Music Review: Ijaazat (1987)

Directed by / LYrics	Gulzar
Written by	Subodh Ghosh (story) Gulzar (screenplay & dialogues)
Produced by	R.K. Gupta
Starring	Rekha Naseeruddin Shah Anuradha Patel
Cinematography	Ashok Mehta
Edited by	Subhash Sehgal
Music by	R. D. Burman
Distributed by	Goldmines Telefilms
Release date	8 July 1987
Running time	137 minutes
Country	India
Language	Hindi

Gulzar, the name itself conjures up class, interestingly, it is not even his real name but the pseudonym he chose to be recognized as. Born as Sampuran Singh Kalra on the 18th of August 1934 in Jhelum, Punjab; he evolved to be a multitalented artist that has carved his name into the echelons of the greats. be it the lyrics that he has written or even the movies that he has made. No one can deny that through his movies, he has always remained very true to real-life with the themes and emotional content of his lyrics and movies, they hit hard, and the as the cliche goes ‘Hits the nail on the head’. Moreso, it is because he truly feels the pulse of his audience and always realizes that no matter what, content has to be meaningful and engaging. this proves to be true with all his written and camera work. During this review, I will keep in mind the content of Ijaazat (the film), but more importantly Ijaazat’s lyrics.

Rahul Dev Burman, also known as Panchamda, was an Indian music director and actor. He is considered to be one the greatest and most successful music director of the Hindi Film Music Industry. From the 1960s to the 1990s, Burman composed musical scores for 331 films, bringing a new level of music ensemble with his compositions. He did his major work with legendary singers Mohammed Rafi, Lata Mangeshkar, Asha Bhosle, and Kishore Kumar. He also worked extensively with lyricist Gulzar, with whom he has some of the most memorable numbers in his career. R. D. Burman was uniquely successful in generating much interest from the rest of the world, with great filmic scores that empowered his singers and musicians. He was a magician that created melodies and tunes that garnered quite the rage – most of which still exists today! The musical arrangements and innovations were limitless, and even now when we hear his creative and melodious tunes, we can sit in wonder at how this man created music.

Ijaazat is probably one of the most prolific movies from Gulzar and R. D. Burman, but why prolific? The soundtrack garnered two National Awards as well as the movie being lauded for it’s not-so-common themes. It was a sensitive score, that encased only one singer – Asha Bhosle; but provided an array of themes with delicate lyrics. This film only had 4 tracks, and it showed that quality over quantity mattered.

There is no doubt that the combo of Gulzar & R. D. Burman was quite spectacular, especially if you analyze the music they had produced. Both are extremely talented artists and have created magic, in their long, prolific careers together. Below are just a few films that they have worked in together and they complemented each other majestically. Here are some of the movies that Gulzar directed with music by R D Burman:

Parichay (1972): Starring Jeetendra and Jaya Bhaduri, this movie features some of the most iconic songs of the 70s, including “Musafir Hoon Yaaron” and “Beeti Na Bitai Raina”.
Aandhi (1975): This movie, starring Sanjeev Kumar and Suchitra Sen, was initially banned by the Indian government due to its perceived resemblance to the life of former Prime Minister Indira Gandhi. The movie’s soundtrack, composed by R D Burman, is still considered one of the best in Hindi cinema.
Kinara (1977): This movie, starring Hema Malini and Dharmendra, features some of the most melodious songs of the 70s, including “Naam Gum Jaayega” and “Ek Hi Khwab”.
Ijaazat (1987): This movie, starring Naseeruddin Shah and Rekha, features some of the most hauntingly beautiful songs of the 80s, including “Mera Kuchh Saaman” and “Katra Katra”.
Libaas (1988): Their final collaboration together, the mystery still continues as this movie has never made it to the cinema halls. Its soundtrack has however been released multiple times through different music labels (its latest being a yellow LP pressing by TIPS music) and it’s another superlative score with gems such as “Khamosh Sa Afsana“, “Seeli Hawa Choo Gayi” & “Phir Kisi Shakh Se“

Tracklist

No.	Song	Artists	Duration
1	Chhotisi Kahani Se	Asha Bhosle	7:16
2	Mera Kuchh Samaan	Asha Bhosle	6:42
3	Katra Katra	Asha Bhosle	6:06
4	Khali Haath Shaam Aayi	Asha Bhosle	4:58
Total Duration			*25:02:00*

This 7-minute 16 sec track almost never made it to the film, before we delve into the details of the track, let me narrate how this track was conceived by R. D. and Gulzar; Meghana Gulzar relates the experience as she accompanied her dad to Pancham’s home:

