Song: Aaj Kal Mein Dhal Gaya
Singer: Mohammad Rafi
Film: Beti Bete (1964)
Lyricist: Shailendra
Music Composers: Shankar-Jaikishan
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“Aaj Kal Mein Dhal Gaya” from the 1964 film Beti Bete is a poignant lullaby that evokes a sense of peace, resignation, and quiet melancholy. The lyrics, penned by Shailendra, use the imagery of nightfall and sleep to symbolize the end of a day and perhaps a phase of life. Mohammed Rafi’s gentle and soothing rendition, combined with Shankar-Jaikishan’s melodious composition, creates a deeply calming and reflective atmosphere.
Lyrical Depth by Shailendra
Shailendra, one of Hindi cinema’s greatest lyricists, wrote the evocative lyrics for this song. Known for his simple yet profound poetry, he masterfully uses natural imagery to express deep emotions. The lyrics use the metaphor of night and sleep to convey a sense of closure and acceptance. The song speaks of the day’s end, with everything and everyone settling into slumber. It also touches upon themes of loneliness, waiting, and finding solace in faith.
Shankar-Jaikishan’s Harmonious Composition
Shankar-Jaikishan, a highly acclaimed Indian film music composer duo, crafted the memorable music for this song. Their ability to create melodies that resonate with the audience’s emotions is evident in this composition. The music is soft, melodious, and perfectly suited to the song’s lullaby-like quality. Its gentle orchestration and soothing melody establish a calming and peaceful atmosphere.
Mohammed Rafi’s Singing Intricacies: A Vocal Journey Through Melancholy and Hope
Mohammed Rafi’s performance in “Aaj Kal Mein Dhal Gaya” is a masterclass in emotional subtlety and vocal control, transforming the song into a truly calming and reflective experience.
Initial Stanza: Embracing the Day’s End
Aaj kal mein dhal gaya, din hua tamaam (The day has melted into the past, it’s all over): Rafi begins with a soft, almost whispered tone. There’s a gentle fading quality to his voice, mirroring the setting sun. The “aa” sound in “Aaj” is elongated slightly, creating a sense of drawn-out time. The overall feeling is one of gentle acceptance of the day’s end. In “Din hua tamaam,” the tone remains soft, but there’s a subtle rounding off of the words, signifying closure. The “m” sound in “tamaam” is held just a touch longer, adding to the feeling of finality.
Tu bhi so ja so gayi, rang bhari shaam (You too go to sleep, the colorful evening has gone to sleep): Here, Rafi’s voice takes on a tender, almost maternal quality. The “so ja” (go to sleep) is delivered with a gentle downward inflection, like a soothing lullaby. The phrase “rang bhari shaam” (colorful evening) is sung with a slight touch of nostalgia, as if remembering the beauty of the day that has passed. The repetition of this line adds to the hypnotic, lullaby-like effect.
1st Stanza: Universal Slumber
So gaya chaman chaman, so gayi kali kali (Every garden has fallen asleep, every bud has gone to sleep): Rafi uses a consistent, soft tone, creating a sense of tranquility. The repetition of “so gaya/so gayi” (has gone to sleep) creates a gentle rhythm, like the slow, steady breathing of someone falling asleep.
So gaye hain sab nagar, so gayi gali gali (All cities have fallen asleep, every lane has gone to sleep): Here, the scope widens from gardens and buds to entire cities and streets. Rafi maintains the soft tone but adds a subtle sense of vastness, as if encompassing the whole world in slumber.
Neend Kah rahi hai chal, meri baanh thaam (Sleep is saying, come, hold my arm): Here, Rafi’s voice becomes slightly more inviting and reassuring. The “chal” (come) is delivered with a gentle beckoning quality. “Meri baanh thaam” (take my arm) is sung with a sense of gentle support and comfort.
