Achievement in 1989.
Dilip Kumar best summed up the magical personality of Lata Mangeshkar. Dilip Kumar said, “Lata Mangeshkar ki aawaaz kudrat ki takhleeq ka ek karishma hai — Lata Mangeshkar”s voice is a Miracle of God.” Nothing else could have more aptly or, better described, the quality of her voice that will continue to haunt the nation, for generations to come.
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