We all love historical films of Raja-Rani, even though their story does not have much to do with reality or history, except that they pertain to well-known historical figures set in a defined period in history. These films showed the grandeur of the palace and the royals’ life style. Sohrab Modi acquired larger than life image for his great historical films like ‘Pukar’ (1939) and ‘Sikandar’ (1941). You can relate to them because they were about well-known legends associated with them. The former about Jahangir’s sense of justice in which he is willing to submit himself to the same punishment as would have been given to a commoner, and the latter about the famous legend of King Porus holding his head high even in defeat – when asked by Alexander how he should be treated, Porus replied, “Just like a king treats another king”. We also feel happy to be a vicarious witness to an important fixed point in history – 326 B. C. which I consider the beginning of our formal historiography.

The same applies to the Mughals in Bollywood on whom D P Rangan has written an excellent article. There are legends galore about them and their royal ladies – a goldmine for Bollywood. These movies’ slender connection to history is that the principal characters are from known history. We can’t say the same for the stories – these may be well-known folklore, but not necessarily historical facts.

I am most troubled by the other Raja-Rani films, and there must be dozens of them. We have been an independent country for 73 years and a republic for 71 years, therefore, when I watch a film like Aan (1952) I am curious which period or location it belongs to. Rajkumar (1964) was a Raja-Rani film. and there was a Rani Sahiba as late as in 1980 in Karz. We know there were about 550 princely states, but surely there were famous ones like Jaipur, Jodhpur, Udaipur, Gwalior, Baroda, Patiala, Rampur, Hyderabad, Awadh which played an important role in history. I gave up because there were so many Raja-Rani films of indeterminate place and time, and the experts I knew were as clueless as I was.

But I am delighted by Raja-Rani songs of ‘O mere Raja, O meri Rani, khafa na hona’ type. Raja-Rani are not kings or queens, these are colloquial endearing terms to address one’s lover or beloved. Raja has another very specific usage – in a raunchy folk song-dance performance the singer, who may be a transgender, would often address an inebriated person ‘Ae Raja’ suggestively to make him shower some currency notes on her. The courtesan would often address a rich patron, or a lover, ‘Raja’, which had nothing to do with a royal lineage, but simply a term of endearment – sometimes genuine, but often a part of her performance repertoire.

The Vintage Era was the heyday of Raja-Rani songs. One of the roaringly famous vintage songs one immediately recalls is, ‘More Raja ho le chal nadiya ke paar/ Mori rani ho tumhin mori pran aadhar. Raja-Rani were very socialist, egalitarian terms. In Patanga (1949), the traffic constable Yaqub was Raja, and Nigar Sultana, a street performer helping her father in earning their livelihood, was Rani. Since they were Raja and Rani, they naturally hit it off like a house on fire.

Raja-Rani songs are delightful because they are history-neutral and status-neutral. Let me present some of my favourites.

1. Humein bhool mat jaiyo Rajaji by Zohrabai Ambalewali and Aziz from Shahenshah Babar (1944), lyrics Pt Indra, music Khemchand Prakash

This has been a most fascinating discovery during my blogging years. The lady pleads her ‘Rajaji’ not to forget her, and warns him of all the enchantresses in different directions. You will never come across a more compliant ‘Rajaji’ who assures her that he is going only because of call of duty, his heart will remain with her. He even promises he would not go to panghat even when he is thirsty, he would quench his thirst by her memories.

2. Ab Raja bhaye more baalam wo din bhool gaye by Khursheed from Tansen (1943), lyrics DN Madhok, music Khemchand Prakash

(Tani) Khusrheed’s Tana (KL Saigal) has gone to Akbar’s court; for all practical purposes he has himself become a royal, and she sings a sad song for the lover who has become a ‘Raja’.

3. O bhangiyo ke raja mera nanha sa dil bahla ja by Ram Kamlani and Shamshad Begum from Doosri Shadi (1947), lyrics IC Kapoor, music Govind Ram

Full blast Punjabi School’s song with equally funky lyrics.

4. Kabhi yaad karke gali par kar ke chali ana hamaare anagana by Chitalkar and Binapani Mukherji from Safar (1946), lyrics Gopal Singh ‘Nepali’

I think there was something of a Raja – the ‘bindas’ lover – in the personality of C Ramchandra, if you go by information on him, or excerpts from his banned autobiography, available in public domain. And fittingly, he created at least two immortal Raja-Rani songs in the vintage era. Veteran SOY-ers would recall that at the invitation of her lover to cross the threshold of his courtyard, the lady unhesitatingly responds, Raja more man ke tori Rani ban ke chali aaun tumhare angana.