One afternoon, Papi was over at Pancham uncle’s place, who was cooking and listening to an LP that he had. The song had a particular phrase, which was somewhat repetitive, in a circular sort of way. Pancham uncle was very fascinated by that phrase and kept playing that bit over and over. He asked Papi to put some words to the tune. He extended the phrase by adding a few notes himself and composed another phrase for its culmination. Papi kept filling in the tune with his words. Pancham Uncle asked him to use it in Ijaazat but there was no place for another song in the film. This newly ‘cooked’ song was then used in the title sequence of Ijaazat – ‘Chotisi Kahani Se, Baarishon Ke Paani Se, Saari Vaadi Bhar Gayi…’ were the words on the circular phrase to which R. D. Burman added a musical phrase in his inimitable style, to which the words were – ‘Na Jane Kyun Dil Bhar Gaya… Na Jane Kyun Aankh Bhar Gayi…’
Gulzar, Meghana: Because He Is – https://rupapublications.co.in/books/because-he-is/

The track is replete with visuals based on its instrumentation and the lyrical content. Two situations appear in the mind and the magic of the duo Gulzar and R. D. come forefront here; hear the track in its entirety and think to yourself, what imagery does it conjure up? The lyrics inspire a beautiful rainy day, whilst the composition of the music conjures up the beginning of a journey on a train. We will use both these metaphors when describing the track below. Add to that, that the track has fragments of Raga Bageshree nicely woven into its rhythm and flow and we have a track that is as fresh as it was the first time i can recall hearing it. It was a beautiful summers day in Durban (Coastal area on the east of South Africa) in the late 80’s; we were on holiday and had gone shopping with family to the CBD, this song played through the load speaker at the front of the store, I remember stopping and just listening to the music, and it captivated me, especially Asha Bhosle’s heavenly vocals.

La La La La
Chhoti Si Kahani Se
This Small Tale
Baarishon Ke Paani Se
In the Rain
Saare Vaadi Bhar Gayi…. La La La
Overflows The Valleys… La La La
Chhoti Si Kahani Se
This Small Tale
Baarishon Ke Paani Se
In the Rain
Saare Vaadi Bhar Gayi…. La La La
Overflows The Valleys… La La La
Na Jaane Kyun… Dil Bhar Gayaa
I Wonder Why, But My Heart Overflowed (With Emotion)
Na Jaane Kyun… Aankh Bhar Gayi
I Wonder Why, But My Eyes Welled Up

Shakho Pe Patte The, Pato Pe Boond Thi
The Leaves On The Branches Were Drenched In Rain-Drops
Boondoon Pe Pani Tha, Paani Mein Ansoo The
Water-Soaked Rain-Drops Just As Someone’s Tears
Aaah Aaah Aaah
Shakho Pe Patte The, Pato Pe Boond Thi
The Leaves On The Branches Were Drenched In Rain-Drops
Boondoon Pe Pani Tha, Paani Mein Ansoo The
Water-Soaked Rain-Drops Just As Someone’s Tears
Aaah Aaah Aaah

Chhoti Si Kahani Se
This Small Tale
Baarishon Ke Paani Se
In the Rain
Saare Vaadi Bhar Gayi…. La La La
Overflows The Valleys… La La La
Na Jaane Kyun… Dil Bhar Gayaa
I Wonder Why, But My Heart Overflowed (With Emotion)
Na Jaane Kyun… Aankh Bhar Gayi
I Wonder Why, But My Eyes Welled Up

Dil Mein Giley Bhi The, Pahle Mile Bhi Thi
The Bitterness In Our Hearts Remained From The Time We Met Earlier
Milke Paraye The, Do Hum Saaye The
Even Though We Were Like Each Other’s Reflection, We Still Felt Estranged
Aaah Aaah Aaah
Dil Mein Giley Bhi The, Pahle Mile Bhi Thi
The Bitterness In Our Hearts Remained From The Time We Met Earlier
Milke Paraye The, Do Hum Saaye The
Even Though We Were Like Each Other’s Reflection, We Still Felt Estranged
Aaah Aaah Aaah
La La La

Rukti Hai Thamti Hain, Kabhi Barasti Hain
It Pauses, And Then Continues, Yet It Pours Down
Badal Pe Paanv Rakh Ke, Baarish Machalti Hain
With Its Steps On The Cloud, The Rain Dances Whimsically
Aaah Aaah Aaah
Rukti Hai Thamti Hain, Kabhi Barasti Hain
It Pauses, And Then Continues, Yet It Pours Down
Badal Pe Paanv Rakh Ke, Baarish Machalti Hain
With Its Steps On The Cloud, The Rain Dances Whimsically
Aaah Aaah Aaah

