Mehboob Khan's Epic: AAN - The Untold Story,Part I

AAN - THE UNTOLD STORY- 1 of 2

by Nasir Ali. 

One Mr. Sayyad Mohammed Ali was renowned for his “Ilm-e-Jafar”. This is the science of numerology and it is said that through Ilm-e-Jafar the past and the future of a person or an incident or occurrence can be accessed and known. He was a sage who had spiritual insight and intuitive powers Many film personalities, including Mehboob Khan and Naushad used to consult him off and on. Madhubala’s father, Ataullah Khan, also used to visit him at his Mahim residence in Bombay.

When the story of AAN was completed, Mehboob Khan requested Sayyad Mohammed Ali to come to the Mehboob Studio to hear the story and give his advice and comments. At the appointed time, Sayyad Mohammed Ali went to the Mehboob Studio which was under construction. There he met Mehboob Khan. The story-writer, R.S. Choudhary, was also present in the Studio-room. Mehboob Khan made a motion of his hand and the story-writer began narrating the original story to Sayyad Mohammed Ali who listened with rapt attention, with his closed eyes. After the narration was over, Mehboob Khan looked at the pensive face of the Seer. He asked, “What’s your verdict?”

The Seer exclaimed, “Flop!” Mehboob Khan was shocked.

“So what should be done?” he asked the Seer.

“Make some changes in the story,” said the Seer. He advised:

“Keep the hero alive.” He was referring to the character Jai Tilak (Dilip Kumar).

“Kill one heroine.” This was the character of Mangala (Nimmi) that he was referring to.

“One thing more,” cautioned the Seer. “You must be careful. One heroine will meet with a near-fatal accident.”

Mehboob Khan instructed the story-writer to make suitable changes in the story. The main star-cast included Dilip Kumar as Jai Tilak of the Hada tribe; Nimmi as Mangala; Nadira as Princess Rajshree; Premnath as Prince Shamsher Singh; Murad as Bhaiji Maharaj. Camera work was by Faredoon Irani – the usual one with Mehboob Khan. Naushad was the Music Director and was assisted by Ghulam Mohammed. S.Ali Reza penned the dialogues while the story was of course by R.S. Choudhary. AAN was produced at the Central Studios.

Briefly, the real flashing point which sets the trend of the story by bringing all the lead actors is the challenges thrown in the arena. The duel between Jai Tilak and Shamsher; Jai Tilak taming the princess’s mare and riding her and then claiming the mare as his reward; the princess refusing to give the mare and her consequent hatred of Jai Tilak; the plea of Mangla before Bhaiji Maharaj that the mare should be given to Jai Tilak fairly and squarely and the acceptance of the plea, all this brings the characters in confrontation with one another. Jai Tilak is smitten by the fiery princess despite the fact that Mangala his childhood friend is head over heels in love with him, Shamsher falls for the rustic charm of Mangala whom he wants to deflower, Jai Tilak and Shamsher become sworn enemies, the princess snobbishly hides her feelings for Jai Tilak by sadistically having Jai Tilak whipped physically, while Bhaiji Maharaj is sought to be killed by his own brother Shamsher for not naming him as his successor but handing the kingdom to his subjects – the ‘Praja’.

One also finds the elements of sexual fetishism as the scarf of the princess makes the round from the princess to Jai Tilak, then to Mangala and back to the Princess and Jai Tilak’s bravado in facing the palace guards to get the scarf for himself, then actually entering the chamber of the princess and draping both himself and the princess with that scarf. The high passion is amplified in the colour of riots on the day of Holi against the song KHELO RANGG HAMAARE SANGG. Jai Tilak’s masochistic tendencies are also exposed when he takes the whipping and sings DIL KO HUWAA TUMSE PYAAR, AB HAI TUMEH IKHTIYAAR, CHAAHE BANAA DOH, CHAAHE MITAA DOH.....while tied to a post. This tendency is further exposed when he keeps the dagger as “Sharafat ki Deewar” or a partition of harmless intention in the wilderness despite having kidnapped the princess. The princess flings that very dagger on his back, seriously injuring him. Even later, when he survives, he gives her a gun so that she may shoot him. Anyway, this requires a separate article for a detailed explanation of the characters of AAN. During the climax of the story, Mangala dies saving her honour, impelling Jai Tilak to kidnap the princess in order to make a Mangla of her in which he finally succeeds. He also avenges Mangala by killing Shamsher in a swordfight. The story ends with Bhaiji Maharaj handing over his kingdom to his subjects with the words, JAI PRAJA.

AAN thus topically highlighted the development of the independent India where the former princely states were asked or coerced into joining the Indian Union although at a price – the “privy purse”.

TO BE CONCLUDED:

NASIR ALI

WITNESSING RAFI SAHAAB'S LIVE RECORDING

WITNESSING THE LIVE RECORDING OF RAFI SAHAAB’S SONG: "TUMSE IZHAAR-E-HAAL KAR BAITHE.. AT THE MEHBOOB STUDIOS, BANDRA, MUMBAI.

