Hrishikesh Mukherjee was not just a master filmmaker; he was also a curator of some of Hindi cinema’s most unforgettable music. From tender lullabies to soul-stirring solos, his films brought out the best in every composer, singer, and lyricist he worked with. Collaborating with legends like Lata Mangeshkar, Kishore Kumar, Salil Chowdhury, R. D. Burman, and Hemant Kumar, Hrishikesh Mukherjee’s cinematic vision was always complemented by melodies that linger long after the credits roll. This selection celebrates twelve songs that not only defined his films but also became timeless pieces of Indian musical heritage.
Tere mere milan ki yeh raina (Abhimaan): The music of Hrishikesh Mukherjee brought out the best in every composer, be it Sachin or his son Rahul. Abhimaan is one of Hindi cinema’s most perfect scores, each song bringing out the best in every singer. This duet by Lataji and Kishore Kumar is a little more special than the others for Majrooh Sultanpuri’s lyrics about an expectant couple.
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Haye re woh din kyun na aaye (Anuradha): A rare compositional outing for Pandit Ravi Shankar, every song by Lataji a thing of beauty and a joy forever. Picking this one for its aching recall of a time when life was easier.
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Lagi Nahin chute rama (Musafir): The two Babu Moshai, Salil Chowdhury and Hrishikesh Mukherjee, pulled off the impossible: they got Dilip Kumar to sing with Lataji in Hrishida’s first film. The end result is magical.
Kissi ki maskurahaton pe ho nissar (Anari): Mukesh warbling on the vicissitudes of life for Raj Kapoor. To give the bard his due, Shailendra’s lyrics went a long way in giving long legs to this about what makes life meaningful.
Kuch dil ne kaha (Anupama): With Hrishida, it is impossible to select just a handful of songs from his entire repertoire. Every song in every soundtrack is a classic. Hemant Kumar and Hrishida got together for the film Do Dil and for Anupama in which Lataji whispered sweet-somethings. Kuch dil ne kaha? Kuch bhi nahin.
Maa hi ganga, maa hi jamuna (Majhli Didi): The ultimate ode to motherhood sung by Lataji with the tenderness and fervour of a child offering a prayer to his mother. Hrishida, a huge fan of Lataji, once told me, “She is the soul of my cinema. Her songs define my motivations as a filmmaker.”
Do din ki zindagi kaisi hai Zindagi (Satyakam): Lataji never charged a single penny for her songs for Hrishikesh Mukherjee. Listen to her in this quasi-philosophical number written by Kaifi Azmi, and you will know why. This poignant solo ranks among her 25 greatest renditions of all time. Satyakam was the only film by Hrishikesh Mukherjee to feature songs by Laxmikant-Pyarelal, although the film didn’t need songs.
Kahin dur jab din dhal jaye (Anand): Salil Chowdhury composed this song, which Rajesh Khanna regarded as one of the finest he has lip-synced. I have seen filmmaker Rituparno Ghosh sobbing like a baby while listening to this melody of the ages.
Aane wala pal (Gol Maal): Gulzar, R. D. Burman, and Kishore Kumar. The timeless trio and a song that won’t go away.
Sawan ke jhoole pade (Jurmana): What magic is at work here in this R. D. Burman composition that Lataji sang with a mysterious, melancholic magnificence. Raakhee Gulzar, who lip-synced the number, says she can’t figure out how this composition is structured and sung. “Beyond human comprehension.”
Abke sajan sawan mein (Chupke Chupke): One of the most popular songs from Hrishikesh Mukherjee’s cinema, it is a career-defining moment for Sharmila Tagore.
Koi gaata main so jata (Alaap): A flop from Hrishida. But what a cascade of semi-classical tunes by the underrated Jaidev. This lullaby by Yesudas is the pick of the lot. Hrishida regretted not working with Jaidev more often.
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