Neither Madhubala nor Lata Mangeshkar miss a beat.Ĭhampions of classical world unite to craft this soaring, stirring composition gracing the opening credits of Hrishikesh Mukherji’s compelling Anuradha. When the voice of serenity becomes the voice of defiance, the message is loud and clear. Pyar Kiya Toh Darna Kya, Mughal-E-Azam (1960) Though nothing quite like the original.ġ4. Its poetic sting continues to inspire scenes, scripts and covers. Ajeeb Dastan Hain Ye, Dil Apna Aur Preet Parayi (1960)īetrayal and blessings infuse Lata Mangeshkar’s crushing expression of heartbreak. Chal Mere Ghode Tik Tik, Chirag Kahan Roshni Kahan (1959)įull of curious adventures and fanciful enchantment, Lata Mangeshkar’s affectionate, animated storytelling of the childhood favourite, Chal Mere Ghode hasn’t lost an ounce of its charm.ġ3. But the quivering playfulness she lends to the folksy Bichua is something else.ġ2. Chadh Gaye Re Paapi Bichua, Madhumati (1958)Īlmost every song in the soundtrack showcases Lata Mangeshkar’s brilliance. Chand Phir Nikla, Paying Guest (1957)Ĭhori Chori’s Rasik Balma and Chand Phir Nikla are almost soul sisters but the latter’s tune, turmoil and Lata ji’s trademark touch gives it a bit of an edge.ġ1. A quality she uses to great advantage for V Shantaram’s social reforms drama.ġ0. That shraddha bhav in Lata Mangeshkar’s rendition can turn believers out of sceptics. Aye Malik Tere Bande Hum, Do Aankh Baarah Haath (1957) Lata trills and thrills in this tour de force from Shankar-Jaikishan’s magnum opus.ĩ. Jaa Jaa Re Jaa Balamwa, Basant Bahar (1956) Lata ji picks the desperation and devotion in Chandramukhi’s deep concerns for her unreciprocating beloved in her pitch-perfect delivery of a classic.Ĩ. If Lata ji’s epic prowess in classical music here doesn’t take your breath away, you probably need new ears. The playback queen finds a perfect balance between grand ardour and understated drama in the exquisite notes of Yeh Zindagi Usi Ki Hai. If Madhubala and Dilip Kumar’s intense agony burns the screen, Lata Mangeshkar and Talat Mehmood’s heartfelt understanding of this pain lends it force.īrimming with spirit, sentiment and strength, Lata Mangeshkar’s energetic call for patriotic participation in Anand Math is stuff of goose bumps.ĥ. Seene Main Sulagte Hain Armaan, Taraana (1951) The singer exuberantly conveys the pangs of first love in this Raj Kapoor-Nargis romance leading to the passionate embrace that inspired RK’s historic logo.ģ. Viewers instantly choke up with memories of happier times.Even when a young Lata’s personal style was still evolving, the sheer softness of her singing wasn’t lost on the discerning listener in this haunting beauty for the ages. The song is filmed on the actor burying his daughter’s body, trying to smile as he caresses her still face and offers her a bar of chocolate. In the sad version, Kumar’s voice deepens as the boisterous instruments are pared down to elegiac notes. The actor is shown entertaining his little daughter, and is backed by rhythmic drums, flutes and stringed instruments. Composers Laxmikant-Pyarelal whip up a blissful version in which playback singer Kishore Kumar’s enthusiastic voice is deployed on Amitabh Bachchan. How does one laugh when sobbing interminably? A dependable example of this trope is Rote Rote Hansna Seekho (Learn to laugh when crying), from the film Andhaa Kaanoon (1983). The sad song is designed to remind listeners of the effect of its happier twin. In the long established tradition of Hindi film music, the happy and sad versions are side A and side B of the same song.