It was in 1954 that Mehboob Studios was built near Hill Road, Bandra, Mumbai, by the legendary Mehboob Khan who had founded his own production house in 1942. The plot was in fact purchased as early as 1951 from one Jafferbhai, a Bohri Muslim. Spreading over 4.2 acres of land, Mehboob Studios features five huge shooting stages and a recoding theatre. It was a very popular venue for the leading film-makers of the golden age that was the Bombay Film Industry which is now commonly called the Bollywood. After Mehboob Khan’s death in 1964, the Mehboob Studios has seen ups and downs and was even rumoured that it was offered for sale. According to an insider information, it appears that the Khoja Jamaat Khana had offered to purchase the Studios at the price of Rs.220 crores, a decade and a half ago when money had much greater value then it has today. Of late, the Studio has been used by the film-makers of Saawariya and Bhootnath – to name just a couple.

Coming to our subject, a friend of mine, Mr. Sayyad, came to Bombay from Bhopal in early 1962-1963. He had a relative who used to look after and supervise the lighting arrangements at the Mehboob Studios. One day, having nothing better to do, he set out to meet him there. It was late morning. He noticed that the Studio was a very busy place. The two landscape gardens were full of people. Strangely, he noticed that one garden was full of women only. The other garden was occupied by men. All were talking gaily about something or the other. Perhaps they were the junior artistes who waiting for their daily chores. The canteen was jam-packed too. In the hallway, he recognised some seasoned artistes such as Jayant, Anwar Hussein, Mukri and others who were discussing the shoots they had done recently.
Thereafter, Mr. Sayyad walked up the flight of stairs and happened to enter the Recording Studio.

Little did he anticipate that he was about to witness the live recording session of one of the beautiful songs from H.S. Rawail’s romantic-musical movie called “Mere Mehboob”. It may be remembered that the Music Director Naushad had recorded the title track of Mere Mehboob with just six instruments. Mr. Sayyad saw some twenty-five people occupying the visitors chairs in the hall. He recognized one of them as the famous Bollywood villain, Hiralal. The visitors were sitting just at a distance of 15-20 feet from the musicians and were keenly watching the on-goings of the musicians who were located at one end of the hall. There were sections of musical instrument, notably violins and others. A lone, swarthy Tabla player was conspicuous by his white ‘Kurta” and Pajama. He was sitting sort of aloof from the other musicians. Naushad Saab was not around. His Assistant, Mohammed Shafi, stood facing the musicians. He used to point his baton at each section of musician in turn, which then played their piece of music. While the arrangement and embellishments were being tested by Mohammed Shafi, the sound quality was being supervised by the eminent Sound Recordist, Kaushik at the other end.

As Mr. Sayyad began to wonder who the singer would be, in walked Mohammed Rafi Sahaab with his ingratiating smile, and making Salaams to those present there. He wore a white pants and a white short-sleeves shirt. On seeing him, the entire Recording Studio came to life with happy anticipation. Rafi Sahaab had his Song- Diary with him. Mohammed Shafi asked him whether he needed a rehearsal. Rafi Sahaab said that it was not necessary and pulled up a chair to sit.

Thereafter Mohammed Shafi turned towards the visitors and began to ask who they were. He had this way of snapping his fingers and asking each visitor their business and then asking him to leave. He turned out at least six visitors out of the Recording Studio. Looking at Hiralal he asked him how did he find his way here. My friend sat motionless, fearing that he would be sent out. Finally, Mohammed Shafi snapped his finger at him. But before he could ask him the question, Mr. Sayyad himself got up and asked him, “Kyaa Main Bhee Baahar Jaaoon?” (“Whether I, too should go out?"). He, however, allowed him to sit. There were still last-minute instructions to be given. Looking towards the entrance, he signalled one watchman to go out and caution people against making any noise. Another watchman who got the signal picked up a stick to fend off the crows, if any, from the window sill and ledges. Clearly, there was a qualitative difference between the old and the modern Recording Studios.

At last Naushad Saab made an entry from the same entrance from where Rafi Sahaab had come. It looked as if there was a special entrance for the artistes and another common entrance for the visitors. He went up to Mohammed Shafi. Whispering something in his ears, he went out through the same entrance. My friend was not sure where he went, i.e. whether he had left the Recording Studio, or whether he had just gone to some other part of the recording studio.

Then there was a hush! Rafi Sahaab got up and went to up to the mike. In one hand he had his open Song-Diary. Looking into it, Rafi Sahaab began: Aaj Furqat ka Khwaab Toot Gayaa...
Mil Gaye Tum Hijaab Toot Gayaa...
Tumse Izhaar-e-Haal Kar Baithe
Bekhudi me.n kamaal kar Baithe.

And so the song went on. Rafi Sahaab was singing so effortlessly, with one hand raised in gestures to indicate the nuances of the words such as “Yeh Adaayen,” “Yeh Shokhiyaa.n”. The beat of the Tabla was prominent among the harmony of the other musical instruments. The ecstasy was short-lived as the song came to an end. Thereafter, with the same niceties as before, Rafi Sahaab left the Recording Studio. Surely, he had another recording session somewhere since the early Sixties was the time when he was at the zenith of his singing career. The musicians collected their instruments.

The visitors began leaving the Recording Studio. Mr. Sayyad, too, came out with the pleasant experience that he would never forget - the experience that he would narrate to me some Forty-Five years later in details. After a few days he did get another opportunity to witness a live recording at the same place. This was the duet from Leader: “Teri Husn ki kya Taareef Karoo.n...” But that’s another story.

NASIR.