by Srigopal Shroti
I feel Shammi Kapoor,s entry into the film industry wud hav been futile sans S-J..though he danced on OP,RD &Usha khanna’s tunes—-but working with Shankar Jaikishan was the joy of his life…..he will pull out the tune from Jaikishan and say it is mine…..On Sasural tune he was furious, why it was given to another hero…..it is mine….and it was ”TERI PYARI PYARI SURAT KO……”.AND HE MISSED IT becoz of lapse of time…such was the chemistry between S-J and Shammi……”’Lal chhadi maidan khadi”…”wonderfully he danced on Shankar’s tune”…
There it is said that the actors like Dilip kumar and Rajendra Kumar attended the music sessions….Shammi Kapoor presided over them…..of every film Shammi signed and S-J were MDs, any tune composed shd go through the ears of the Rebel Star….and it was Shammi who wud ask the producers and directors that the MDs will be his own ….and they were S-J only….S-J enjoyed Shammi’s rebel style on even signing the films……..and on their part producers and directors knew that these are 3 gems, they are going to encash. OP Nayyar acquired Shammi’s discriminating favour when the music of KASHMIR KI KALI tremendously drew chart favour in 1964…..However, Shammi temporarily developed a fondness towards Nayyarean style.
But the success of Shankar Jaikishan in Rajkumar the same year clinched the issue…S-J were to be Shammi’s life long associaste since then onwards…..AND TRUE to his musical vision, Shammi Kapoor made sure that his producers stuck by S-J right down to his very last film as a leading star in Preetam, 1971. SO ENAMOURED WAS shammi of duo’s composing compatibility, that when Nasir Hussain came for Teesari Manzil, Shammi blew a fuse…..however it took time for NH to convince that RDB’s STYLE WILL MATCH the rebel star’s style in the film(o haseen zulfon waali, deewana mujh sa nahin).
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