As described above, let me us the imagery I conjured to explain this safar; A train journey amidst the rains passing through soaked valleys and a drenched atmosphere. The guitar strums in the mood, with the clarinet following suit interspersed with wind chimes, but listen carefully, does it not sound like a train that is about to embark on its safar, blowing its horn just before leaving the station? The wind chimes sound like the dew drops falling off the branches, creating a river. Percussion come through with the Maadal and the bass guitar gives flow to the river and the moving train. The prelude progresses into a full-blown river cascading down the valleys with the introduction of the violins and bansuri. R. D. improvises with the star of the song: The accordion which accompanies us throughout the safar.

La La La La La La…. Oh my… Asha Bhosle… we truly have been gifted with her voice, she dazzles in this song, and it truly evokes everything I described above and much more. Her introduction alaap sends out the whistle signals of train and eventually explains the excitement at the wondrous surrounding and mood. Gulzar’s mukhda lyric tells you snippets of the full story, leaving you engaged and asking for more, but more compelling is the composition structure of this introduction. It is layered and compounded by Ashaji’s second layer of humming in between the words, clever and formidable, it gives the song the perfect mood and feel, reverberating in the magical surrounding as the safar continues on. The temperament and mood slightly change when Ashaji sings the line ‘Aankh Bhar Gayi‘ which indicates a tinge of bittersweet emotions in direct contrast to the rest of the song, however in the next few antaras we are given a more to justify the line.

Panchamda cleverly uses the accordion to change between the mukhda and antaras and this cycle continues throughout the song. A short accordion piece takes us to the first antara, listen carefully to what Gulzar is telling us, firstly how it progresses from something magical, ending with a bittersweet tone, and secondly how Ashaji’s vocals encapsulate the emotion; usings her heavenly alaap after the last lyric of the antara. Then again, the accordion takes us to the mukhda.

The following interlude last slightly longer and starts off again with the cyclic pattern of the accordion, then moves to the mellifluous strums of the mandolin with bansuri side by side; the bass guitar and maadal aiding the mandolin / baansuri duo. Violins enter just before the antara begins, and the lyrical content is somewhat darker than the previous antara, but it still conveyed with devastatingly beautiful vocals and alaaps by Ashaji. The lyric probably hints at what ensues after this track (pun intended) is complete.

The final phase of the safar now appears; so far we have scaled happiness and bittersweet emotions, and now it’s the time of excitement, new discoveries to happen as we reach the final destination. Flute / Vilions / Cello / Guitar / Maadal / Mandolin all indicates the approach, especially with the excitement channeled through Gulzar’s final antara lyric. Hear the thoughtful accordion piece, it is now mixed in the percussion and the heavenly alaaps by Asha Bhosle, and then it slowly lowers its tempo at its final destination until the violins indicate a complete halt. The safar is now over. Looking at the title credits of Ijaazat, these visuals are brought to life by cinematographer Ashok Mehta. This track stands at 7 minutes 16 seconds and in the film, it is condensed to just over 2 minutes. It encapsulates Gulzar’s lyrics with visual strength, and especially towards the end where we finally see the two train tracks meeting to the final destination. If you watched the film, you know what this means as Naseeruddin Shah exits the train and enters the waiting room. That was Gulzar’s wisdom, especially the minutest of details that all makes sense when you think about it. R. D. Burman has created many train songs that were especially unique such as ‘Hoga Tumse Pyaara Kaun‘ and ‘Hum Dono, Do Premee‘ from Zamaane Ko Dikhana Hai and Ajanabee respectively and each time creates it within the mood-scape of that particular film and lyrical content. He once again creates that magic with this song.

If there is one word that could emotionally polarise and ‘paralyse’ anyone, it would have to be the word ‘Love‘. In all it’s measures, ‘Pyar‘, ‘Ishq‘, ‘Mohabbat‘ makes a person feel bliss immeasurably, and on the other side of the coin, it can also generate an infinite amount of pain, heartbreak and disdain. ‘Mera Kuchh Saamaan‘ explores the pathos of this disdain with Gulzar’s confounding lyric. For one, it has no rhythmic meter, and most definitely would be a challenge to a music composer, but that was the magic of R. D.; he was able, willing and extremely talented. The famous story about R. D. seeing the lyric and telling Gulzar, that next he’d present him with an article from the ‘Times of India’ and ask him to compose it, where Gulzar also mentioned that he sat in the corner of the recording room anxious to engage with R. D.

