Yeh Raat Yeh Fizaayein Phir Aaye Ya Na Aayein: S Madan

This song sung by Mohammed Rafi and Asha Bhosle is still played in radio. Other songs from the same film –

Munna Taaron Ka Raja, Leke Chanda Ka Baaja Ek Din Jaayega, Dulhan Layega
Mehnath Se Math Darr Bandhe, Himmath Se Kaam Le, In Haathon Mein Sabki Kismath, In Haathon Ka Naam Le

And the theme song of the Film —

Yeh Kaisi Deewar Hain Duniya, Apne Nahi Mil Paathe Hain,
Zulm Tho Yeh Hain Saath Zamin Ke Dil Bhi Bat Jaathe Hain,
Rooth Gaye Hain Bhai Bhai Ghar Ka Aangan Baat Rahe Hain,
Kaun Kahein In Deewano Se Ki Maatha Ka Tan Baant Rahe Hain

These songs were composed by a new composer S. Madan for the Film Batwara (1961). But see the cruel fate that befell on him that even after giving such wonderful music in Hindi film, he came to be known as a composer for ‘Punjabi’ Films. The Hindi film music was bereft of this gifted composer due to the cruelness of the Hindi film industry. The same composer’s songs composed for ‘Punjabi’ Films were plagiarized in Hindi films and earned a name for plagiarizers. However, when the original composer asked for more work in Hindi films, he was told that when they make a ‘Punjabi’ Film he will be considered!

You might be surprised to know that the popular song from Roti Kapda Aur Makaan (1974) Teri Do Takiya De Naukri was composed by this composer for the Punjabi film Mama Ji (1964) – Teri Do Takiya Di Naukri Oh Mera Laakhon Da Saawan Jaandha. There are innumerable cases when the same has happened. Mama Ji was a hit Film of S. Madan which had some other hit songs also :

Na Main Koi Wali Auniya Na Main Koi Por

Chuk Chuk Gaadi Chaldi Jaandhi Aandhe Jaandhe Teher

Tenu Dasiya Ek Gal Sajna Aye Gal Kisi Nu Dasi Na

Juthi Leni Aye Sitariya waali We Sun Harnam Singh We Sun Harnam Singh

This song created a ruckus in Bhatinda. One day the film was running in theatres and two drunkards went there. When the song was performed on screen by Bela Bose, the drunkards created a commotion stating that Bela Bose be removed from the film. She is taking the name of our enemy. If you aren’t taking her out from the film then tell her not to take the name of our enemy. If he wants ‘Juthi’, we can give a garland of ‘juthi’, how much ‘juthi’ does he want? At that time the manager came over there and told them that we have told her (Bela Bose) not to take the name of your enemy from tomorrow onwards and then they settled down on their seats.

Anyway, the composer of Batwara and Mama Ji, S. Madan was born on 7th May 1922 in Monga. During School days while reciting the prayers, S. Madan developed an interest in music. After school, during the college days he started taking part in dramas and also started to win awards not in academics but for his songs as his interest was more in music than in academics. He also started musical training under Ustad Nazir Khan Saheb to improve his talent in 1938. At that time the Lahore Film Industry was at its zenith. To try his luck, Madan used to visit Lahore from time to time. But his family didn’t let him stay there. When the partition happened half of the Lahore Film Industry shifted to Bombay and S. Madan made Bombay his place of residence.

Song writer and Scriptwriter Aziz Kashmiri made him an assistant in Lahore under music director Vinod in 1942. And as an assistant to Vinod, he composed music for films such as Ek Thi Ladki (1949),Ramman (1954), Wafaa (1950), and Sabz Baagh (1951). When Vinod passed away, S. Madan worked as an assistant to Aziz Hindi for films such as Danka (1969). During those days when Pradeep Kumar and Deep Khosla were involved in the making of the Film Police (1958), Deep Khosla met S. Madan. When Deep Khosla heard the tunes composed by S. Madan, he liked them very much and gave him a chance in Batwara. Although the songs for the Deep-Pradeep film Batwara became a hit but the film didn’t. Therefore, the Hindi film industry wasn’t convinced with S. Madan’s capabilities.
 
