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It was in Adalat that he perfected the genre than he came to be best known for – the filmi ghazal. Thankfully for us, Madan Mohan got to compose a film that was right in his sweet spot the very next year - Adalat. However, it could be argued that Madan Mohan did not deliver because the film’s music was not in sync with its comic theme. The film had some great songs, including Manna Dey’s 'Kaun Aaya Mere Man Ke Dware' and Talat Mahmood’s 'Humse Aaya Na Gaya Tumse Bulaya Na Gaya'. In 1957, Madan Mohan scored what is considered one of his best albums - Dekh Kabira Roya. The film’s music may have been even more successful had the film not been prematurely withdrawn from theatres due to a dispute between the film’s producers and distributors. He would proudly relate that Begum Akhtar loved the song so much that she called him long distance and had him sing the song over phone.
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Geeta Dutt’s spirited 'Ae Dil Mujhe Bata De' may have been the film’s most successful song but Madan Mohan’s favorite is the beauty he had Lata Mangeshkar sing – 'Kadar Jane Na'.
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He had 15 films under his baton by this time and had even flirted with acting. Madan Mohan’s first hit score was Bhai Bhai (1956) and came six years after he made his debut for Aankhen (1950). What I will attempt to do is to tell Madan Mohan’s story through 5 songs: A more meaningful list can be found here. Picking five Madan Mohan songs is really an exercise in futility because there are so many gems in his discography. It’s a treasure trove of information on this great music director. Also recommended is the website, run by his family. There are some very cool snippets of Madan Mohan singing tunes while playing harmonium that transition into the end product re-created from those old recordings – Veer Zaara’s songs. However, I do recommend that you check out the making of Veer Zaara’s music emebedded at the end of this post. I didn’t include any songs from Veer Zaara in this post. Madan Mohan’s son Sanjeev Kohli recreated his father’s compositions for the Shah Rukh Khan, Preity Zinta, Rani Mukherjee starrer Veer Zaara (2004), almost three decades after Madan Mohan’s death. Madan Mohan is the only Hindi film composer who is credited as music director for a film whose music was produced and recorded posthumously. While RD Burman’s legacy grew mostly because of his fan base, Madan Mohan’s legacy had help from his family. Towards the end of their career, both Madan Mohan and RD Burman grew disillusioned with their careers and died before they could enjoy the success of their last films – Mausam (1975) for Madan Mohan and 1942 – A Love Story (1994) for RD Burman.īoth Madan Mohan’s and RD Burman’s legacies have grown by leaps and bounds after their deaths. It took them both about six years before they saw their first hit – Teesri Manzil (1966) for RD Burman and Bhai Bhai (1956) for Madan Mohan. Madan Mohan had strained relations with his father and had to build his career without his help.īoth Mohan and RD struggled for many years before seeing some success. It’s another matter that while SD Burman was supportive of RD Burman and his career.
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What isn’t known well is the fact that Madan Mohan’s father Raibahadur Chunnilal Kohli was one of the co-founders of Bombay Talkies and later headed Filmistan. Both Madan Mohan and RD Burman had to work hard to grow out of their fathers’ shadows. You may think it odd, but when I think of Madan Mohan, I can’t help but think about the parallels between his career and RD Burman’s. This week’s piece is on Madan Mohan, with his birthday anniversary coming up on June 25.