It however all paid off! The song won both lyricist and singer National awards but missed the opportunity of awarding the melody maker himself. It would have surely been a feat not achieved before had they also awarded R. D. for this marvelous composition based on Raga Yaman Kalyan. That year the National award for Best Music was awarded to Vanraj Bhatia for Tamas. Asha Bhosle won her second National award for Ijaazat, after winning in 1981 for Khayyam’s wondrous score in Umrao Jaan. Gulzar also won twice for lyrics, for this track and ‘Yaara Seeli Seeli‘ in 1991’s Lekin. The ghazalesque ‘Mera Kuchh Samaan‘ as a milestone for R. D. and the rest of his team, it will always remain a myriad of pathos for those that have understood life. The thought just occured to me that looking at the lyrics, it seems that film ‘The Eternal Sunshine of The Eternal Mind‘ got its premise from this lyric notwithstanding the same film featured three Bollywood tracks on its soundtrack; ‘Mera Mann Tera Pyaasa’, ‘Wada Na Tod’ & ‘Tere Sang Pyar Mein Nahin‘ from Gambler (1971). Dil Tujhko Diya (1987) & Nagin (1976) respectively.

Mera kuchh saamaan tumhare paas pada hai – 2
You still have some of my things (memories)
O sawan ke kuch‘ ‘hbheege bheege din rakhe hain
some rain-drenched days and
Hoo… Aur mere ik khat main lipti raat padi hai
and a burning night folded into a note
Woh raat bujha do, mera woh saman lauta do – 2
Please put out the light of that night and return my things

Mera kuchh saamaan tumhare paas pada hai – 2
You still have some of my things (memories)
Sawan ke kuch bheege bheege din rakhe hain
some rain-drenched days and
Hoo.. Aur mere ik khat main lipti raat padi hai
Hoo.. and a burning night folded into a note
Woh raat bujha do, mera woh saman lauta do – 2
Please put out the light of that night and return my things

Patjhad hai kuchh… hai na ? Hmm..
The autumn is special… Isn’t it?
Hoo. Patjhad main kuchh patton ke girne ki aahat
The rustling of the autumn leaves
Kanon main ek baar pahan ke laut aai thi
I wore like an earing, then I returned it back to the branch
Patajhad ki woh shaakh abhi tak kaanp rahi hai
It is trembling in the autumn wind
Woh shaakh gira do mera vo saamaan lauta do – 2
Break that lamenting branch and return my things (memories)

Ek akeli chhatri main jab aadhe aadhe bheeg rahe the – 2
You once remembered, we were alone under one umbrella, partially soaked
Aadhe sookhe aadhe geele sukha to main le aaye thi
Partially dry, partially damp… I’ve taken the dryness with me
Geela man shayad bistar ke paas pada ho
But perhaps I left my dampened memories behind
Woh brijwa do mera woh saamaan lauta do
Return it to me, and return my memories

Ek sau sola chaand ki raatein ek tumhare kaandhe ka til – 2
One hundred moonlit evenings and the mole on your shoulder
Geeli mehndi ki khushboo jhoot mooth ke shikwe kuchh
The scent of wet henna and the fake complaints
Jhooth mooth ke wade bhi sab yaad kara do
The promises we didn’t mean reminds me of all that
Sab brijwa do mera woh saman lauta do – 2
Return all of that, and my things (memories)

Ek ijaazat de do bas jab isko dafanaungi
Main bhi wahin so jaungi – 2
Grant me one last permission, to bury all these memories, and to sleep beside the memories, forever.

Synth, Santoor and a forlorn Flute plays hypnotically as the introduction to the breezy, melancholic ‘Mera Kuch Saamaan‘; the percussion relents as if it is an anxious heart; light tabla strokes enhances the melody. Sorrowful and in deep thought, Ashaji croons the alaap – this instantly explains Maya’s state of mind. Anuradha Patel portrays Maya’s character with verve onscreen, and here too we can feel her heart. Asha Bhosle sings the alaap based on the chalan of Raga Yaman Kalyan. The free verse begins, and Ashaji tugs at our heartstrings. Gulzar in his genius describes memories as things, for if one has truly loved you and then discarded you, were your memories not just things?? The thought itself is cavernous, especially its impact in repetition; i’ll explain as we go along. Firstly, lets discard the Mukhda and Antara structure (as is usually ‘married‘ in a song). Read that again and understand what R. D. Burman was adding to this song. Between each stanza, the only common thread is the word ‘Saamaan‘ and the crescendo of the of the melody. Let’s in fact treat every stanza as a ‘separate’ antara. The first stanza is repeated twice, but hear the intonation change on the second repetition. Ashaji stresses on specific words that create a profound influence. In this stanza it is on the words ‘Saamaan‘ and ‘Tumhare‘; with the crescendo coming in at ‘Aur mere ik khat main lipti raat padi hai‘. First and last lines in these stanzas have been repeated twice for impact and relaying the message to Mohinder (Naseeruddin Shah’s character)

