… She attributed her success to destiny, hard work, sacrifice, her coming across the right people, and making the best use of the opportunities that came her way
She was born on September 28, 1929, in Indore, Madhya Pradesh. Her father, Pandit Deenanath, was a singer and stage actor. Lata and her siblings did not have a good schooling but this was compensated by music lessons. Her first song, at age 12, was for a Marathi film and she first sang for a Hindi film in 1947.
In a career spanning over six decades, she has sung in practically every genre. She was versatile. An iconic figure, her humility and simplicity are legendary. A “Screen” interviewer once asked her over the phone how to call her, Didi, Lataji or by any other name, and she replied: Whatever you’re comfortable with – I’m okay with anything you like.
She attributed her success to destiny, hard work, sacrifice, her coming across the right people, and making the best use of the opportunities that came her way. She never allowed success to go to her head. She always had a good word for others: “There are so many singers who sing a thousand times better than me.” She stopped singing with Mohamed Rafi in the 60s over royalty issues (they patched up later thanks to the intervention of actress Nargis) but when the latter died, Lata said that Rafi’s voice could move mountains and that she admired his knowledge of the ragas.
The individual touch
She knew the value of gratitude and she never missed an opportunity to thank those who stood by her in her difficult times. “It’s all God’s benediction and wishes,” she used to say.
People wonder how she managed to change her voice in relation to the actresses for whom she sang. Lata clarified that she observed their traits, styles and habits, empathized with the characters on the screen, and, with her composers, worked out what would suit them. She also tried to understand the way music directors thought and worked and delivered what they wanted but with an individual touch. She could adjust to co-singers, whether it was Rafi, Mukesh, or Jagjit Singh. She had no difficulty working with musicians as different as Shankar-Jaikishan and Ghulam Mohammad (inhi logon ne le lina dupatta mera, these people have taken away my veil) in “Pakeezah” (1972).
She was self-effacing. To interviewers, she would say “Mai kya hoon? Kuch bhi nahin hoon.” (Who am I? I am nobody.)
Her cult songs
- Ajeeb dastan hai ye (It’s a strange or an unusual tale) was filmed on Meena Kumari in “Dil Apna aur Preet Parayi). It captures the dilemma, pain and resilience of a woman in love with a man who is marrying another woman. Shailendra’s haunting lyrics, Shankar-Jaikishan’s lilting music and Lata’s poignant rendering, without falling into cheap sentimentality, make of this song a real gem.
- Eight people are stranded on an island. They reach an old mansion. One murder follows another. Gumnaan hai koi (there’s someone unknown) written by Hasrat Jaipuri to Shankar-Jaikishans’s music for the thriller “Gumnaam” (1965) is used as a motif. Each time it occurs, it adds to the suspense and sends shivers down your spine.
- Duniya mein ham aye hai to jina hi parega (We’ve to survive no matter how overwhelming the obstacles) penned by Shakeel Badayuni to Naushad’s music evokes inner strength, love for the soil, women empowerment. It bears a symbolical value in a male-dominated world. As a gender-based song, it still has its importance today.
- Ae mere watan ke logon, a patriotic song, has poet Pradeep’s soul-stirring lyrics and C. Ramchandra’s mesmerizing music. Set against the Sino-India conflict, it’s a timeless favourite of Lata herself. It’s a tribute to those fallen in the battlefield. The song holds your attention right from the first syllables and the first notes.
- Ajare pardesi mai to kab se khari iss paar (“Madhumati”, 1958), with Salil Chowdhary’s music and Shailendra’s lyrics, was picturised on Vyjayantimala. It brings it out a girl’s sweet agony of waiting and longing for love. It won Lata the Filmfare Award. She won other Filmfare Awards but she signified her intention to stop receiving them in order to promote fresh talents.
She immortalized actresses
Many films and actors or actresses would have been forgotten had it not been for playback singers. Lata immortalized the actresses she sang for. Producers of average movies relied on playback singers, including Lata, to take their films to new heights. Lata also inspired other female singers.
Ek pyar ka naghma hai (It’s a song of love) in “Shor” or Noise, 1972, with Mukesh and music legends Laxmikant-Pyarelal (the violin accompaniment is captivating), and Tere bina zindagi se koi shikwa to nahin (I have no grouse against life without you, but a life without you is hardly a life) in “Aandhi” or Storm, 1975, written by Gulzar and set to music by R.D.Burman, and sung with Kishore Kumar, are irresistible.
A legend never dies.