He got busy in some personal matters which affected his participation on the blog. Hans Jakhar has been interacting with me about some prominent lyricists he would like to write on. Fortunately, there are some among our guest authors who are ever willing to fill up the gap. Many readers have mentioned that the lyricists deserve more coverage on SOY. Rajendra Krishna was his regular lyricist for many of these superhits. C Ramchandra was not only reckoned as the tallest composer for a number of years, rivalled by only Naushad, he was also known for breaking new grounds with his unconventional songs, and his very fast output. His most prominent association was with C Ramchandra, the unique craftsman. ( The lovers of old film music regard Rajendra Krishna with a lot of respect for a large number of immortal songs he wrote.
But the man is too clever for her and with great difficulty she finally comes out of her nightmarish experience, with the killer meeting retribution in the last scene.Ī tribute to the lyricist Rajendra Krishna (6 June 1919 – 23 September 1987) on his 34 th Remembrance Day by guest author Hans Jakhar Being a conscientious lady, she reports the matter to the police. In Witness to Murder (1954), the lady has no voyeuristic instincts she just happens to look out of her bedroom window and sees a woman being strangulated by a man in a flat. As it is a Hitchcock film, you are sure his smile will soon disappear as he sees some very unusual happenings in a flat. There is a constant smile on his lips as he watches myriad characters: a pretty dancer, a pianist, a lonely woman, a middle-aged couple and so on. In Rear Window (1954), James Stewart, confined to a wheelchair in plaster-cast due to a broken leg, indulges himself looking out onto a courtyard and other apartments from his rear window. Since one can see on the sly, this is the best place for voyeurs. Because of this asymmetry, window creates many interesting possibilities. If a person from outside tries to look into a window, his view is very restricted. Window opens the outside world to those inside. The fact that Rajendra Krishna wrote lyrics for 36 of Madan Mohan’s films and 268 songs out of his total output of 614 (name of the lyricist of two songs from film Beti (1957) is not known, so I am not counting them) is hardly the only recommending feature of their enduring relationship which went on for 25 years. Avinash Kumar and Mahesh pointed this out and I immediately agreed.
#OLD HINDI SONGS SERIES#
This came second in the series because C Ramchandra (CR)-Rajendra Krishna combo had become enormously famous before this one. This was already scheduled to be the second in the series, being the most important and long lasting pair Rajendra Krishna made with a composer. This is the second post in the series on Rajendra Krishna. This is another treat for those looking for substantive articles on the lyricists. Besides, his love for the lyrics flows out of his articles. Readers familiar with Hans Jakhar’s style know that he is very meticulous in his data and presentation of facts. This second article in the series is on Rajendra Krishna’s most popular and lasting combination with the music director Madan Mohan. The first article in the series was on his combination with C Ramchandra. Recently, he decided to write a series of articles on Rajendra Krishna’s combination with some of his principal music directors. He wrote a nice article on Shakeel Badayuni’s combo with Ravi about two years ago. Hans Jakhar has offered to fill up this gap.
I myself belong to this camp, resulting in a conspicuous gap in the coverage of lyricists on this blog. It is true that even the serious followers of old film music give prominence to the singer and the music director of a song, almost to the point of lack of any recognition to the lyricist. ( Hans Jakhar is among the regular readers of SOY who believe that the lyricists deserve greater recognition than what is generally given to them. Guest article by Hans Jakhar on Rajendra Krishna’s combination with Madan Mohan
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