The message intensifies as the lyric progresses, a quick Santoor interlude and Maya reminds Mohinder of the Autumn, bur hear how Ashaji renders the question, it’s like a secret between two lovers whose mind would immediately be drawn to that memory, there’s almost a hint of nostalgia as she hums the line. The Sarod expands the interlude giving way to Pt. Ulhas Bapat to amplify his Santoor in the Raga Yaman Kalyan chalan with a sweetly tuned meend. The percussion continues quivering anxiously in a constant mode. Maya tells Mohinder a bit more about the ‘Autumn’ in her song, and explains her memories, hitting the crescendo in ‘Patajhad ki woh shaakh abhi tak kaanp rahi hai‘; stressing on the final line with repetition once again; this time she asks Mohinder to ‘break’ that memory and return it (Saamaan) to her. Gulzar creates a flaming burn with that line alone, as if asking: ‘Why create that memory in the first place?’ Ashaji’s rendition is brilliant, we feel every tear that Maya cries through her voice. Can it get more intense that this?

Yes, it most definitely can! The interlude hypnotically traverses back to the twilight mood of the Santoor and a dusky clarinet; Sarod and flute accompany further on. The first line of this stanza is repeated twice, in contrast to the rest of the song, but what does it mean? The meaning is reiterated through the repetition, Maya wants Mohinder to understand what it meant to stand under the same umbrella, partially soaked., how it made her feel! Ashaji is heavenly here, though dejected by thought and lyric, it is superbly maintained with a pitch perfect tone. No wonder Ashaji won the National Award for this song; listen to it with your eyes closed and beating heart. There is no repetition of the last line of this stanza, only because you hear how hurt she sounds saying it again. I ask once again; can it get more intense?

Flute, Santoor and Sarod continue to spellbind us; flowing through Maya’s heart and leading us to her final and most intense ‘Saamaan‘(memory), we can, only but listen and smile as Maya relates their most personal memories. She describes it as One hundred Moonlit nights and the mole on his shoulder; she repeats that line twice, and the second time it’s almost as if she is crying. Gulzar again in his genius uses the line ’Geele Mehndi Ki Khushbhoo‘ to hint at what Maya thought would be the outcome of their union, and in the very next line explains it implicitly. the crescendo in this stanza comes in at ‘Jhooth mooth ke wade bhi sab yaad kara do‘. The final line is repeated twice again, but only as feeling of rising up after realizing ‘she’ has lost affirming once again: ‘Sab brijwa do mera woh saman lauta do‘ – but the irony remains because how do we erase our memories? The final lyric accepts this defeat, and it is seeped in mournfulness; If we cannot erase those memories, we have to ‘bury’ them. Its not hard to wonder this song has so many haunting qualities; not only the fun facts around the making of the song, but also the way it was composed, rendered and received.

Granted that context is given, almost everything makes sense, so let us give context to Katra Katra; Sudha, played vivaciously by Rekha, is married to Mohinder, who married her out of compulsion. He is however in love with Maya (as described in the previous track); Sudha knew all of this before getting married, but she still loves Mohinder and goes ahead with the marriage. This is a pyrrhic triumph for Sudha, and we get to see her triumph in the form of Katra Katra. Gulzar handled the story by Subodh Ghosh with utmost maturity, and the film doesn’t digress to loud screaming battles and long-drawn-out courtroom divorces etc. The characters are mature enough to accept their fate and understand what needs to happen to move on – It’s a life lesson to all actually – the fact that we cannot control people and that emotions are innate is more than enough to understand Ijaazat. In Katra Katra Gulzar focuses on Sudha and give her love a description that aptly matches the character development.

Interestingly enough, while recording this song based on Raga Bhairavi, R.D. Burman had asked Asha Bhosle to leave certain lines at points that seemed incomplete. When a puzzled Gulzar had asked him about it, the composer had brushed him aside. In the final form of the song, he “filled up” the song by mixing two vocal tracks by Asha Bhosle to create a unique harmony. He then offered this song as a challenge for Gulzar to film. Gulzar had given Burman difficult lyrics to compose to in “Mera Kuchh Saamaan” and he got back at the lyricist, who was also directing the film, by giving him a song that was not easy to shoot!

