AAS

Goel Cine Corporation, Bombay

Director: Devendra Goel

Music: Shankar Jaikishan

Lyric: Shailendra and Hasrat Jaipuri

Music Assistant: Dattaram (Sebastian was not listed in the credits!)

Starring: Shekhar, Kamini Kaushal, Om Prakash, Gulab, Chandabai, Master Ramesh

You have to actually understand what 1953 was like to hear music like this. For that year, SHANKAR JAIKISHAN were considered innovators and public had never heard any orchestra like that! Mind you this was not a Raj Kapoor film but a boring family drama that otherwise would not have been noticed if it was not for the music of SHANKAR JAIKISHAN! They had to stick to the traditional melody and add limited amount of their new twists and tunes arrangements. If SHANKAR JAIKISHAN overdid, they would be out of bollywood as loud orchestra people! In fact, even after being so careful, SHANKAR JAIKISHAN were accused by their enemies as band masters with loud music.

So you can see, that adversaries can easily destroy you by just saying something nasty, catchy and destructive like being “band masters”. They wanted to be in the same league as C. Ramchandra, Naushad, Anil Biswas, Khemchand Prakash, SD Burman, Hanslal Bhagatram etc but still be different from them, They did a marvelous job of walking this tightrope in the early 1950s and 1953 was a great year for them to be recognized as good as the old guard but newer than anybody! So these songs by today’s standards may look old but there was something magical, something different about them in the early 1950s.

The year 1953, in which Aas was released, there were 5 other SHANKAR JAIKISHAN composed movie and they were all hits, or super hits. So 1953 was a good year for SHANKAR JAIKISHAN. The 5 movies aside from Aas were AAH, AURAT, NAYA GHAR, PATITA, and SHIKAST. Of these movies Shekhar was also the hero of NAYA GHAR, another of my favorite movie! More about Shekhar and Kamini Kaushal later. Shankar Jaikishan released 47 songs for all these films and songs of Aas were as follows:

1. Hum pe dya rakhna he data, Lata, Shailendra

2. Itna pyar karega kaun maa karti jitna, Lata, Shailendra

3. Chahe naina choorao chahe daman bachao pyar hoke rahega, Talat, Lata, Shailendra

4. Dekho ji dekho ek baar ish taraf dekho, Mukesh, Lata, Shailendra

5. Mai hoon tere sapno ki rani tu ne mujhe pehchaana na, Lata, Shailendra

6. Zulm ki nagari mai kisika kaun sahara hai, Lata, Hasrat Jaipuri

7. Humko chhed ta hai dil kaun dane kya huwa, Lata, Hasrat Jaipuri

AAS:

Cast of AAS: Shekhar (acts as Ashok), Kamini Kaushal (acts as Asha), child star Ramesh Kapoor (acts as little Kishore), Om Prakash (acts as Om masterji), Gulab (acts as chachi), Chandabai (acts as Chandabai a conniving maid)

Here I need to say something about 3 main cast members namely; Shekhar, Kamini Kaushal, and the child star Ramesh Kapoor in the early 1950s. Shekhar as an actor was not in the same league as the triple leading heroes Dilip, Raj, and Dev Anand. But he certainly was in the second tier with Bharat Bhooshan, Pradeep Kumar, Prem Nath (whose stock rose tremendously after hooking up with his future wife Beena Rai), aging hero Ashok Kumar and young and coming Shammi Kapoor. Shekhar was a very suave and polished actor, whose pleasant demeanor would at once impress the audience for his good guy image. A real hero indeed. I loved him and was delighted that he acted in another Shankar Jaikishan movie named NAYA GHAR with Geeta Bali. He also acted in other musically beautiful movies like Chhote Babu, Aakhri Dao, etc.

Kamini Kaushal also created positive vibrations as an educated and a real nice person with a very good heart. I don’t believe I ever saw her in negative roles. True to life, this fine, elegant, gentle person, who evoked motherly feelings for a child like yours truly, after her marriage and screen career she moved into equally important role as a writer for children’s stories. She is one person whose screen career as a leading lady ended in the 1950s with many memorable films and a smooth transition off-screen into a fine Indian mother for her children and for all other children she indeed contributed well in the literary circle.

Ramesh Kapoor as a child star was in good company as other child actors namely Ratten Kumar (in Boot Polish, Do Bigha Jamin, Jagriti etc), Master Romi (Mastana, Ab Dilli Dur Nahin etc). Ramesh was a very cute 8-year old boy with a very nice personality.

So the cast of the movie was great for the story and most importantly for ALL the songs! The songs of Shailendra and Hasrat Jaipuri matched the feelings of all these characters. Also, Om Prakash had a very nice role as Masterji, who taught both the father, when he was a kid, and his son in the movie. He is portrayed as a naïve person with tremendous comedic potential.

