Tum Joh Mil Gaye Ho – The Path Breaker
This article is written by Mr. Nagesh Sidhanti, a member of Mohammed Rafi fan club Baar Baar Rafi.
An attempt to review â€˜Tum Joh Mil Gaye Hoâ€™ would be incomplete without actually â€˜experiencingâ€™ it, preferably on a rainy day over a long drive and you sure will be transported to a world of intense love and nostalgia.
From the movie â€˜Hanste Zakhmâ€™ (1973), this song is composed by the great Madan Mohan and lyrics penned by Kaifi Azmi. Very few songs in the 70s had such a balanced scope for Lyricist, Composer and Singer/s.
The beauty of Kaifi’s lyrics lies in its beguiling simplicity…whether it was ‘waqt ne kiya kya haseen sitam‘ from Kagaz ke phool or ‘ kuch dil ne kahaâ€™ from Anupama or ‘zara si aahat hoti hai‘ from Haqueeqat or the current song under discussion. Who can be unmoved when you hear Kaifi’s lines like ‘ zinda rehene ki mausam bahut hai magar, jaan dene ki rut roz aati nahin‘ in the song Kar chale hum fida from Haqueeqat?
Kaifi Azmi is known to bring out the best in both composer and singer/s, by his flair for imagery-evoking lyrics. â€˜Tum joh mil gaye hoâ€™ is sung in the context of ‘Somesh’ a rebellious rich boy, who in conflict with his father, ends up becoming a taxi driver ( Navin Nishchal) and a girl called ‘Chanda’ who is coerced into prostitution (Priya Rajvansh)
Listen to Tum Jo Mil Gaye Ho
‘Now that I have found you, it seems I have found the world’ is the conviction of the protagonist who falls deeply in love with this prostitute while taking her from one client to another. Kaifi adeptly envelops the sentiments of the man whose compulsive rebellious instincts draw him close to a girl, whose nature of trade matters nothing to him in the realm of pure love.
Check out these lines:
tum bhi the khoye khoye, main bhi bujaa bujaa
thaa ajanabee zamaanaa, apanaa koee na thaa
dil koh joh mil gayaa hai, teraa sahaaraa
yek naee zindagee kaa, nishaa mil gayaa
The song is picturised mostly with the protagonist driving the girl around Bombay. The girl shifts herself from back seat to the front seat in the second half of the song responding in affirmative to the lines ‘Baitho na door humse, dekho khafaa na ho‘. Kaifi Azmi yet again shows here his trademark compulsion to dovetail lyrics that are devoid of excessive sophistication on one hand and yet so profound on the other….and there is no better example than â€˜tum joh mil gaye hoâ€™.
Madan Mohan’s fondness of songs with haunting qualities is no secret and tum joh is right up there in this category. By early 70s, the film fraternity considered him as a composer with repertoire limited to his title of ‘ Ghazal King’ and he was accused of composing just to live up to his own reputation. Time had come for Madan Mohan to silence his critics with something difficult to emulate. He did it with â€˜tum johâ€™ and how?
A path breaking song, which is a symphonic number comparable in its chord and rhythm changes, to â€˜Bohemian Rhapsodyâ€™ (which was released in 1975 though)…a unique first in the annals of Indian cinema…an orchestration style attempted two decades later by Oscar recipient, AR Rahman in the song ‘ Veerapaandi Kottayile‘ from the movie Thiruda Thiruda.
Madan’s profound understanding of the emotions the protagonist undergoes is reflected in the romantic cry taken in high pitch. The rhythm change between first part of the song and the second, symbolises the coming together of the two when all the socio-stigmatic barriers crumble. Sounds of rain, thunder and tidal waves kissing the shore, simply accentuate the sensuous concoction of intense love, nostalgic mood and soul cry.
One antara ‘Tum kya jaano tum kya ho‘ is designed differently adding surprise value to an already unique song. Madan Mohan thus tunes a song, which even 25 years later makes it to the top 10 list ever in Indian Cinema ( according to recent Frontline magazine public voting).
Mohammed Rafi saab needed no second invitation to grasp the context of the song, unleashing every word with unbridled joy, tugging at your heartâ€™s strings. He translates Kaifi Azmi’s intent and Madan Mohan’s vision into one of the most soulfully intense romantic songs ever. The melody is even more unique because Rafi saab sings each syllable in his inimitable drawl and with stress on every nuance. He captures the essence in the very first line ‘Tum joh mil gaye ho‘ bringing forth an air of grievance for the delay in finding his soul mate. Rafi saab introduces a brief lull just after this opening line, as if he is coming out of a romantic trance.
Rafi saab with his unique technique, picks ‘mil gaya‘ as the key mood word and everytime he sings ‘ mil gaya‘ he somehow packs in the ambience of the entire song, a habit that comes to Rafi saab instinctually. You will actually experience the gleeful expression of the protagonist, when Rafi sings ‘ jaane na doonga‘ with a passionate conviction to embrace his love eternally. The rise and fall of the long notes symbolise the roller coaster ride the characters undergo owing to the unconventionality of their relationship.
In â€˜Tum Johâ€™ I found a new definition for the much celebrated equation, E = MC2, where â€˜Eâ€™ is Experience of music, â€˜Mâ€™ is Melodious delight of Rafi Saab and â€˜Câ€™ is Convergence of three masters.
I havenâ€™t had enough of â€˜tum johâ€™ yet. What about you?