At the same time a well-known figure in Punjab, Hakim Lal Singh stepped into the production field of Punjab film industry. And he went directly to S. Madan as they both knew each other. The music of film Batwara was playing on streets all over the country. Hakim Lal Singh requested S. Madan to give music for his first Punjabi film Laado Rani (1963) S. Madan wasn’t willing to give music as he thought that if he started giving music in Punjabi films, he would be typecast in Punjab films and would lose opportunities in Hindi film industry. But at the same time, he didn’t want to ruin his relations with Hakim Lal Singh and composed the music for the film. Unfortunately, his worst fears came true. After the success of Laado Rani and Mama Ji, S. Madan became popular in Punjab in every nook and corner and S. Madan was labelled as the composer of Punjabi Films.

Some more Punjabi films to his credit include Sath Saliyaan, Pibaara, Dharthi Veera Di, Khaid Preetha De, Dulha Bhatti, Laiye Thod Nibhaiye, etc. After Batwara, S. Madan got two more Hindi films, but they never went past Muhurat. Mohan Ji Sulibhau, an assistant to Karunesh Kumar, the director of Batwara and Sath Saaliyan was very impressed by the music given by S. Madan in both films and promised S. Madan that if he became a director he would give S. Madan a chance. He fulfilled the promise with the film Sher Khan (1962). S. Madan also composed music of Hindi film Teesri Aankh (1982).

Talking about the composers of today and yesterday S. Madan remarks :

‘Those people (the composers of the old times) used to give importance to melody. It was the time when the hero used to sing his own songs, but still their songs used to get popular. That is the reason that even now Late Saigal’s songs bring in 800 Rupees per month as royalty. At that time, melody was the queen and noise in the name of the orchestra was kept to minimum. In one of my own Films Dharthi Veera Di there was a song Chande Mathe Daagh Ubar Dey Suraj Mathe Shaahiyaan, Dil Da Chehda Suna Sakhna, Bad Bad Kaan Judaaiyaan Dun Tha Aa Jaani had only eight instruments. Four Violins and Dholak, Taar, Shehnaai, Flute and Clarinet.’

The song was sung by Rafi from the film Kafan Leke Nikle Watan De Sipaahi, Kaho Jag Baaja Nu Rokath Tabaahi, Kise Gair De Pair Aive Thikaan, Zamane Di Tareekh Deyve Gawaahi fetched Nehru Award for S. Madan.

In the same way, the song sung by Suman Kalyanpur in Dulla Bhatti (1960) Ankh Na Milaavo, Sanu Kadhe Na Bulaavo, Saade Kol Vo Na Aavo, Budhiya Ke Jasiya Jawaan Hoye Gaye won an award from Chandigarh’s ‘Punjab Natya Sangh’.

Some more hit songs of S. Madan are :

Sath Saaliyaan : Taara Ni Taara Kehdi Galon Rasiya Ne, Aaj Husn Diya Sarkara, Daane Ve Daane Udhe Naal Ki Bolna, Jehde Dukhde Dila De Te Jaane

Pibaara : Haye Luto-Futo Gayi Pyar De, Vaipaar Bich Kat liya Katiya, Gatiyan Ni Ghodiyan Te Bandh Liya, Tatiya Ishqeda Rog Bura

Dulla Batti : Te Kudiyan Di Line Lag Gayi, Ek Phool Mein Pyar Da Satya, Te Ghabru Sat Fut Da, Panj 
Fut Di Kudi Ne Maar Satyaan, Jadho Di Main Tetha Channa Door Door Hoyindha, Saari Raat Jagiya Te Saara Din Royiya

The music of S. Madan can be heard in films other than the Hindi ones including Punjabi Films as Jai Mata Shera Waali (197), Sau Tere Pyar Di and Haryanvi Film Dahej.

Cinemaazi thanks Sudarshan Talwar and Cineplot for contributing this article. It was originally translated from Hindi by Ramaswamy Narayanan.
The poster of Batwara is taken from Cinemaazi archive and was not part of the original article