So the story of AAS begins in the Ashok Villa located in Mumbai. It is a home of Ashok, a successful Chevrolet Impala driving businessman and a widower or a single father to an eight year old boy Kishore, as his only child. Readers should forgive me, if I strongly identified myself with Kishore, the nice kid who loved to play and learn!

But Kishore needs a guardian and servants in the house are no help except Masterji, a decent yet naïve fellow. Masterji loves Kishore like he loved his father Ashok but he is very busy in other things. Ashok too as Kishore’s father is too busy in his business and usually comes home to Ashok Villa very late.

The film opens with Kishore getting lost after school and Ashok frantically looking for him in his 1952 Chevrolet Impala. He arrives at the police station and pleads to the police inspector on duty to let the whole police force look for his child (forgive him for being a father in panic!). He is posting a Rs. 1000 reward (a lot of money in 1953 – a bottle of coke was 25 naiya paise (25% of a rupee) in 1961. Just as he finishes filing his complaint of his missing son, Asha walks in to hand over the lost child to the police and meets the Ashok the father. She refuses the huge financial award saying that it was her duty to return any lost child to police station. Later we learn that she was in dire need for money and without any family in Bombay. Never fear, Ashok and Asha meet again as she answers an advertisement for a governess by Ashok. Needless to say that due to positive impression created at the police station, Asha gets the job as Kishore’s nanny in the beautiful Ashok Villa.

As she enters the villa with Ashok, a sign of possible bad luck – a cat walks in front of them! Nice directional touch! But Ashok says to hesitant Asha that the cat is their pet and is always there. Masterji Om, who was Ashok’s and now Kishore’s teacher, warmly welcomes the new child governess. Chandabai, the evil one, does not like competition and is clearly jealous of the new arrival! But Kishore loves his live-in governess.

On first day at the villa, early morning Asha lovingly wakes up Kishore and makes him take a bath and breakfast. And then tells him that they must pray to the God. So begins our first song (Ashok, Masterji, and Chandabai are listening to the song in different rooms of the villa with differing emotions!):

Song 1. Hum pe daya rakhna hai data – Shailendra song sung by Lata

Beautiful traditional composition begins with bansuri, dholak, like typical 1950s composition, but what is different is the beginnings of experimentation in orchestral arrangements by SHANKAR JAIKISHAN. One can here the famous string section arrangement of SHANKAR JAIKISHAN and that is totally unlike any other arrangement by any other music composer! The song composition is traditional bhajan but made amazingly melodious by magical use of western orchestra. Lata sings beautiful the magical lyrics of Shailendra.

“Tum na hote jag na hota

Bikhare moti kaun pirota?

Jeev bichara tum bin kaise

Balak bin mata, hai data balak bin mata, humpe daya rakhna hai data”

Everyone in the house, including Ashok is impressed by this Shankar Jaikishan song penned by Shailendraji. Only Chandabai, the evil naukarani is unhappy! She is ticked off at the positive impression created by the song on Ashok by the beautiful nanny!

Little Kishore is impressed by the new aunty, who after school teaches him lessons like geography etc. He finds out that the world’s tallest building is the Empire State building at 1250 ft. Kishore quizzes his father if he knew which was the tallest building in the world? The father didn’t and needless to say the single parent Ashok was impressed by the new nanny. Ashok loves how Asha takes good care of Kishore throughout the day and possible cupid connection is about to happen!

Evil maid Chanda tries to poison Masterji’s ears but he doesn’t listen to the jealous maid. She tells him wait for Asha to become Ashok’s new wife! Just then, while teaching her eager pupil, Ramesh, Asha teaches how important mother is and how mother’s love is the best for a child. So begins the next song and anyone listening to this song for the first time will find that Shailendra has penned very beautiful and touching lyrics to this MAA song!

Song 2. Itna pyar karega kaun, maa karti jitna – Shailendra song sung by Lata

Lata’s beautiful humming before the song starts, is very effective. On screen Asha (i.e. Kamini Kaushal) sings to little Kishore. this beautiful song that a mother would sing for her child. Orchestra again is mind blowing for its initial introduction in early 1950s. The song is so melodious that it can be well-liked even today!

For a mother-less child this song would be precious as Kishore shows as he cuddles with Asha aunty. On a personal note – I was the same age as Kishore and I missed my mother in the theatre. My mom had quite a few similarities with Kamini Kaushal! I want to caution readers that there is a child in me that is also writing this review so be kind and forgive all childish heroine worshiping!

Listener would immediately notice a turning point in Hindi film music. The early 1950s songs of Shankar Jaikishan were laying the ground work for massive changes in the orchestral arrangements. The changes about to come were to forever change the music for the next 50 years and beyond! This unusual orchestra arrangement for its time even in MAA song may have involved Sebastian but he was not listed in the credits.

While teaching her eager pupil, Kishore how important a mother’s love is for her child (Kishore doesn’t know anything about his mother as she died when he was very young), there is accidental attraction between Ashok and Asha as little Kishore innocently asks Ashok about Asha aunty after the song, “kya aunty hamari maa nahi ban sakti?” as his father walks into the room. Ashok and Asha exchange tender glances! Love is in the air.