Tu bhi so ja so gayi, rang bhari shaam. Aaj kal mein dhal gaya. Aaj kal mein dhal gaya (You too go to sleep, the colorful evening has gone to sleep. The day has melted into the past): The lullaby phrase returns, maintaining the tender and soothing tone, and then the refrain repeats, reminding the listener of the passage of time and the arrival of night.
2nd Stanza: Burden and Lingering Hope
Hai bhuja bhuja sa dil, bojh saans saans par (The heart feels extinguished, there’s a burden on every breath): This is where the emotional depth of the song becomes more apparent. Rafi’s voice takes on a noticeable shift, becoming more subdued and heavy. The words “bujha-bujha” (extinguished) and “bojh” (burden) are delivered with a palpable sense of weariness. There’s a slight drop in pitch, adding to the feeling of sadness.
Ji rahe hain phir bhi hum, sirf kal ki aas par (Yet, I am living, on the hope of tomorrow): Despite the sadness, there’s a glimmer of hope in these lines. Rafi’s voice, while still subdued, has a touch of resilience. The word “aas” (hope) is sung with a slight upward inflection, suggesting a faint light in the darkness.
Kah rahi hai chandini, leke tera naam (The moonlight is saying, taking your name): The tone shifts again, becoming more gentle and comforting. The imagery of the moonlight whispering the listener’s name provides a sense of solace and connection.
Tu bhi so ja so gayi, rang bhari shaam. Aaj kal mein dhal gaya. Aaj kal mein dhal gaya (You too go to sleep, the colorful evening has gone to sleep. The day has melted into the past): The lullaby refrain returns, offering comfort and peace.
3rd Stanza: Solitude and Spiritual Solace
Kaun aayega idhar, kiski rah dekhein hum (Who will come here, whose path shall I wait for?): A distinct sense of loneliness and longing enters Rafi’s voice. The questioning tone, combined with a slight hesitation in his delivery, emphasizes the feeling of waiting and uncertainty.
Jinki aahatein sunin, jaane kiske the kadam (Whose footsteps I heard, whose were they): The tone becomes even more introspective and melancholic, as if reflecting on past experiences and perhaps disappointments.
Apna koi bhi nahin, apne hain to Ram (I have no one of my own, only Ram is mine): Here, Rafi’s voice takes on a tone of quiet resignation and deep faith. There’s a sense of finding solace and comfort in spirituality. The delivery of “Ram” is particularly significant, with a gentle reverence and peace.
Tu bhi so ja so gayi, rang bhari shaam. Aaj kal mein dhal gaya. Aaj kal mein dhal gaya (You too go to sleep, the colorful evening has gone to sleep. The day has melted into the past): The soothing tone returns, offering comfort and peace.
Summary of Rafi’s Vocal Qualities
Mohammed Rafi’s singing in “Aaj Kal Mein Dhal Gaya” showcases exceptional qualities:
- Gentleness and Soothing Tone: Rafi maintains a consistently gentle and soothing tone throughout, creating a pronounced lullaby-like atmosphere.
- Emotional Subtlety: He conveys a spectrum of emotions, including peace, resignation, sadness, and faith, with remarkable subtle vocal nuances.
- Clear Pronunciation and Phrasing: Rafi’s impeccable pronunciation and phrasing ensure that every word and line delivers with clarity and precision.
- Seamless Integration with Melody: His rendition is perfectly synchronized with Shankar-Jaikishan’s gentle and melodious music, enhancing the song’s emotional impact.
- Deep Emotional Connection: Rafi connects profoundly with the lyrics, embodying the song’s message of closure, acceptance, and finding solace in faith.
Overall, Rafi’s singing in this song is a testament to his versatility and mastery of vocal expression. He creates a truly calming and reflective experience for the listener, solidifying “Aaj Kal Mein Dhal Gaya” as a timeless classic.
Our valued non-Hindi readers are advised to go through the translation for better understanding of the song.
~ Balwant S. Wadhwani