Raj Khosla & Laxmikant-Pyarelal :: Musical Blockbuster “Mera Gaon Mera Desh”
Mera Gaon Mera Desh released in 1971, is a complete movie in itself. The film has a persuasive direction from Raj Khosla, honeyed music streaming with story, by
Laxmikant-Pyarelal, powerful dialogues, story, superb performances by all.
Dharmendra is excellent in his role and plays it superbly. Asha Parekh is good too, Jayant is good as Fauji, Laxmi Chhaya is excellent in her role and the career best performance by Vinod Khanna who those days started as a villain is superb as Jabbar Singh.
Sholey released in 1975 was inspired by Mera Gaon Mera Desh, 1971, in many ways.
— Coin Toss, before taking decision
— Strapped shoulders of Jayant and Sanjeev Kumar. (similar roles)
— Mausi / A K Hangal
— Jabbar Singh (Vinod Khanna) / Gabbar Singh (Amjad Khan)
— Teaching of Gun Dharmendra – Asha Parekh / Hema Malini
Mera Gaon Mera Desh celebrated Golden Jubilee run (50 week) all over India
The songs were / are hit, even today. Once again the rocking combo of Lata Mangeshkar / Laxmikant-Pyarelal jiggles. Lata Mangeshkar has sung all five songs, including four solos.
1 Sona Layi Ja Re …. Lata
2 Mar Diya Jaaye Ke Chhod Diya Jaay …. Lata
3 Apni Prem Kahaniyan …. Lata
4 Aaya Aaya Atariya Pe Koi …. Lata
5 Kuchh Kehata Hai Ye Sawan …. Lata-Rafi.
Asha Parekh lends the glamour quotient but it is Laxmi Chhaya who gives a stellar performance as a nautch girl. A special word of praise for Laxmi Chhaya. She gets to lip-sync to three of the film’s most famous songs—Maar diya jaaye ya chhod diya jaaye, Aaya aaya atariya pe koi chor and Apni prem kahaaniyaan—and dances up a storm in each of them. This film has the best performance from her. She had a regrettably short film career and is not even remembered today. But see her here and you will never forget her. What a natural she was.
Maar Diya Jaaye Ke Chhod Diya Jaay …. Lata
Raj Khosla explained to Anand Bakshi a situation where the hero is tied to a pillar and the girl wants to rescue him. Anand Bakshi was at once reminded of the dialogue between Alexander the Great and King Porus where the former asked the latter !! तुम्हारे साथ क्या सुलूक किया जाए !! “Tumhare saath kya sulook kiya jaye?” And the song Maar diya jaye, ke chhod diya jaye… was born. Laxmikant-Pyarelal have mind-blowingly orchestrated this fabulous song, with 43 seconds of “prelude”, “interludes” and mesmerizing DHOLAK rhythm. Filmed on Laxmi Chhaya Dharmendra-Asha Parekh.
Apni Prem Kahaniyan …. Lata
One of the best “”situational”” numbers you would get to see. It’s a gestural song situation. Raj Khosla has done the best to film this song. The police get no help either, when they arrive in the village “mela”/Fair.. . Nobody is willing to recognize “Dacoit ” Jabbar Singh (VINOD KHANNA) and his gang. Ajit ( DHARMENDRA ) seeks the help of dancing girl Munnibai (LAXMI CHHAYA), to identify Jabbar Singh in a village “mela”. Through the dancing on song, Munnibai is giving many hints of Jabbar Singh’s physic, dress and the location where he is standing…This popular dancing song has a perfect set of village fare. Costumes, Cinematography is excellent.
ANAND BAKSHI, has worded this song according to the situation demand. LAXMIKANT-PYARELAL have decorated this song with mellifluous orchestra arrangements.
Prelude of 75 seconds steals the show, it is orchestrated by using VIOLINS, RAVANHATTA (a violin from Rajasthan), RUBAB, GHUNGROO BELLS and wonderful display of MANDOLIN as well DHOLAK rhythm. Lataji’s take off हाय शरमाऊं किस किस को बताऊं , 4 seconds singing ‘pause’,(at 1.17), highlighting rhythm, followed by 7 seconds rhythmic ‘pause” (at 1.22). Interludes are justifying the village “mela”/fair . First interlude is orchestrated with RUBAB, NADASWARAM & VIOLINS. Second interlude starts with DHOLAK rhythm, NADASWARAM, VIOLINS & finally it ends with RUBAB. Third interlude starts with VIOLINS overlapping sounds of TEMPLE BELLS, CONCH-SHELL, RAVANHATTA and NADASWARAM. The RHYTHM of the song is mesmerizing. LATA MANGESHKAR is simply outstanding..filmed on Laxmi Chhaya. .
Aaya Aaya Atariya Pe Koi Chor Lata
आया-आया अटरिया पे कोई चोर. 49 seconds of ‘prelude’, orchestrated with VIOLINS, RAVANHATTA and NADASWARAM and finally with GHUNGROO BELLS, with many variations in DHOLAK rhythm, is a ‘killer’. In mukhada an awesome ‘take off’ by Lata ji आया – आया अटरिया पे कोई चोर… singing ‘pause’ of 3 seconds (1.00 – 1.03) & the synchronization Lataji’ rendering with the ‘stroke’ of DHOLAK , are ear-pleasing. NADASWARAM / SHEHNAI is awesomely orchestrated in the first interlude. Second interlude is orchestrated with BANJO & SHEHNAI. Third interlude is instrumented with NADASWARAM, FLUTE and SHEHNAI In all the ataras BANJO sound & NADASWARAM are melodiously used in surround sounds.
Kuchh Kehata Hai Ye Sawan Lata – Rafi
Anand Bakshi’s ‘class’ can be heard in this song. Question – Answer. Astonishing DHOLAK rhythm. SITAR, played by Ustad Rais Khan, mellifluously orchestrated in interludes & also as a filler. Singing ‘pause’ 1.29 to 1.31, highlighting DHOLAK rhythm and SITAR. Another singing ‘and rhythmic pauses’ at 2.32 to 2.39, mesmerises you for SITAR. The song is filmed on Dharmendra-Asha Parekh.
Sona Lai Ja Re Lata
Typical LP style composition. 10 seconds of prelude TANPURA is orchestrated. The beauty of the song is DHOLAK rhythm is synchronised with TANPURA, throughout the song. At the end singing ‘pause’ highlighting FLUTE. Very melodious composition. Filmed on Dharmendra-Asha Parekh.
Ajay Poundarik, Vadodara.