Contortionist HELEN & Cadence of LAXMIKANT-PYARELAL
Helen Jairag Richardson Khan is a Hindi film actress and dancer, best known for playing vamps and vixens in Bollywood movies of the 1950s to 1980s. She was famous for her performances in flamboyant dance sequences and cabaret numbers. It was in 1963, Laxmikant-Pyarelal’s very first film “Parasmani”, HELEN got an opportunity to act and dance on a very popular number of the film, “Ooi Maa Ooi Maa Ye Kya Ho Gaya” . Contortionist Helen have danced on the cadence of Laxmikant-Pyarelal for over 30 films.
The creation of the astounding combo of Helen and Laxmikant-Pyarelal, includes Dance-Music/Songs for Folk, Mujra, Classical, Cabaret, Western Classical, Item songs etc.
Ten best of the aristocratic songs from this combo are being reviewed. Nine out of the Ten songs, including Three Cabaret, boisterously orchestrated, have been sung by Lata Mangeshkar. All the songs, individually, have been interpreted with useful informations.
It would be more proper to listen to the songs, listed below, after reading the write up, explaining peculiarities, for each song, you will enjoy the songs, more.
The songs are.>>>
1 Ooi Maa Ooi Ma Ye Kya Ho Gaya …. (Parasmani, 1963)
(Singer :- Lata Mangeshkar Lyricist:- Farooq Qaisar)
Extremely melodious song with fascinating “prelude” of 58 seconds is decorated with VIOLINS, ACOUSTIC GUITAR, FLUTE and also the modulating sound of GHUNGHROO, overlapped with the chorus, sets the mood of this ‘folkish’ style composition. The rollick and natural dancing from Helen on Laxmikant-Pyarelal’s “DHOLAK” rhythm synchronized with GHUNGHROO, throughout the song. All the “interludes” are composed with VIOLINS, ACOUSTIC GUITAR and FLUTE.
2 Meghawa Gagan Beench Jhanke …. (Harischandra Taramati, 1963)
(Singer :- Lata Mangeshkar Lyricist:- Rashtrakavi Pradeep)
This particular song is based on "classical' raag KALAWATI. The prelude of 90 seconds is just mesmerizing. Musical instruments like FLUTE, JALTARANG, SITAR, GHUNGHROO, Lataji’s ‘aalap’, rhythm of MRIDANGAM and TBALA etc are wonderfully orchestrated in the “prelude”. Again all these musical instruments with Lata’s “aalaps” and “chorus” are mellifluously executed in all the “interludes”. Helen is choreographing the act in front of leading actor Prithviraj Kapoor. A fabulous song in all respect.
(Singer :- Lata Mangeshkar Lyricist:- Asad Bhopali)
This is an immensely sweet, romantic descant. It starts with 16 seconds “prelude” of SANTOOR than mind-boggling take off by Lata ji. Certainly it is outstanding and superb performance by Helen. Although Helen was in a leading role opposite Dara Singh in the film but she couldn’t overlooked her natural dancing talent which can be easily seen during the “interludes” which are awesomely adapted by Laxmikant-Pyarelal with the use of FLUTE, SANTOOR, SITAR and SARANGI. The song has ear-pleasing DHOLAK rhythm. 4 Hum Pyar Kiye Jayenge …. (Aaya Toofan, 1964)
(Singer :- Lata Mangeshkar Lyricist:- Asad Bhopali)
This song of Helen/Laxmikant-Pyarelal reminds us Madhubala/Naushad’s “pyar kiya to darana kya” from ‘Mughal-E-Aazam”. The biggest asset of this song is that it is tunefully orchestrated with a SYMPHONY style VIOLINS and ACOUSTIC GUITAR in “60 second “prelude’, all the ‘interludes’ and also as ‘filler’ in ‘mukhada’ and ‘antara’, as well. Helen has heatedly performed this dance number on the persuasive ‘rhythm’ of DHOLAK. Lataji is simply outstanding.
5 Muze Dekhiye Main Koi Daastan Houn ….(Lootera, 1965)
(Singer :- Lata Mangeshkar Lyricist:- Anand Bakshi)
In the beginning of their career Laxmikant-Pyarelal have scored excellent music for many numbers of B grade films. “Lootera” is one of them. It has as many as six Dance Numbers all sung by Lata Mangeshkar, danced my many actress. This an enchanting melody charmingly frisked by Helen in her own style, on a ‘QAWWALI’ style “rhythm” on DHOLAK.
