A retrospect of the Indian cinema during the current year of the celebration of its first centenary, projects before our mind, among other things, the Hindi feature film, Tansen (1943), which was a superlative milestone musical classic.
This film, starring the great K.L. Saigal and the singing heroine, Khurshid as the lead pair, dramatically narrated the story of Tansen, the legendary magical musician and classical singer, who was one of the famous nine jewels (Nau Rattans) in Emperor Akbar’s court in the sixteenth century. This quasi-historical movie, which included artfully created sets representing Akbar’s court and palaces, was directed by Jayant Desai.
Its songs in apt and chaste Urdu and Hindi were written by D.N. Madhok and Pandit Indra and its superlative music was scored by the highly talented maestro Khemchand Prakash, who later earned further acclaim with the music for Mahal (1949) which included the Lata Mangeshkar-rendered ever-popular song, “AAyega aanewaala, aayega”. The dialogues were penned by Madhok and Munshi Dil.
The film opens romantically with a village girl (a shepherdess), Tani, singing “Ghata ghanghor ghor, mor machaawe shor, more sajan aaja” in a forest when Tansen after receiving musical training from Swami Haridas, arrives riding a horse and is impressed by her melodious singing. He admires her voice but suggests a variation in her song’s tune.
The proud girl rejects the suggestion and instead boasts of her singing talent, of which she gives a further demonstration by singing, “Aao Gori aao, aao Shyama aao’, as an effect of which her grazing cows and goats obediently in answer to her call return to her.
In this impromptu and informal singing competition of sorts it is now Tansen’s turn who sings, “Kaahe gumaan kare ri Gori?” to make Tani realize her unjustified conceit. Her challenging mood, however, persists. Then suddenly a mad elephant comes there and chases Tani, who to save herself runs but becomes helpless as her feet get entrapped in the fallen tangled branches of a tree.
As a reflex action Tansen sings, “Rum jhum rum jhum chaal tihaari, kaahe bhai matwaari?” in raag Shankara, under the influence of which the elephant is instantly tamed and becomes harmless. Tani is relieved and in wonder. She is later overwhelmed when Tansen by singing “Baag laga doon Sajni” in raag Bahaar, causes flowers to sprout and blossom on the boughs of the hitherto absolutely dry trees in a part of the forest. The two singers are now in love with each other.
Emperor Akbar has already collected in his court eight jewels or extraordinary persons representing diverse talents and is in search of the ninth jewel specializing in music. As a result of the search parties deployed by him, Tansen is spotted and he is appointed by Akbar to fill the ninth jewel’s reserved chair. His appointment is, however, preceded by his singing a “Dhrupad’ in the emperor’s court with such artistry and mastery that to the great astonishment of the entire court all the stringed as well as percussion musical instruments kept there, start playing by themselves in harmony with his singing.
At the time of Tansen’s parting from Tani in the village for his journey to Agra, the two had rendered a classic romantic duet,”More baalapan ke saathi maina bhool jayio na”. As time elapses, getting no news of Tansen from Agra, Tani goes there to meet him but the guards deny her access to the palatial residence where he is ensconced. When she woefully and complainingly sings “Ab raja bhaye more baalam who din bhool gaye”, Tansen, hearing her voice, rushes out and takes her inside his splendid abode.
Tansen is late for his all-important duty in the royal court as today is the Emperor’ birthday. Annoyed at Tansen’s absence, Akbar dismisses the court. Sensing that Tansen’s love interest will be a hindrance to his whole-hearted devotion to music, the shrewd Emperor with that logic succeeds in persuading Tani to leave Tansen alone for him to master his music and thereby achieve greater glory.
His belief is that all great art has been created by persons with pained and pining hearts. With Tani’s departure Tansen is disturbed and perturbed but on Akbar’s insistence to sing even a melancholic song he vents his unhappiness by singing poignantly”Bina pankh pancchi hoon main kaise ud aaoon main”. Akbar is touched and thanks Tansen for agreeing to continue to be a part of his court.
Thereafter, Akbar’s young daughter falls seriously ill and wishes Tansen to sing raag Deepak. The physicians treating her support the request as they perceive in the raag a sure cure for her disease.
On Akbar’s persuasion Tansen renders the song, “Diya jalaao, jag mag jag mag diya jalaao”in raag Deepak with such concentration and devotion that all the unlit lamps and candles in the royal palace are kindled, bringing in great brightness and a sudden improvement in the princess’s health. Akbar and his courtiers and the princess are all wonderstruck and happy.
The singing of raag Deepak, however, causes an unbearable burning sensation inside Tansen’s body as such indeed is believed to be the effect of singing of this raag. As no cure in Agra helps, Tansen, carried in an open palanquin and accompanied by attendants, moves to other places in search of the remedy for his suffering. After much wandering he reaches near a well where Tani is present along with some other women.
On seeing Tansen and realizing that he is in great pain as a result of singing raag Deepak, she prayerfully and devotedly sings raag Megh Malhaar with words, “Barso re kale baadarwa, Piya par barso”, as a result of which heavy showers pour down drenching and cooling Tansen to the core. Recovering from his excruciating illness, he is happy to meet Tani and on being reunited with her.
Besides the two main roles played so musically and competently by Saigal and Khurshid, there was also the important role of Emperor Akbar, to which the veteran character actor Mubarak did full justice with his acting marked by subtlety and nuances.
Both the film and its songs became extremely popular throughout the then undivided India. The gramophone records of Saigal’s songs sold like hot cakes and were dearer than records of other singers.
An unusual and interesting feature of the film was its introduction at the very outset by a balding and bespectacled Saigal dressed as a gentleman, sitting in a chair amidst studio equipment et al and holding a sheaf of papers. He announced that some changes had been effected in the original story of the legendary Tansen to make it more interesting and sought the viewers’ indulgence for watching the movie in the same spirit.
The audiences accordingly honoured his request and enjoyed the movie immensely. They saw it again and again in the cinema halls, where alone films could then be seen and bought its records to enjoy listening to its melodies through the gramophone, which was a popular home entertainer of those halcyon bygone days.
-PTI Feature
