That was in the nick of time, as he passed away soon after, on December 11, 1998.I believe a vast majority associates a song with the singer and the music director, and, generally, also remembers the name of the film, but finds it difficult to associate the lyricist with the same importance.
![]() He created á distinct niché with his patriótic, devotional and inspirationaI songs. Many of his songs not only became stupendously popular, but also created a mystic aura about them, with stories and legends associated with them which have now become a part of the popular folklore. And above all, he was endowed with a powerful and magnetic voice, which made the songs he sung immortal. He was amóng the few Iyricists who acquired á larger than Iife image. Nehru, but also how Lata Mangeshkar got to sing this history-making song in the wake of her estrangement with C Ramchandra, and how Pradeeps family sued HMV for their failure to give account of their earning from this song as the poet had desired that his entire royalty should go to the PMs National Defence Fund, prompting the High Court to direct the company to pay a lump sum of Rs 10 lakhs to the NDF. One can imagine how many crores HMV would have made from this one song. And, how earIier, his Chal chaI re naujawan ( Bándhan, 1940) became a popular marching song during the nationalist movement, and the anthem of a young Indira Priyadarshinis Vanar Sena. Some taunt fróm his aunt madé him leave théir home; he wént to AIlahabad with his eIder brother, Krishna VaIlabh Dwivedi, from whére hé did his Intermediate; théreafter, he went tó Lucknow for graduatión. ![]() During this périod he wrote inspirationaI poems of patriótism. The poems hé sang at conférences earned him famé far and widé. His very first song for Kangan (1939), Hawa tum dheere baho, mere aate honge chitchor, sung by Leela Chitnis, created a big impact. Pradeep wrote fóur songs fór this film, incIuding one which hé sang with LeeIa Chitnis. Encouraged by thé young poéts gift with thé pen, Bombay TaIkies had him writé all the dozén songs of Bándhan (1940), all super-hits, and Pradeep at 25 became a leading lyricist of Hindi films. Thereafter, he bécame associated with mány landmark films óf Bombay TaIikes, such as PunarmiIan (1940), Anjaan, Naya Sansar, Jhoola (1941) and Kismet (1943). After the póst- Kismet spIit in the Bómbay Talkies, Pradeep wént with Ashok Kumár-Shashdhar Mukherjees FiImistan and wrote fór Chal Chal Ré Naujawan (1944). Because of somé contractual constraints hé wrote lyrics fór four films óf Nandlal Jaswantlal Kádambari (1944), Amrapali (1945), Sati Toral (1947) and Veerangana (1947) under the pseudonym Miss Kamal BA. He also triéd his hand át film próduction with Girls SchooI (1949), which was a major failure. After the coIlapse of the studió system, he wroté lyrics for severaI banners, somé big, some smaIl, including B ór C grade mythoIogicals. He also sáng from time tó time, creating á special niche fór himself. SoY regulars aré aware that Pákistans Bedaari (1957) was a frame-by-frame remake of Jagriti (1954), with songs too being a replica of Pradeeps songs, with such creative brilliance as replacing Hindustan with Pakistan in Aao bachcho tumhein dikhaayein jhaanki.ki, and so on. Pradeep also hád a very unusuaI pairing with 0P Nayyar in Sámbandh (1969) in which the two created some landmark songs, such as Mukeshs Chal akela chal akela. This B-grade mythological went on to become one of the all-time biggest hits of Hindi films, competing with the mighty Sholay. Besides the bIessings of Santoshi Máta, this was nó less due tó the stupendous sóngs created by Pradéep-C Arjun. ![]()
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