Katra-Katra Milti Hai, Katra-Katra Jeene Do
Drop By Drop, It’s given to me (Moments), Let Life Happen Drop-By-Drop (Moments)
Zindagi Hai (Zindagi Hai), Bahne Do (Bahne Do)
Such Is Life (Such Is Life), Just Let It Flow (Let It Flow)
Pyaasi Hoon Main, Pyaasi Rahne Do (Rahne Do, Na)
If It Leaves Me Thirsty, Let That Be So (Just Let It Be)

Kal Bhi To Kuchh Aisa Yeh Hua Tha, Neend Mein Thi, Tumne Jab Chhua Tha
Do You Remember What Happened Yesterday? I Was Deep In Sleep When You Touched Me.
Girte-Girte Baahon Mein Bachhi Main, Sapne Pe Paaon Pad Gaya Tha
It Made Me Start, And I Almost Fell In Your Arms On Stumbling Upon A Dream
Sapnon Mein, Bahne Do
Just Let Me Live In This Dream
Pyaasi Hoon Main, Pyaasi Rahne Do
And If It Leaves Me Asking More More, Let That Be So!
Katra-Katra Milti Hai, Katra-Katra Jeene Do
Drop By Drop, It’s given to me (Moments), Let Life Happen Drop-By-Drop (Moments)
Zindagi Hai (Zindagi Hai), Bahne Do (Bahne Do)
Such Is Life (Such Is Life), Just Let It Flow (Let It Flow)
Pyaasi Hoon Main, Pyaasi Rahne Do (Rahne Do, Na)
If It Leaves Me Thirsty, Let That Be So (Just Let It Be)

Tumne To Aakaash Bichhaaya, Mere Nange Pairon Mein Zameen Hai
You Have Given Me The Sky To Walk On, But My Bare Feet Are Still On The Ground.
Paakhe Bhi Tumhari Arzoo Ho Shaayad Aise Zindagi Haseen Hai
Life Is A Lot More Beautiful, When I Still Long For You When You’re With Me
Arzoo Mein, Bahne Do
Let Me Live In This Desire
Pyaasi Hoon Main, Pyaasi Rahne Do
And If It Leaves Me Thirsty, So Be It
Katra-Katra Milti Hai, Katra-Katra Jeene Do
Drop By Drop, It’s given to me (Moments), Let Life Happen Drop-By-Drop (Moments)
Zindagi Hai (Zindagi Hai), Bahne Do (Bahne Do)
Such Is Life (Such Is Life), Just Let It Flow (Let It Flow)
Pyaasi Hoon Main, Pyaasi Rahne Do (Rahne Do, Na)
If It Leaves Me Thirsty, Let That Be So (Just Let It Be)

Halke-Halke Kohre Ke Dhuen Mein, Shaayad Aasmaan Tak Aa Gayi Hoon
(Walking) In This Soft Mist Of Fog, Looks Like I’ve Touched The Sky
Teri Do Nigahon Ke Sahaare, Dekho To Kahaan Tak Aa Gayi Hoon
Guided By Your Eyes, Look Where I’ve Reached
Kohre Mein, Bahne Do
Now Just Let Me Float In This Mist
Pyaasi Hoon Main, Pyaasi Rahne Do
And If It Leaves Me Thirsty, So Be It
Katra-Katra Milti Hai, Katra-Katra Jeene Do
Drop By Drop, It’s given to me (Moments), Let Life Happen Drop-By-Drop (Moments)
Zindagi Hai (Zindagi Hai), Bahne Do (Bahne Do)
Such Is Life (Such Is Life), Just Let It Flow (Let It Flow)
Pyaasi Hoon Main, Pyaasi Rahne Do (Rahne Do, Na)
If It Leaves Me Thirsty, Let That Be So (Just Let It Be)

Flute notes and Guitar strums cycles twice introducing Katra Katra to the percussion as a kick start – the bass guitar leads on and a flute melody (with violin) that scales a mountain (aaroha) and then a Cliff (avaraoha), it is already picturesque. Sudha is happy and we can feel it. The music flows like a thought from her heart to her mouth – the mukhda in form of Katra Katra Milti…., sweet and surreal; immortally vocalized by Asha Bhosle. Ever heard the phrase ‘Carpe Diem‘? – this is Gulzar’s style of describing it. Sudha is content with these moments to keep her heart beating, fully aware that Mohinder has set his heart elsewhere. But the moments will still keep happening despite anything and that’s what motivates her. We hear these ebbs and flows through Ashaji’s superb rendition especially in the last two lines of the Mukhda. R. D. created a sort of thought and answer theme with the play on the double vocals. the second set of vocals in each line (described in brackets above) are the answers to the thought just before it.