5. More Raja ho le chal nadiya ke paar by Rafi and Lalita Deulkar from nadiya Ke Paar (1948), lyrics Moti B.A., music C Ramchandra

This is the second everlasting song composed by C Ramchandra I was referring. This time the lady beckons her lover to ferry her across the river, and he is oozing intense love, Mori Rani ho, tumhin mori pran adhar.

6. Main akeli Raja aa ja sanwariya kaise baaje muraliya by Nirmala Devi from Geet (1944), music Naushad

The year 1944 has become synonymous with Rattan; it would be a surprise for many of us that he composed music for another film in the year. That was a period when Naushad was fishing around many singers before he would finally settle with Lata Mangeshkar in a big way, and perhaps Shamshad Begum to some degree. Nirmala Devi, a classical singer sings this courtesan-style song in a very impressive way, this is a song of lament that she cannot play her music in the absence of her ‘Raja’.

7. Muskurate ho kyun itaraate ho kyun abhi to pehli pehchan hai Raja by Geeta Dutt and AR Oza from Pehli Pechan (1947), lyrics Pt Indra Chandra, music Hansraj Behal

Here is a beautiful Raja-Rani song sung by Geeta Dutt and AR Oza, who sounds uncannily similar to Mukesh. I doubt that HFGK credit may be wrong and the singer might be Mukesh himself.

8. Nazar laagi Raja tore bangale par by Asha Bhosle from Kala Pani (1958), lyrics Majrooh Sultanpuri, music SD Burman

This is a proper courtesan song when the patrons went to her to be entertained, and some to forget their worries. For her they were all her ‘Rajas’ – to make them feel important for her.

9. Hamaar kaha mana Rajaji by Usha Mangeshkar and Asha Bhosle from Dulhan Ek Raat Ki

Madan Mohan gives a makeover to the traditional bandish by composing it as a fast-paced dance duet, picturised on Helen and Laxmi Chhaya at a marriage function of Dharmendra and Nutan.

10. Hamar kahi mano Rajaji by Begum Akhtar

Music lovers will recall that Madan Mohan’s great favourite Begum Akhtar had sung this traditional dadra in her own inimitable style. Please note she says ‘kahi’ instead of ‘kaha’. and there is a pathos in her pleading with Rajaji. She also warns him of the dangers of going to distant lands. This is the same concern as in song #1, which was a duet. There the Rajaji was also at hand to assure her that he would take all due care. Begum Akhtar has no such comfort, as such the sadness in her voice is palpable.

11. Phulgendwa na maaro Raja, lagat karejawa mein chot by Jaddanbai (Bhairavi thumri)

We are familiar with this traditional Bhairavi thumri, thanks to Manna Dey’s version sung in a comic style, picturised on Agha in the film Dooj Ka Chaand (1964), composed by Roshan. The connoisseurs of classical music would have heard the legendary Rasoolan Bai’s signature piece. I came across this version by Jaddanbai which became roaringly popular in its time. We know her primarily as the mother of Nargis, and as one of the earliest female music directors of Hindi films – her Talash-e-Haq (1935) predating Saraswati Devi. For the record, now we know that they are both preceded by Bibbo (Ishrat Sultana/Jahan?) who gave music for Adal-e-Jahangir (1934). But I don’t want to digress to this trivia. You will notice a special feature of Jadanbai’s rendering – an emphasis on Raja, which adds pathos to the plaintive pleading repeated in many different ways, which is the hallmark of thumri singing. Even a heartless patron would stop and realise that he has to soothe her hurt ‘karejawa’. Which flippant Casanova can walk away from the आर्त्त पुकार – राजे निर्मोहिया दरदिया न जाने मोरा. After this thumri my esteem for Jaddanbai has gone several notches higher. The uploader has put a picture placing her along Siddheshwari Devi, Rasoolan Bai, Badi Moti Bai etc. I am not surprised, she got training from the legendary thumri singers Moujuddin Khan and Ustad Barkat Ali Khan (brother of Ustad Bade Ghulam Ali Khan).

Disclaimer and Acknowledgement

The video links of songs have been added only for the listening pleasure of the music lovers. This blog claims no copyright over these songs which rests with the respective owners such as Saregama etc.

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