6 Mera Naam Hai Jameela …. (Night In London, 1967)
(Singer :- Lata Mangeshkar Lyricist:- Anand Bakshi)
JAMEELA ssssssss:: JAMEE sssssssLA::JAMEELA:: HELEN has gamboled this CABARET song with Rich Orchestral Arrangements, with the distinctive style. Almost NINE different versions of rendering the word “JAMEELA” by Lata Mangeshakar in this song. “Prelude” of 50 seconds, consists of heavy orchestration, is worth to listen to. All the three “Interludes” have different tunes. Use of the BRASS instruments, in entire song, is the asset of the orchestra arrangements. The entire song is brilliantly synchronized with the fast rhythm of BONGO DRUMS. Electric GUITAR is also used in-between the orchestra.
The another beauty of the song is Lata Mangeshkar’s sweet ‘tone’ is being surrounded by the MALE CHORUS, in all the ‘antaras’.
Lata Mangeshkar has sung many of cabaret songs under Laxmikant-Pyarelal, this is the ‘first’ one.
7 Aa Jaan-E-Jaan …. (Intaquam, 1968 )
(Singer :- Lata Mangeshkar Lyricist:-Rajendra Krishan)
One of the best Cabaret song in Hindi Film Music. Laxmikant-Pyarelal’s Heavy and Rich Orchestration, Lata Mangeshkar’s extremely soft rendering, Helen’s malleable gamboling and best choreographed by P. L. Raj. “Prelude” of over 70 seconds is full of BRASS and TRUMPETS, musical instruments, is mesmerizing. Brilliant take off by Lataji.. ‘aa jaane jaan’ than ‘ear-pleasing’ pause for 3 seconds, forced the listeners to concentrate on ‘euphonic’ RHYTHM orchestrated for this gem of song. Just listen how beautifully Lataji renders the ‘Aa lala lala lala lala’ is a ‘killer’. No other singer could have managed to bring such finesse into that expression. Laxmikant-Pyarelal have extraordinarily orchestrated this cabaret with maximum use of BRASS, TRUMPET, SAXOPHONE, CLARINET, GUITAR and JAZZ FLUTE without disturbing the melody paft of the song. Despite being a cabaret song the dance by Helen ji looks so graceful, totally devoid of vulgarity. The song became an instant hit on the charts and still popular, even today.
8 Mehfil Soyee Aisa Koi …. (Intaquam, 1968)
(Singer :- Lata Mangeshkar Lyricist:-Rajendra Krishna)
Yet another melodious cabaret song from the combo of “Helen-Lata-LP”. Laxmikant-Pyarelal have orchestrated this westernized song with the excellent and maximum use of the JAZZ FLUTE, ACOUSTIC GUITAR and VIOLINS with beautiful BONGO DRUM ‘rhythm’. Once again wonderful cabaret by Helen, a lesson for modern dancer. This song, being the best, has got less importance as the other cabaret (‘aa jaane jaan’) is more known and popular, from the same film, “Intaquam”.
9 Mehrabaan Mehaboob Dilbar Jaan-E-Man …. (Aansoo Ban Gaye Phool, 1969)
(Singer :- Asha Bhonsle Lyricist:-Taj Bhopali)
Intoxicated melody and ‘rhythm’. One of the best song composed by Laxmikant-Pyarelal for Asha Bhonsle. The song is completely woven around the “aalap” and “humming” by Ashaji, supported by westernized orchestra with excellent use of SAXOPHONE, GUITAR and the SYMPHONY style VIOLINS. Beautiful and frolicsome Helen dancing effortlessly.
(Singer :- Lata Mangeshkar Lyricist:- Anand Bakshi)
Although this song is submissively filmed on Hema Maliniji but overwhelmingly gamboled on the floor by Helen. The song has WALTZ style ‘rhythm’ and mellifluously orchestrated “interludes” by VIOLINS, GUITAR and ACCORDION. The fabulioius dancing by Helen in all the “interludes” is worth to watch. Ajay Poundarik
Atlanta (Georgia)
USA
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