‘We had to refuse Raaz as we had too much work!’ smiled Laxmikant. Sippy (who later produced their 1989 film Bhrastachar) offered them Raaz. Among the United Producers were Mohan Kumar, Subodh Mukerji, Mohan Segal, Shakti Samanta, G.P. Om Prakash with L-P’s music and professionalism, that he introduced them to other members of United Producers, a consortium that jointly presented films of all its members. As recently as in 2008, when the song was being performed on stage at Pt Hariprasad Chaurasia’s seventieth birthday celebrations, two girls sitting in front of me, the elder of whom must have been not more than 12 years old, sang the entire lyrics in sync with the singer. ‘Suno Sajana’ remains a cult favourite with connoisseurs. The hit parade of Aaye Din Bahaar Ke included all-time classics like ‘Suno Sajana’, ‘Meri Dushmun Tu Meri Dosti Ko Tarse’, ‘Yeh Kali Jab Talak Phool’, ‘Khat Likh De Saawariya Ke Naam’, ‘Khudaya Khair’ and ‘Ae Kaash Kisi Deewane Ko’, L-P’s first Lata-Asha duet. In 1996, Asha Parekh was to make her debut as a director in L-P’s last musical ace, Bhairavi, but she opted out due to creative differences with the producers and never directed any film. It was also the first of over 60 of L-P’s films with emerging star Dharmendra (including four of his home productions and a significant re-creation in a fifth) and a long association with both leading lady Asha Parekh and director Raghunath Jhalani. Aaye Din Bahaar Ke (1966), with its allhit soundtrack, created havoc when it was released, and signalled the beginning of an association with the filmmaker that, despite some turbulence in the ’70s, lasted until 1988’s Agnee. There was one hiccup after the announcement was made: L-P had a sitting again with Hasrat Jaipuri for this new film before S-J came to know and objected to his working there. In an interview, he had told me that he was irritated by S-J’s habit of asking for higher remuneration every time a film was a hit and that he saw in L-P the same potential for the future. We put everything into this one chance and vindicated Om-ji’s trust in us.’ And when, in an excited first reaction, Laxmikant asked the filmmaker, ‘Can we announce that we are doing your film?’ The filmmaker gently told him to wait until the background score was ready. Om-ji, as he was known, had worked with the team of Shankar-Jaikishan-Hasrat-Shailendra in Aas Ka Panchhi and Ayee Milan Ki Bela and Laxmikant had this to say, ‘It was a momentous occasion for us, as the big banner Filmyug was the first of S-J’s banners to come to us.
Om Prakash (Hrithik Roshan’s late maternal grandfather) approached Laxmikant and promised him work for Prakash’s next film, Aaye Din Bahaar Ke. Laxmikant was a musician on the BGM of ShankarJaikishan’s Ayee Milan Ki Bela when its big-name producer J. Let us rewind to Laxmikant’s firm belief that hard work would always pay.
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