Synth enhances the first interlude, with an exhilarated violin strum almost as if on the peak of a roller coaster nearing the descent, this leads to a wondrous santoor piece, and cue Asha Bhosle to continue this whirlwind of thought, asking her lover if he remembers what happened yesterday as if in a dream as the antara begins. The flows of the vocals are like a rapturous river, clear in its flow and with no inhibitions; it flows back into the mukhda beautifully.

The next interlude begins with the Maadal creating a unique percussion pattern but hear Asha’s vocals linger on in this interlude from the previous antara; hauntingly. A flute is added, violin strums again take us to the peak of Sudha’s emotions. She explains the heights the moments have lifted her to, even with her feet on the ground. Gulzar ties in this maturity quite nicely, with this lyric, and reminds Sudha that she has to contend with reality, and to grab every last moment fully. The flow back into the Mukhda, hear how R.D. uses the last vocal portion of ‘Pyaasi Hoon Main, Pyaasi Rahne Do’; it lingers hauntingly into the mukhda.

From dreaming, to floating in the sky, and now Sudha has to navigate her life through the clouds, it’s almost surreal but it is actually real. Violins immediately creates a heightened feeling, along with flute and santoor. A montage of backing chorus gives an angelic hum and adds to the fantasy. Asha Bhosle’s rendition has been fantastic throughout; she gives a much-deserved excitement and life to Sudha’s character. The mist might block her view, but she is still grateful for her moments with Mohinder, and together they will endure the mist (Maya).

This track is the pièce-de-résistance of Ijaazat in my opinion, it shows R. D.’s command over classical music and he does it with panache. ‘Khali Haath Shaam Aayi Hai‘ is based on Raga Pilu, the opening mukhda is inspired by S. D. Burman’s ‘Ami Chinnu Eka Baashor Jaagaye‘ and the rest is R. D.’s genius innovation with the swaras of Raga Pilu. Each instrument is given a chance to exemplify the message that Gulzar so poignantly wrote, coming to life in Asha Bhosle’s vocals. The genius trio have committed to giving a spectacular end to a superlative album.

Sudha has just walked out of her marriage, unable to come to terms with Mohinder’s love for Maya, despite many attempts at understanding and sacrificing her emotions. Everywhere she turns, there are hints of Maya in her marital home. Sudha makes a conscious, mature decision to just leave and start over again. But it is never that easy; her emotions are still there and who can get rid of unrequited love so easily? Not even the bravest of warriors can do this. Sudha composes her ill-fate in the form of Khali Haath Sham Aayi so solemnly beautifully, in her solitude. At this point in the film, Mohinder has gone to Maya (after her attempted suicide) and tries to nurse her back to health leaving is his marital home ‘Khali (Empty)’

Khali Haath Shaam Aayi Hai
The Evening Has Arrived Empty-Handed
Hooo… Khali Haath Shaam Aayi Hai
The Evening Has Arrived Empty-Handed
Khali Haath Jaayegi
And Will Depart Empty-Handed
Khali Haath Shaam Aayi Hai
The Evening Has Arrived Empty-Handed
Aaj Bhi Na Aayaa Koi – 2
Noone Has Come To Console Me Tonight – 2
Khali Laut Jaayegi
And Will Leave Desolate (Lost)
Khali Haath Shaam Aayi Hai …
The Evening Has Arrived Empty-Handed

Aaj Bhi Na Aaye Aansuu , Aaj Bhi Na Bheege Naina – 2
Today Also, My Tears Do Not Well Up, My Eyes Are Moist No More – 2
Aaj Bhi Ye Kori Raina – 2
Once Again The Long, Blank Night
Kori Laut Jaayegi
The Long, Blank Night, Will Turn Away Untouched
Khali Haath Shaam Aayi Hai …
The Evening Has Arrived Empty-Handed
Khali Haath Jaayegi
And Will Depart Empty-Handed
Khali Haath Shaam Aayi Hai
The Evening Has Arrived Empty-Handed

