After reading Dev Anand’s autobiography Romancing With Life, I was astonished to find no mention of Mohammed Rafi. So, in 2008, I asked Dev Anand, “Dev saab, why is there no mention of Mohd Rafi in your autobiography? Did he not sing the most number of memorable songs for you?”
Dev Anand was silent for a few minutes. Then he smiled and replied, “Yes, Ranjan. Everyone cannot find a place in one book. I fully agree my best songs in films were by Mohd Rafi and Hemant Kumar.” I agreed, as during his halcyon days of the mid-50s to the late 60s, Mohd Rafi sang many unforgettable numbers for Dev Anand tuned by OP Nayar, SD Burman, Shankar Jaikishan, Jaidev, Madan Mohan, and Salil Chowdhury.
Ever since I viewed the Dev Anand and Suraiya-starrer Sanam (1952), I was moved by the number, 'O Sanam', rendered beautifully by Mohd Rafi. It was with the background haunting numbers, 'Leke Pehla Pehla Pyar' and 'Aankhon Hi Aankhon', lipped by Dev Anand for Mohd Rafi along with Geeta Dutt that Mohd Rafi became a permanent ghost voice for Dev Anand. In the late 50s, SD Burman understood how versatile Mohd Rafi was and wielded the baton to many evergreen numbers for Dev Anand films.
SD Burman, who was Dev Anand’s musical soul, transformed Mohd Rafi’s singing style to suit Dev Anand perfectly. Mohd Rafi did equal justice to Dilip Kumar, Dev Anand, Guru Dutt, Rajendra Kumar, and Shammi Kapoor while singing for them. When he sang for Dev Anand, it appeared the actor was singing himself. It was the same for that era's other stalwarts for whom Mohd Rafi sang.
Raj Khosla did tell me in 1989, “Before lipping the ghazal, 'Hum Bekhudi Mein' in Kalapani, he asked Dev Anand to get into a melancholic mood. Choreographed excellently by Lachhu Maharaj and shot in four takes by cinematographer V. Ratra, the song sequence was excellent.” Similarly during the duet, 'Diwana Mastana' in Bombai Ka Babu, Mohd Rafi gave an unmatched romantic touch to Dev Anand’s lip-synching. It was a perfect foil to Asha Bhosle who rendered her voice for Suchitra Sen.
Salil Chowdhury was reluctant to utilise Mohd Rafi for Dev Anand's playback in Maya in 1961. Director DD Kashyap put his foot down stating that without Mohd Rafi singing, he would stop shooting Maya. Under compulsion, Salil Chowdhury used Mohd Rafi and yielded magnificent results. Hearing his rendering of 'Zindagi Hai Kya', noted Bengali crooner Dwijen Mukherjee confessed, "Rafisaab's rendering of the Hindi version of my Bengali song was any day superior to mine."
At music rehearsals, Dev Anand would be personally present to note how Mohd Rafi sang each song. Accordingly, he prepared for the song's mood, be it sentimental, romantic, or breezy. When Mohd Rafi was recording 'Kya Se Kya' for Guide, Dev Anand was standing silent with tears in his eyes. The thorough gentleman that he was, Mohd Rafi asked Dev Anand, “Dev saab, aap ke aankhon mein aansu?” Dev Anand wiped his tears with his handkerchief and said, “Rafi saab, aap ne to mera dil mein chupa hua dard ko apne fankari mein zinda kar diya.”
Vijay Anand confessed this to me, and Dev Anand only smiled when I mentioned the incident to him. He told me in a private interaction, “Mohd Rafi was such a gifted singer that he could understand the mood of any song with one rehearsal. He knew my acting style so well that it was never difficult for him to deliver the right mood for any song I lipped.” I concurred since the numbers of Mohd Rafi for Dev Anand like 'Dil Ka Bhanwar', 'Mujhe Le Chalo', 'Kabhi Khud Pe', 'Sau Saal Pahele', and 'Tere Mere Sapne' remain peerless.
In 1989, again during an interview, RD Burman told me he never received the quality of lyrics his father did for Dev Anand’s earlier films. So he opted for Kishore Kumar who sang all songs for Dev Anand in his later days. RD Burman also said the best Dev Anand numbers were by Mohd Rafi and his personal favourite was 'Din Dhal Jaye'. Dev Anand with Mohd Rafi singing for him was at his altruistic best.
SD Burman last used Mohd Rafi for Dev Anand in Gambler to sing 'Mera Man Tera Pyasa'. It was the best number in the film. After that, Laxmikant Pyarelal composed the qawwali, Is Mulaqat Ka, for Janeman which was a Mohd Rafi-Lata Mangeshkar duet. Then Rajesh Roshan tried to recreate the earlier magic of Dev Anand and Mohd Rafi with 'Logon Ka Dil' in Man Pasand in 1980. He was partially successful as the song lacked the divinity of earlier numbers penned by Majrooh Sultanpuri, Shailendra, Hasrat Jaipuri, or Sahir Ludhianvi.
Dev Anand’s later films were damp squibs with no memorable music, like Jab Pyar Kisi Se Hota Hai, Tere Ghar Ke Saamne or Guide. I was moved to tears hearing Dev Anand’s glorious tribute to Mohd Rafi on All India Radio on July, 31st, 1980 after the legendary singer breathed his last. Dev Anand strangely did not attend the last rites of Mohd Rafi. In his heart of hearts, he had a soft corner for Mohd Rafi which he never made public.