The lurking evil woman Chandabai hates the popularity of Asha in the house and possible love between Ashok and Asha. Chandabai first tries to poison Om Masterji’s ears but Om is a good man and doesn’t like evil ways of Chandabai and tells her to get lost.

Ashok gets attracted to Asha and takes her out with Kishore for shopping to Flora Fountain, Bombay and then for a drive in the country. Remember in early 1950s, a film about domestic family drama had to show Indian conservative values and passionate love scenes in Ashok Villa with skimpily dressed heroine would be sacrilegious! But never fear, Indian directors want to show love song and little less dress on females for mass appeal by showing a fishing village and fisher women’s’ dance! So after shopping the three stop by a fishing village to see a dance. Kishore immediately runs to the front of the audience to enjoy the dance while Ashok and Asha sit back and exchange loving glances! Kind of like “Kahe rahi hai nazaar nazaar se afsaneh!” So the setting of this song is perfect to show love between adults. So here is a very romantic duet picturized on a fisherman and his lady and all the romantic lyrics are well understood by the two new lovers, Ashok and Asha. Fisher woman was a very beautiful lady who came on screen as extra in many dances.

Song 3. Chhahe naina choorao – Shailendra song sung by Talat and Lata

Talat Mehmood’s voice is appropriate for this song but you could tell that his velvety voice was no match for the new orchestral arrangement. Nevertheless 1950 to 1955 were the best years for Talat Saheb. Lata sings her part very well.

At the end of the song, Ashok draws Asha close to her and first physical contact is made! Ashok wants to marry Asha now.

Imitation is a norm in bollywood and so a similar scene was created in 1955 movie Amanat with Bharat Bhooshan and Chand Usmani exchanging loving glances and thoughts while a fisherman and his woman sang Salil Choudhary and Shailendraji’s song “Ho jabse milli tose ankhiya, jiyara dole re ho dole ho dole!” Check out the similarity in this link:

Song 4. Mei hoon tere sapno ki rani – Shailendra song sung by Lata

Birthday song for little Kishore. Ashok and Asha are in fancy dress attire and Ashok looks very charming with long side-burns and playing accordion.

In fact, this song opens with accordion and then beautiful rhythmic bongo joins in with SHANKAR JAIKISHAN orchestra! Accordion was never played like this before! Lata is voice is playful for this dress party for the child’s birthday. Mute trumpet and mandolin really compliment the song.

Song 5. Kya yeh duniya hai? Zulm ki nagari mei kisika kaun sahara hai? (2 parts) – Hasrat Jaipuri song sung by Lata

Ashok’s aunty Gulab manages to drive Asha and her little infant out of the house and the next song begins.

Orchestra in this song employs unbelievable melody. With regular instrument of the era in old songs – the harmonium – is cleverly employed. Picturization of the song in Mumbai locations was amazing in 1953 and now it brings my memories of Mumbai with this old 1953 shots. Check out this song at:

After the song Asha and Ashok’s young infant dies of fever without any medical treatment. Asha is penniless and without job because she can’t get job After her child’s death she tries to commit suicide under a train when Masterji and Ramesh see her. Ramesh saves her life by pulling her aside from rail track. She is without any hope (AAS). Masterji encourages and helps her. He extols her to fight for her innocence and her right. With Masterji’s help she reenters Ashok Villa as his sister in-cognito.

Song 6. Dekho ji dekho ek baar is taraf dekho– Shailendra song sung by Mukesh and Lata

This is the only song of Mukesh and his voice matches well with Shekhar. But I like Talat’s singing for Shekhar (which was not seen in this film) as in NAYA GHAR with a beautiful classic “Unhe tu bhool ja ai dil”

The song is unique in that it takes on South American rumba samba melody and even you find it in counter melody! Very magical composition of SHANKAR JAIKISHAN like no one could image in 1953!

Song 7. Humko chhed ta hai dil kaun jane kya huwa – Hasrat Jaipuri wrote this song and Lata was the only singer.

The last song is listed in the credits but I have yet to hear that song! I am sure if our Kalraji was alive, he would have had it. Any help or more info about the last song will be appreciated by me.

I would end this review by inviting you all readers to go to YOUTUBE links that have been inserted and really experience the songs and the period i.e. 1953 in Bombay! You will agree that the composers SHANKAR JAIKISHAN did a masterful job of composing melodious tunes for a very bland domestic drama! Shahrukhbhai pointed it out to me that movie songs have a unique place in our Hindi films and lots of views about their use in films have been expressed. He pointed out that even celebrity film makers like late Satyajit Ray do not understand the role of songs, please do read his essay on Hindi Film songs here . For me these AAS songs are interwoven with my childhood memories and I will always remember every minute of the film AAS and every melody, rhythm, and every word of all the songs of AAS.