‘Shaam-E-Gham Ki Kasam’ ( Footpath, 1953) – Khayyamįootpath was a fine film with some superb acting by Dilip Kumar but remains sadly underrated. The film also had a thoroughly competent version of the song by Asha Bhosle, but Talat’s version completely overshadowed it. Other than being amongst the first few films of Shammi Kapoor before he became a star, the only noteworthy thing about Thokar was the stunning Talat solo, ‘Ae Ghame Dil Kya Karoon’, composed by Sardar Malik and written by Majaz. ‘Ae Ghame Dil Kya Karoon’ ( Thokar, 1953) – Sardar Malik My pick of these three songs is the one Talat sang for an actor other than himself- ‘Mujhe Dekho Hasrat Hi Tasveer Hoon Main’ for Guru Dutt. Considering how good these three songs were, we can only wonder what might have been if OP Nayyar had been more open about his choice of singers. Two out those probably went to Talat only because he played a lead role in it - ‘Sone Ki Chidiya’ (1958). OP Nayyar employed Talat Mahmood for only three songs in his entire career. ‘Mujhe Dekho Hasrat Ki Tasveer Hoon Main’ ( Baaz, 1953) – OP Nayyar Roshan arranged this mellow, free-flowing ghazal beautifully as a piano song and Talat’s singing is the embodiment of a heart filled with desire. Talat’s best for Roshan is easily among his best ever- ‘Main Dil Hoon Ek Armaan Bhara’. ‘Main Dil Hoon Ek Armaan Bhara’ ( Anhonee, 1952) – Roshan In the fast version, Talat’s quiver sounds a little strained but in the slow version he is completely at ease and at his intoxicating best. The film’s winner was easily ‘Ae Mere Dil Kahin Aur Chal’ in three versions- two Talat solos and a Lata solo. When Shankar–Jaikishan decided to use Mukesh as Dilip Kumar’s voice in Daag, it was Anil da who steered them towards Talat Mahmood. ‘Ae Mere Dil Kahin Aur Chal’ ( Daag, 1952) – Shankar–JaikishanĪnil Biswas continued to bat for Talat Mahmood even in films he was not connected with. It may not be their most popular song together but it’s among those that feature Lata and Talat at the peak of their singing abilities. ‘Mohabbat Mein…’ is a sad song with an unusually upbeat and lively arrangement consisting of a piano, saxophone and a sitar.
The other Talat beauty in C Ramchandra’s repertoire was ‘Mohabbat Mein Aise Zamane Bhi Aaye’ ( Sagai, 1951). Talat sang four lovely songs in the film including the brilliant solo ‘Mohabbat Hi Na Jo Samjhe’ which I listed in C Ramchandra’s top 10 songs. Talat Mahmood’s best for C Ramchandra was probably for the film Parchhain (1952). ‘Mohabbat Mein Aise Zamane Bhi Aaye’ ( Sagai, 1951) – C Ramchandra My pick is ‘Shukriya Shukriya’ because it features on screen a dashing Talat, who had an acting role in the film. Talat recorded only a few songs for Anil Biswas after that but they included some truly gorgeous ones like ‘Shukriya Shukriya Ae Pyar Tera Shukriya’ ( Aaram, 1951) and ‘Seene Mein Sulagte Hain Armaan’ ( Tarana, 1951). The result was Talat’s first hit, ‘Ae Dil Mujhe Aisi Jaga Le Chal’. It was Anil Biswas who saw the allure in this tremor and asked Talat to embrace it. The gentle tremor in Talat Mahmood’s singing voice did not find wide acceptance among Hindi film music directors of the time. ‘ Shukriya Shukriya Ae Pyar Tere Shukriya’ ( Aaram, 1951) – Anil Biswas To mark the occasion of his 92 nd birth anniversary on February 24, I list 10 of his most memorable songs with 10 different music directors. His limited mass appeal aside, Talat’s small body of work is of such high quality that he is considered amongst Hindi films’ most important voices. However, his limited range and the decline of ghazals in films in the 1960s and 1970s meant that he could never become as popular as peers like Mohammed Rafi and Kishore Kumar. His understanding of Urdu and his excellent diction in the language made him a natural choice for ghazals in films. Talat Mahmood began his career as an actor-singer and continued to feature in films till 1958 but eventually focused completely on singing. A few popular ghazals later, he moved to Calcutta to try his luck in films. He found success early as an All India Radio singer when he was only 16. Talat Mahmood was one of Hindi films’ most unique voices.
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