Dada Burman (SD Burman) composed the song Jaane kya tune kahi for my first film as a full-fledged heroine. That song and Pyaasa (1957) shot me to limelight. Everyone praised Guru Dutt’s picturisation for that song. It was shot beautifully in Calcutta in the night time. Dada’s song really made me a star. In fact, after Guru Dutt ji, I consider Dada and to a certain extent Goldie (Anand) as my mentors. 

Let me tell you about a funny incident that happened during Pyaasa. It’s important to note that I was a rank newcomer. Those days, we would be invited to see the rushes or dailies of what we had shot. But this I think was the actual trial screening of Pyaasa. All the cast and crew was present- Mala Sinha, Guru Dutt, Guruswamy the production controller, Dada and my mother and I. After the trial Guru Dutt ji asked me and my mother for our opinion. My mother said something and then I said that the boat song, Rut phir… is hampering the pace of the film. In the film, the hero is reportedly dead, everyone wants to know what happens next and the boat song I felt was hampering the pace. I remember Raj Khosla berating me, “You are a chit of a girl, what do you know about cinema etc.” But Guru Dutt ji was quiet. I suspect even Dada Burman agreed with me. A week into the film’s release, Guru Dutt ji called my mother and I and said, “You both were right, the song is indeed hampering the pace of the film.” He cut the song. I don’t think Raj Khosla, who was his assistant then, was too happy with me. We had teething problems with each other since CID (1956). 

Dada had a princely demeanour. He was tall and of regal bearing. He wore a crisp dhoti and kurta. And despite eating paan he never stained his kurta. I recall another funny incident during Kaagaz Ke Phool (1959). Dada used to carry his paan daan and eat paan constantly. I was also very fond of paan but was forbidden to have them as a heroine, because my teeth would have gotten stained. Even as children we were forbidden and allowed to have paan only on Eid. So, I mustered up courage and asked Dada for paan, he immediately gave me one. Guru Dutt ji and Guruswamy asked him for paan as well. But he refused them saying this girl will be happy with one paan. But you men will keep asking me again and again, I can’t share with you. Dada had this special paan waalah in Chowpatty who made him special paans and he would send his driver to pick it up from Bandra.

Dada used to come on the sets often. He visited us while we were shooting Waqt ne kiya, he watched for a bit and left. Waqt ne kiya kya haseen sitam… was such a beautiful composition, what lyrics and the camerawork by Murthy saab was exquisite. The best part was that there was no lip sync. I was truly blessed to work with such a team.

During Kala Bazar (1960) we were shooting the Rimjhim ke taarane song. And dada dropped in and said please don’t use a regular choreographer for this song, he will ruin my composition with his set movements. Suddenly Dada held his crisp dhoti and started dancing as if to illustrate his point. We all laughed so much that day.

You know what I regret is never attended the song sittings and song recordings of Burman da. I would have learnt so much more. It’s a huge regret.

We girls – Nanda, Shakila and I would frequent New Empire theatre for the 3 o clock shows to catch movies. Dada would also be there with his wife Meera Burman. At the intermission, if he saw us, he would ask us if we wanted ice-cream cones. His wife was a bit stingy and would say, “They are all heroines, they will put on weight, there’s no need.” But dada would buy us all ice cream which we happily gobbled.

Once dada called me and asked me to hum my song from my Telugu debut film Rojulu Marayi (1955). That was the dance sequence Guru Dutt ji had seen and decided to cast me first in CID. When dada called me to hum that song I was taken aback. I told dada I’m not a singer, but Dada was like, it’s okay I just want to hear the beats. So, I sang the “Chinnanna” song casually. That tune found its way into dada’s Dekhne mein bhola hai song from Bombai Ka Babu (1960). And he retained the word Chinnanna in the song.

Burman dada’s songs in Guide (1965) were masterpieces. And I was just so happy dancing to all of them especially, Aaj phir jeene ki. My character Rosie, in that song, danced as if there was no tomorrow. She had broken all shackles and a lot of people called it the first feminist song. Dada was really happy with Guide. As Rosie I received so much appreciation for the film and Dada’s magical music is remembered to date.

I often wondered then why Dev Anand didn’t repeat the hit pairing of Guide for Jewel Thief (1967) and everyone asked us that, especially since there were so many beautiful dance sequences. But I guess Dev knew best.

Later Dev came back again to offer me Prem Pujari (1970) which was his first directorial debut. I didn’t have much of a role but Dev insisted that I do it. Dada’s music again was superlative. But this time Dada was unhappy. He felt the song picturisations were not doing justice to his music. When he would drop in on the sets of Prem Pujari, he would tell me to tell Dev that the film was going haywire. Even Goldie would say the film wasn’t working. I refused to be the messenger saying, “I’m just the heroine how can I say anything?” I guess they saw the rushes and knew what was happening. The song Rangeela re was done well but I think Dada wasn’t too happy with Phoolon ke rang se and kept asking me why they showed so little of me. I guess he was very possessive of his songs.

Dada was not one for small talk. He was lost in his own world of music. I couldn’t see him when he was ailing. His wife wasn’t too comfortable with having a constant stream of visitors. But for me, I shall always have the memory of a wonderful human being in crisp dhoti and kurta, weaving songs which will be his enduring legacy.