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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