Cinema of the Week: RAJHATH (1956)-(ROYAL OBSTINACY)
In order to protect their territory and for the purpose of expanding their dominions, the Kings of Ancient and Medieval India, were continually engaged in wars. At the same time the Kings were also trained to be excellent Administrators. To this end, they appointed many officials at all levels. who were loyal and efficient. Important among these were the SPIES who contributed to the safety and security of the Kingdom.
The chief responsibility of these Spies was to travel, sometimes under disguise, to neighbouring Kingdoms to ascertain the strength of their army if war was imminent, so that they could inform their rulers to be prepared for such an event. They also informed their masters about the activities of the numerous officials of the realm, and even about the relatives of the King and in general about the condition existing in their own Empires. The system of Espionage was regarded as extremely important
RAJHATH (1956) is all about a long-standing feud between two Kings that inches closer to battle — unless the love between two of their children can finally silence the dispute. Sent in disguise to infiltrate into rival Royal’s fort, the Princess meets the Prince and a romance forms between them. Is their love strong enough to defeat the age-old animosity that afflicts their families? .It is a Love Story at the Back drop of Royal Espionage and Royal Obstinacy that ends very unusually.
“RAAJHATH” (1956) is Directed and Produced by the Dadasaheb Phalke Awardee Sohrab Modi under Minerva Movietone banner. Apart from directing and producing, he played a significant role in the Film The Movie has Madhubala, Pradeep Kumar, Ulhas,Murad, Kammo etc in it. The story for the film was written by Shams Lucknowi. The Storyline is fairly engrossing and entertaining. Sohrab Modi, is probably the greatest exponent of the Hindi Historicals and he Produced and Directed this Film that manages to tackle what seems to have been one of Modi’s favourite themes—Love versus Honour—but in an unusual way.
A Stubborn king of Jagmer, Maharaja Dalijeet Singh (Sohrab Modi) sends a marriage proposal to Maharaja Baktawar (Ulhas) of Satnapur asking for his son Kumar (Pradeep Kumar) to marry his daughter Raja Beti (Madhubala). The latter refuses his proposal due to a long term rivalry and under suspicion that Maharaja Daljeet is planning to take revenge through this marriage proposal. Enraged by this news Maharaja Dalijeet plans war against Satnapur and sends a soldier Sangram Singh (Murad) to get the route map of the palace. The soldier gets humiliated & killed. Enraged, he instructs everyone in his region to stop all celebrations and prepare for war, while Baktawar is certain that victory is within his reach as no one can penetrate the labyrinth that surrounds his Kingdom. Now Rajkumari Raja Beti and her Sakhi Juhi (Kammo) dons the guise of male dancers/singers, manages to find their way around the labyrinth. There Raja Beti meets Kumar and they both fall in love without knowing each other’s real identity and she gets the Map and gives it to Maharaja Dalijeet. Maharaja Daljeet seeks the blessings of Bhagwan Shiv Shankar and attacks Satnapur.knowing little that nothing is going to go his way.. During the process Raja Beti who was about to kill Kumar realises his true identity and her love for him and he reciprocates the same. Maharaja Dalijeet and Maharaja Baktawar after several discussions agree to their wedding. But Maharaja Dalijeet is saddened that he broke a Royal promise, commits Suicide.
SJ composed some 11 “everlasting” and “immortal melodies” written by Shailendra & Hasrat Jaipuri as under:
1. Aa gayi lo aa gayi main jhoomti-Shailendra-Lata.
2. Aaye bahaar banke lubha kar chale gaye-Hasrat Jaipuri-Mohammed Rafi
3. Antar mantar jantar se maidaan liyaa hai maar-Hasrat Jaipuri-Lata, Usha mangeshkar.
4. Chale sipaahi dhool udaate-Shailendra-Manna Dey.
5. Mere sapne me aana re sajnaa-Shailendra-Lata.
6. Ye waada karo chand ke saamne-Shailendra-Mukesh, Lata.
7. Kaha Se Milte Moti, Aansoo Hai Meri Taqdeer Me –Shailendra-Lata
8. Naache Ang Ang Ang Tere Aage –Shailendra-Lata.
9. Aaja Aaja Nadiya Kinare, Taron Ki Chhainya Tohe Kab Se Pukare –Shailendra-Lata.
10. Pyare Babul Se Bichhad Ke, Ghar Ka Angan Suna Karke –Shailendra-Lata
11. Sun Sakhi More Man Ki Baat, Nadiya Kinare Phiru Pyasi –Shailendra-Lata.
RAJHATH (1956) has some 11 melodious songs as mentioned above and it is difficult to say about every song, Here is an analysis of a song from this Movie penned by Shailendra & rendered by Lata & Chorus.
This is a pure sequential song where the beloved and cynosure of all eyes, the traditional Ghar ki Beti is leaving the parental house and the Sakhiyan, the accomplices of the girl from her childhood who are singing the Bidayi Geet and wishing their friend well in her new life. ”Pyare Babul se bichhadke, ghar ka aangan soona karke, gori kahan chali Ghoongat mein chand chhupaye.” In the Indian tradition, this moment is an epitome of emotional flow. And this moment has been very well captured in this song.
SJ’s brilliant & rhythmic Compostion and Shailendra’s classic Lyricism and sheer Poetry makes us share the loss and the immediate void that is created in the girl’s household. But he also wishes her well for her new life. This song has got to be based on Raag Bhairavi and is set to Keharwa Taal. There is the Shehnai in the prelude setting the tone of Madhubala taking leave of her house and from her dear Babul Sohrab Modi. The Dholak plays a subdued Theka and in the first and second interludes which are different, The Shehnai plays the major role assisted by the Flute and the Violins and the Sitar.
The second interlude specially has the typical SJ stamp with the Shehnai and Sitar combination in the playful mood scripting melody at its best. The first interlude ” Soone Mahal udaas Atari, roothi roothi si Phulwar” brings in Lataji’s solo part ending with the Chorus joining in. The second interlude is different from the first in tune and there also Lataji sings the solo part followed by the Chorus and the mood of pathos pervades the sequence with Madhubala begging pardon for all the mistakes and wrongs she would have committed to her friends and to her dear father. Evidently she would have lost her mother in childhood as depicted by Sohrab Modi standing before her mother’s portrait. The song starts and ends and also in most parts are sung by an all female chorus. Finally with the Shehnai strains in the background Sohrab Modi leads Madhubala to her ” Chanchal ghore pe sawaar Sajan”.
This beauty of a song does bring a tear or two in our moist eyes.
And here is the Youtube Link to the above song-https://youtu.be/IvSdFU1Tjeg