Raat Ki Siyaahi Koi, Aaye To Mitaaye Naa – 2
The Night Dark As An Ink Stain, Will Not Be Erased With His Arrival -2
Aaj Naa Mitaayaa To Ye – 2
If Not Erased Tonight – 2
Kal Bhi Laut Aayegi
The Darkness Shall Surely Return Tomorrow
Khali Haath Shaam Aayi Hai …
The Evening Has Arrived Empty-Handed
Khali Haath Jaayegi
And Will Depart Empty-Handed
Khali Haath Shaam Aayi Hai
The Evening Has Arrived Empty-Handed
Aaj Bhi Na Aayaa Koi – 2
Noone Has Come To Console Me Tonight – 2
Khali Laut Jaayegi
And Will Levae Desolate (Lost)
Khali Haath Shaam Aayi Hai …
The Evening Has Arrived Empty-Handed
Khali Haath Jaayegi
And Will Depart Empty-Handed
Khali Haath Shaam Aayi Hai
The Evening Has Arrived Empty-Handed

The drone of the Tanpura sets the mood with the Synth and Swarmandal creating a spectral feeling and atmosphere, the most beautiful guitar piece exonerates that feeling bringing in the Mukhda, sung so regretfully sweet by Asha Bhosle. R. D. introduces the percussion in Kaherwa Taal, with light adornments of Santoor behind Ashaji’s vocals; the flute emerges and extends on Sudha’s woeful lament.

The flute continues into a full set piece of the aroha and avaroha of Raga Pilu, in the first interlude; hear how it plays an extension of Sudha’s deep thoughts after each lyric of the first antara with light guitar strums. Gulzar creates a lamenting thought through his lyrics, Sudha is feeling downright trodden, and she is human after all; but there is no one to console her. The irony of sacrificing your life for someone, without expecting anything in return. Rekha is amazing onscreen, and even though Gulzar filmed it in a stark, dark expression, the emotions Rekha captures onscreen are embedded in our mind.

As the next antara begins, Santoor infused Guitar strums akin to thoughts play out that leads to decision in the form a Sitar solo, and yet again the lamenting flute. Sudha finally accepts her situation, knowing fully well that even if someone arrives, they will never be able to console her for the emotional trauma she has suffered, because the evening shall surely return tomorrow, it is inevitable. Asha Bhosle masterfully conveys this message with R. D.’s play on the line lyric repetition, together they made a formidable duo and Ijaazat cemented that. The track ends with the flute, santoor and guitar trying to ignite a spark to the low burning flame of love but ends up extinguishing it.

Ijaazat might have not been a hit in its initial release, but as years grew on, the audience realized why this movie was so ahead of its time. Rewind to the 80’s, there was a lot of deadwood coming out Bollywood, loud and action-oriented films were the order of the day. Art cinema did have a few gems, but these were far and few in-between; Thanks to Gulzar and R. D. Burman, Ijaazat somewhat bridged the gap. Gulzar handled the film with utmost sensitivity and maturity; The three main characters were etched out beautifully with clear arc progression. Rekha’s sublime performance as Sudha has to be lauded for her effortless histrionics. Anuradha Patel as Maya fits the description and brought the necessary spice without bloating the narrative. Naseeruddin Shah’s Mohinder should teach us all something about making a decision and staying true to it; he, in fact, was the loser at the end for not honoring his word(s). A humungous part of this film’s success in owed to the fourth Main character. R. D. Burman’s music: he had given Asha Bhosle soul-stirring melodies that remain eternal. The fact that she sang for both Sudha and Maya and capturing both of their souls so fluently is testament to her and R. D.’s art. Interestingly Ijaazat has both Shammi and Shashi Kapoor working for the first time in a Gulzar film in guest appearances. Utsav, released in 1984, had both Rekha and Anuradha Patel, but here their roles were swopped, as Rekha was the other woman; Ijaazat also highlighted that as a change for Rekha as she had played ‘The other woman’ in many earlier films. We know that Gulzar also had other actors in mind for Mohinder and Maya – he initially wanted to cast Sanjeev Kumar as Mohinder and Smita Patil as Maya, but by the time the film has released, both these stalwarts were no more.

The music of Ijaazat has lived immortally and only grew on the audience as time went by. It has now been 36 years since the release of the film, and we are still writing reviews on the soundtrack. It is therefore not a wonder that the Original LP release of Ijaazat sells for crazy cash. It has become an item to cherish, and HMV knew that they released a quality LP with superior sound that captures all the nuances that Panchamda has intended for us listeners. Ijaazat score a complete 10 out 10 stars for its sheer genius and everlasting appeal.

The singer that features in Ijaazat: