Madanji and I first met at the mahurat of Woh Kaun Thi? (1964). I did that film for Raj Khosla. The subject was inspired by a Hollywood film, Women In White. The hero of the film was a newcomer, Manoj Kumar. Initially, I was little reluctant to do the film, but Raj Khosla convinced me that this role was tailer made for me. So I signed the film.

Somehow, Raj Khosla had great faith in me. I am not trained in music, but he felt that I had the knack of choosing the right tune. One day he told me that Madanji had composed three different tunes for a song situation and he wanted my opinion before taking a final call. That was when we went to Madanji's place for dinner. After dinner Madanji sang all the three tunes for us. Impusively, I liked one and told them so. Both of them agreed and unanimously that tune was finalized.

The song was to be shot in Simla, in snow. So we were waiting for snowfall in Simla. And when snow started falling, we thought of rushing there but unfortunately the song was not ready. The reason was the non-availability of Lata Mangeshkar, who was to sing that song. She was out of town on a long holiday. We were in a fix. During that time, the dubbing system (for a song) had just started. So it was decided we would record the song in the voice of a dummy singer and subsequently get it dubbed by Lata Didi.

When the choice of dummy singer came up, I insisted that Madanji only should dub the song in own voice. My reasoning was that Madanji was best familiar with the style in which Lata Didi would render the song. I was giving lip movement to the song on screen and it might be difficult to dub a song subsequently, matching my movements on the screen. So if he dubbed the song in his voice, it would be easier for me and Lata Didi to act and sing on the song. But Madanji was little suspicious about the idea. He asked me whether I would be comfortable while shooting the song dubbed by him. I told him that I can do it. So Madanji sang the song and with the tape of the recording we moved to Simla to shoot in snow.

Simla, being a popular tourist spot, a lot of people gathered to watch the shooting. One sardarji in the crowed said "Ajee Chalo Chalo Chhaddojee, Yeh Kyaa Picture shoot Ho Rahi Hai, Ladkhi Gaa Rahi Hai Ladka Ke Aawaaz Mein, Inko Picture Banaanee Nahee Aatee. Ye Picture Nahee Chalegee". They went away from there. At his comment, the whole unit burst out in laughter. Initially, I was thinking why he had commented like that. But subsequently I realized that a layman, during those days, was not aware about the dubbing technique of a film song. Subsequently, the shooting was over and Lata Didi dubbed the song in her inimitable voice. When the film was released it proved to be the greatest hit of the year and people instantly liked the song. Till date, it is treated as the benchmark for any haunting number in a film. That song was none other than Nainaa Barase Rimjhim Rimjhim...

All the songs recorded for Woh Kaun Thi? were outstanding. Even the background music was very apt to situations. When I saw the movie completed, with sound effects and background music, I got truly frightened. The effect was real and powerful. Today, if I am to say that 50 percent of the credit for Woh Kaun Thi? rests on to Madanji's music, nobody will disagree. Though it was a team work, some times somebody plays the key role. Here it was his music that did it.

After Woh Kaun Thi? Madanji and I would occasionally meet. We used to see one another mostly at parties. He was doing very well for himself and I became a big fan of his masterly compositions. He scored fabulous music for another film Mera Saaya (1966) in which I played the first lead. It was a remake of the Marathi hit Paathlag, again directed by Raj Khosla. Madanji and Raj Khosla were very good friends and they had a great tuning with each other. Jhumkaa Giraa Re from that film was another big success. Sohanlal did the choreography of the song and his assistant was Saroj Khan.

My husband, late Shri.R.K.Nayyar was also a famous producer - director of the film industry. He made many films. He started two films Saahira and Phir Wohi Sham taking Madanji as the composer for both these films. Madanji did record a few songs for these films but due to some reason, the films did not progress further and remain incomplete. But I am sure, if these two films would have been completed, it would have added some more feathers in Madanji's already crowded cap. He was simply beyond compare.

Recently, his son Sanjeev did a great job out of using Madanji's unused tunes for Veer Zaara (2004). I liked the compositions very much. Tere Liye is my favourite. In today's scenario, I really miss Madanji very much.

(This article excerpted from the book "Madan Mohan - Ultimate Melodies" by Vishwas Nerurkar)