This song on Lord Krishna along with its picturization is sure to mesmerize you

Despite the advancement of technology in today’s age of filmmaking, the black and white era continues its supremacy purely in terms of its content. That’s the reason that not only the elderly but also youngsters of every generation continue watching films from that era. One such film that has passed the test of time again and again is filmmaker Vijay Bhatt’s Baiju Bawra, which released in 1952.

Starring Bharat Bhushan in the titular role, the movie, although a musical, tells the story of a young singing sensation Baiju who is eager to avenge the death of his father from Tansen as he considers the musical genius to be the reason for his father’s death. However, Baiju doesn’t want to kill Tansen. He simply wants to defeat him in a musical duel (jugalbandi).

Baiju Bawra is remembered not just for its storytelling and the performances of Bharat Bhushan and his lover Meena Kumari, but also for the legendary composer Naushad’s songs that continue to rule the hearts of music lovers.

Although the movie had quite a few classic songs like ‘Tu Ganga Ki Mauj’ and ‘O Duniya Ke Rakhwale’, one song related to Lord Krishna that’s still considered a classic devotional number is ‘Man Tarpat Hari Darshan Ko Aaj.’ Naushad’s mesmerizing music, Mohammad Rafi’s heartfelt vocals and Shakeel Badayuni’s deep lyrics ensure that it’s heard and sung even today. The way the song reaches a fast crescendo in the end with the words ‘Murli Manohar Aas Na Todo’ provides goosebumps.

Interestingly, this song is a rare case of the music composer, singer and lyricist all being Muslims who created a touching devotional number on a Hindu God.

But along with the audio, ‘Man Tarpat Hari Darshan Ko Aaj’ is also remembered for its picturization, which, according to me, is one of the best ever.

The situation – Baiju’s guru is ill and bedridden. Hence, he is unable to take darshan of Lord Krishna in the temple, which is just below his house. At the same time, Baiju is eager to have darshan of his guru as he considers him as God. So that song has two people eager to have darshan of their respective Gods.

Also read: Why is Krishna affectionately called ‘Ranchhod’ despite fleeing the battlefield?

Baiju’s heartfelt vocals inspires his Guru to get up from his bed and give his darshan to the former and take darshan of Krishna in the temple. How the song achieves this is a mastery of direction from Vijay Bhatt. What’s more noteworthy is Pratap Dave’s editing in the end where a lot of jump shots are used and they provide a tremendous effect. The way we are slowly shown the idol of Krishna is a perfect end to the song. And to achieve such editing in the early 1950s speaks volumes about his skills as an editor.

The audio and video of this song appealed to me even when I saw it in isolation. But when I saw it while watching the film, its impact increased manifolds.

Watch the song: