This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today (31 july 2016) is a day that all music lover know only too well. It seems like yesterday when we heard the unexpected news that Rafi was no more. He was just 55 years old at that time and he still had many years of singing career ahead of him. In a way, his demise signified the hastening of the end of the golden era of HFM, an era which had begun when his himself was making his mark as a playback singer in 1940s.

All radio stations, tv channels, newspapers and other media will discuss Rafi and his songs on this occasions. And so will we in this blog.

There is a major difference in our way of paying tribute from others. Others will mention well known Rafi songs without needing to worry about the fact that they may have discussed the same songs on many other occasions in the past including in the earlier death anniversaries of Rafi. In case of this blog, we discuss a song only once. And what is more we remember a singer like Rafi almost on a daily basis and not just on the occasion of his anniversaries. This blog started just over eight years ago and we in this blog have so far discussed over 2500 Rafi songs. In other words, we have been discussing an unrepeated Rafi song almost every day for the last eight years and so far we have covered nearly 50 % of all Rafi songs. If we go at the same rate then it will take us another eight years before we will cover all the available Rafi songs.

That day when we will run out of Rafi songs to discuss is still many years in the future though. We still have lots and lots of great Rafi songs waiting to be discussed. We are comimg across lots and lots of gems that had been forgotten with time.

Just as we discuss a “new” unrepeated song every day, I will try to avoid mentioning the same well known facts about Rafi saab that tends to get discussed ad nauseum on such occasions. Instead, I will try to discuss some of my observations about him on this occasion that often get unnoticed.

Out of all the qualities that Rafi saab possessed, the courage of conviction and sticking to one’s chosen way is something that I find simply amazing. In movie world, it is quite common for everyone to follow the trend and ape the trendsetter. And that is essential if people want to survive in the industry. K L Saigal was the trendsetter among male playback singers when Rafi began his playback career. Rafi’s singing style was quite an antithesis to Saigal’s. Most male playback singers those days aped K L Saigal’s low octave singing style, but Rafi was not among them.

When Saigal died, his way of male playback singing went out of fashion. It was Rafi’s way of singing, namely singing in high octaves- which became the new accepted style of singing. So one can say that Rafi’s singing style kept getting more and more adherents till a time came when it became the de facto style of male playback singing in the industry.

As my first tribute to Rafi on this occasion, I have chosen a rare song from an obscure movie called “Indrasabha”(1956). This fmovie was produced by Ramniklal Shah and directed by Nanubhai Vakil for Shah Pictures, Bombay. The movie had Chitra, Daljit, Hiralal, Ameeta, Roopmala, Wazir Muhammad Khan, Al Nasir, Sadiq, Roohi, Rajan Haksar, Kanchanmala, Ranjana Shukla, Narbada Shankar, Najma, Jharna, Savitri Chaand, Shashimala, Chandrkala, Shama , Kiran etc with Ram Singh in guest role.

The movie had eleven songs in it. Here is the first song from the movie to appear in the blog. This song is sung by Rafi and Asha Bhonsle. Shewan Rizvi is the lyricist. Music is composed by A R Qureshi.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of the song.

I have not been able to get a few words right in the lyrics of the song. I request our readers with keener ears to help fill in the blanks/ suggest corrections in the lyrics as applicable.

Song-Bas mein taqdeer nahin aah mein taaseer nahin (Indrasabha)(1956) Singers-Rafi, Asha Bhonsle, Lyrics-Shewan Rizvi, MD-A R Qureshi

bas mein taqdeer nahin
aah mein taaseer nahin
bas mein taqdeer nahin
aah mein taaseer nahin
ab to milne ki bhi unse koi tadbeer nahin
bas mein taqdeer nahin
aah mein taaseer nahin
ab to milne ki bhi unse koi tadbeer nahin
bas mein taqdeer nahin
aah mein taaseer nahin

?? mujhe saiyaad ne aazaad kiya
aa aa aa aa aa
?? mujhe saiyaad ne aazaad kiya
aur kahaa jaa ke tu ab kaabil e zanzeer nahin
ab to milne ki bhi unse koi tadbeer nahin
bas mein taqdeer nahin
aah mein taaseer nahin

apna hi nahin sar dar-o-deewaar se takraate hain
o o o o
apna hi sar dar-o-deewaar se takraate hain
?? shikwa koi ehsaas ?? taqdeer nahin
ab to milne ki bhi unse koi tadbeer nahin
bas mein taqdeer nahin
aah mein taaseer nahin ee

thokaren khaati hoon main
teri muhabbat ke liye
aa aa aa aa
aa aa aa aa
aa aa aa aa
thokaren khaati hoon main teri muhabbat ke liye
ae ae ae ae
thokaren khaati hoon main teri muhabbat ke liye
khwaab wo dekha hai jiski koi taabeer nahin
ab to milne ki bhi unse koi tadbeer nahin
bas mein taqdeer nahin
aah mein taaseeer nahin

This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Songs to Tickle Your Memory – 33
– – – – – – – – – – – – – – – – – –

wo jab yaad aaye
bahut yaad aaye

yes, bahut yaad aaye. . .  that voice – the magic, the magnetism, the feeling of surreal contentment that descends into the being, and ensconces it with a joyous delight. It is a voice, that now lives only in our memories, or in the ethereal sound waves. The memories are such, they will never be detached till the breaths last. And the sound – they say in our culture that sound is forever; it lives in the space for all times to come.  And so will this voice. This voice – of Rafi Sb. This voice that went to sleep 36 years ago, today. 36 years seem to be a long time, a third of a human life already. But it seems just like, well, recently. And the affinity and the magic of this voice has only deepened with time.

Remembering Rafi Sb today, with all humility and respect and love.

The most remarkable trait of Rafi Sb’s singing is his ability to project performance through sound. He had a natural grasp of not just the vocal and emotional expression of the on screen persona, but also a keen understanding of the physical expression. Putting these together, it is no wonder that in his singing, one is hard put to separate the voice from the on screen persona, who so ever that person may be. This amazing ability made Rafi Sb’s singing the most innately resident voice for any artist.

Atul ji has mentioned in an earlier post today, that on this blog, we are actually celebrating Rafi Sb, on every single day. And our homage is not to repeat a song. It is a new song – new, meaning a song as yet un-posted on the blog. And in the process, we keep on discovering obscure and hitherto unheard gems, or we rediscover delightful songs that made quite a stir in their days, but were soon forgotten and consigned under the sands of time. Whereas other blogs, or radio programs, or even live celebrations continue to recycle the same old ‘popular hits’, and will continue to talk about Shammi Kapoor, Rajendra Kumar, Dilip Kumar etc. Or they will talk about Rajesh Khanna and Amitabh Bachchan also, but again, in the context of ‘popular hits’ only. On this blog, we do serve more, the interest of the lesser heard, obscure and unheard songs, almost on a daily basis.

Today’s fabulous song belongs to that category. Heard often on the radio in my childhood, this song was lost for quite some time in the murk of anonymity. I had memories of it in my mind, but was able to lay hands on the actual song just about a few months ago. Online, some vested interests had post teaser versions, of just half minute or 45 seconds. The song has appeared online in its full version, just about a couple of months ago.

The film is ‘Pyaar Ki Jeet’ from 1962. The songwriter is Qamar Jalaalabaadi, the music is from the mind of Sudhir Phadke. The voice of Asha Bhosle accompanies Rafi Sb. However, Asha ji’s share of lines is lesser in comparison. On screen, this song is picturized on Mahipal and Kalpana. As the words in the song suggest, literally the scene is that the heroine ascends from within the waters of a pond (or a river). And the poet’s imagination captures the scene so beautifully, saying that a new moon has arisen from the waters.

Words, alas are words. Their impact does not go too far. It gets limited by the visual that may spring in the reader’s mind as these lines are perused. But then, frame these words in a semi classical mould, the way only Sudhir Phadke can, and have the voice of Rafi Sb to express the particular emotion. The combination leaves out very little for imagination. The next best thing is just the visual of the scene. And that too, as we have discussed many times in these pages, is at times so lackluster that the mind says, just listen to the singing expression, and do away with the visual. That is the power of performing expression that is projected by some. By some exceptional singer – like Rafi Sb.

Forever and ever, Rafi Sb.

Song – Jaane Meri Akhiyon Ne Dekha Hai Kya (Pyaar Ki Jeet) (1962) Singers – Mohammed Rafi, Asha Bhosle, Lyrics – Qamar Jalaalabaadi, MD – Sudhir Phadke

Lyrics

jaane meri akhiyon ne dekha hai kya
dekha hai kya
paani se nikla hai chaand naya
paani se nikla hai chaand naya
jaane meri akhiyon ne dekha hai kya
dekha hai kya
paani se nikla hai chaand naya
paani se nikla hai chaand naya

mukhde pe nanhi nanhi boondon ke dhaare
chanda ke saath jaise
chhote chhote taare
din mein hain taare
ye jaadu hai kya
paani se nikla hai chaand naya
paani se nikla hai chaand naya
jaane teri akhiyon ne dekha hai kya
dekha hai kya
paani se nikla hai chaand naya
paani se nikla hai chaand naya

nain kisi ke
roop hai apna
din ke ujaale mein kaisa ye sapna
ang ang kis ne rang bhara
paani se nikla hai chaand naya
paani se nikla hai chaand naya

main hoon pujaari tu
meri kala hai
jahaan tere pag
wahaan mann bhi chala hai
kya hai ye naata
ye tu hi bataa
paani se nikla hai chaand naya
paani se nikla hai chaand naya
jaane teri akhiyon ne dekha hai kya
dekha hai kya
paani se nikla hai chaand naya
paani se nikla hai chaand naya

—————————————-
Hindi script lyrics (Provided by Sudhir)
—————————————–

जाने मेरी अखियों ने देखा है क्या
देखा है क्या
पानी से निकला है चाँद नया
पानी से निकला है चाँद नया
जाने मेरी अखियों ने देखा है क्या
देखा है क्या
पानी से निकला है चाँद नया
पानी से निकला है चाँद नया

मुखड़े पे नन्ही नन्ही बूंदों के धारे
चंदा के साथ जैसे
छोटे छोटे तारे
दिन में हैं तारे
ये जादू है क्या
पानी से निकला है चाँद नया
पानी से निकला है चाँद नया
जाने तेरी अखियों ने देखा है क्या
देखा है क्या
पानी से निकला है चाँद नया
पानी से निकला है चाँद नया

नैन किस के
रूप है अपना
दिन उजाले में कैसा ये सपना
अंग अंग किस ने रंग भरा
पानी से निकला है चाँद नया
पानी से निकला है चाँद नया

मैं हूँ पुजारी तू
मेरी कला है
जहां तेरे पग
वहाँ मन भी चला है
क्या है ये नाता
तू ही बता
पानी से निकला है चाँद नया
पानी से निकला है चाँद नया
जाने तेरी अखियों ने देखा है क्या
देखा है क्या
पानी से निकला है चाँद नया
पानी से निकला है चाँद नया

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

This is a song from film Duniya Rang Rangili-57, sung by Asha bhosle and Mohd. Rafi. The song is filmed on Johnny Walker and Shyama.

The role of a comedian in a film has been an essential part since the beginning. There have been many great Comedians in Hindi films and the tradition continued till about the 1980s. After this period, the format of Hindi films changed drastically and Comedians disappeared. The Heroes themselves started doing comedy, so there was no scope for a separate and individual comedian, as such.

Comedians like mast Fakir, Harold Lewis ( later called Majnu), Noor Mohd. Charlie, Ghori and Dixit starred as comedians during the silent cinema period. After Talkie films started, Charlie, Ghory, Dixit and Kesari were comedians in the early era. Ghori and Dixit had copied Laurel and Hardy style. There was a comedian called Durga mota in the Lahore films. Out of these, Charlie came in the limelight and became a famous comedian.

After these old comedians, a new crop of comedians like Damuanna Malavankar, Bhudo Advani and Mirza Musharraf became well known. During this period Yakub and V H Desai also made their mark, though Yakub later did villain and side roles more. Then came Gope, Dar Kashmiri or Jeevan as comedians. Jeevan however branched out as Narad in Mythological films and then became a comic villain till the end. Fatty Prasad was another comedian in those days.

Then after the 1950s started,came Kishore Kumar, Bhagawan, Omprakash, I S Johar, Rajendranath, Anoop Kumar, Jagdeep, Mohan Choti, Keshto Mukherjee, O P Ralhan, Asit Sen, Ram Avtar, Sunder, Janakidas and many many more.

However, in the 1950s, there was one Comedian who proved to be the most popular and the Best Comedy actor. His name was JOHNNY WALKER.

Born on 11-11-1926 at Indore, Johnny’s family shifted to Bombay. he wanted to act in films, so he stared acting as an extra in films. His first film was ‘Aakhri Paiham’-49. He was also working as a Bus Conductor, when one day Balraj Sahni heard his jokes and was impressed. He asked johnny to meet him. Few days later when Balraj was riding his bike , Johnny stopped him and begged to help him get work in films. Balraj made a plan and called him to Navketaan office next day to meet Guru Dutt, the director of Baazi, for which Balraj was writting the story. How Johnny impressed them and got a role in Baazi is too well known to be repeated here for the nth time.

Before Johnny got his big break in Baazi, he had acted in about 20 films, mostly as Extra and was uncredited in them. However in Malhar-51 nnd Pyar ki baaten-51, he was credited. After Baazi, the friendship of Johnny with Guru Dutt and Dev Anand formed the base of his tall building and there was no looking back.

Johnny created a situation in the film industry, where producers felt that their film was incomplete if Johnny was not in it. Special roles and dialoues were written for him. He played a Hero in 8 films. In 7 of these, his heroine was Shyama. Both had risen to lead roles from being extras first in the start of their careers. In the film ” Duniya Rang Rangili’-57 he was the Hero and Rajendra kumar ( later to become a Jubilee kumar) was the side Hero !

Johnny was a Teetotaller and a disciplinarian in private life. He never missed Lunch at 1.30pm and Dinner at 8.30pm. He avoided going to filmy parties. If he had to go, he would finish his dinner at home and then go to the party. he was keen on educating his children. All 3 of his sons went to USA for higher studies.

According to him he acted in about 300 films. Hamraz ji says about 150 and we have names of 190 films in which he worked. Johnny never posed any treat to any Hero in the film. “Scene Eating” was not for Johnny. Therefore he was a darling of all Heroes. Johnny never ever used any vulgar or double meaning dialogues to create humour. His was a Royal family comedy.

His peak period was from 1954 to 1960. During 1951 to 1960, he did 92 films, maximum being in 1955…tally of 20 films in an year ! next was 16 films in 1958 and third high was 14 films in 1956. He sang 140 songs on screen in his career. In 3 songs of films, Chaudhavi ka chand-60, Gateway of India-57, and Taxi Driver-1954, Johnny used his typical voice in songs. Johnny directed one film-Pahunche huye log-89. His last appearance in film was kamal Hasan’s Chachi 420 -1997.

In the late 60s and 70s, Mehmood entered the scene and by the 7os, he was all over the silver screen. Even in the year 1966, his name clone Johnny Whisky had more releases (10) than Johnny ( 7 ). Clearly his time was up. Johnny then hung his boots and began enjoyed family life. He breathed his last on 29-7-2003.

Today’s film Duniya Rang Rangili had 8 songs. This will be the 5th song to be posted here today. The film was an out and out Johnny Walker film. The story was-

Manohar ( Johnny walker0 and his sister Radhe (Chand Usmani) were orphans and were raised by their mama( S N Banerjee) and Mami (Amir bano). Both were waiting to swallow the estate kept by Johnny’s parents for the children. manohar is jobless graduate, but loves a Rich girl Nirmala (Shyama). Her father simply hates him as he is a jobless poor boy.

Radha loves Shyam (Rajendra kumar) and Shyam’s father is a greedy person wanting a hefty dowry. When he comes o know about love of Radha and Shyam, the father shifts to an unknown place to get rid of poor Radha. meanwhile Manohar gets a job with a Jeweller, whom he has saved from criminals. Manohar is sent to Delhi with lot of Jewellery. The criminals follow him and news of Manohar’s death comes as a bolt to Radha.

In reality Manohar has not died luckily. He takes advantage of the situation. He becoes a Ghost and terrifies Mama and mami. He extracts from them their Estate and gives it to Radha. As a scent seller, he traces Shyam and finds out that he is in lucknow, where his father is taking big dowry and plans to get Shyam married. In the guise of a Millionaire, Manohar tempts father with bigger dowry and makes him marry Radha and Shyam.

Now since Manohar is also rich and with a job, Nirmala’s father agrees to their marriage. Thus all matters are settled amicably.

Such films have to be seen for Johnny Walker’s antics and certainly not for the story content, which defies all logic and reasoning. Usually Johnny’s films had good music so that was another saving point. Today’s song video shows Shyama and Johnny in a jolly mood. The duet is sung by Rafi and Asha. personally, I always feel that Rafi songs are much better with Asha, than Lata. I am sure many will agree with me on this.

Song-Tujhko na koi gham mujhko na koi gham (Duniya Rang Rangeeli)(1957) Singers-Rafi, Asha Bhonsle, Lyrics-Jaan Nisaar Akhtar, MD-O P Nayyar
Both

Lyrics

tujhko na koi gham
mujhko na koi gham
zaalim tujhe aa le chalen
dil mein chhupa ke hum
o mere jaane jaan
kehta hai dil jawaan
ho pyaar ki duniya jahaan
le chal mujhe wahaan
o mere jaane jaan

tu meri hansi
tu meri khushi
hai tere liye meri zindagi
aa aa aa aa
aa aa aa aa
tu meri hansi
tu meri khushi
hai tere liye meri zindagi
ye armaan ye toofaan
ye dil ki lagi
ye armaan ye toofaan
ye dil ki lagi
tujhko na koi gham
mujhko na koi gham
zaalim tujhe aa le chalen
dil mein chhupaake hum
he he he he
ho ho ho ho
he he he he
he he he he

uthh gayi jidhar ye teri nazar
khil gaye chaman door tak udhar
aa aa aa
aa aa aa
uthh gayi jidhar ye teri nazar
khil gaye chaman door tak udhar
hai kitna suhaana hamaara safar
hai kitna suhaana hamaara safar
o mere jaane jaan
kehta hai dil jawaan
ho pyaar ki duniya jahaan
le chal mujhe wahaan
he he he he
o de de de
o de de de

tere pyaar ka
kar to loon yaqeen
ruk na jaaye dil
haaye re kahin
aa aa aa aa
aa aa aa
tere pyaar ka
kar to loon yaqeen
ruk na jaaye dil haaye re kahin
ye tere ishaare hain kitne haseen
ye tere ishaare hain kitne haseen
tujhko na koi gham
mujhko na koi gham
zaalim tujhe aa le chalen
dil mein chhupaake hum
o mere jaane jaan
kehta hai dil jawaan
ho pyaar ki duniya jahaan
le chal mujhe wahaan
o mere jaane jaan
he he he he
he he he he

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

This is a Bhajan from film Tulsidas-54. There have been many films on Tulsidas. Sant Tulsidas was first produced in 1934, then in 1939 and then in 1972. The same topic with title Tulsidas was in films in 1954 and 19991.

I loved watching mythological and religious films in my younger days. I think this love developed , because since childhood, I was deputed to accompany family elders ( read old people) to such Mythological and religious films. Being a joint family, we had a sizable count of elders in our house. Sometimes the group used to be of 10-12 persons, including some interested ladies too. I had no problem, because a servant went in advance to book tickets. I had only to look after the Seniors and enjoy the movie. More than anything, I used to get mesmerised with the Trick scenes in the films.

too many Trick scenes was found. Nevertheless, I liked the Bhajans in the films. One big problem of such Theatre outings was that, whenever the films showed torture of innocents or deaths or a suffering, deserted first queen, the womenfolk in our group used to sob loudly and cry audibly ! Films like Bhakta Pralhad or Bhakta Dhruv were sure tear jerkers.

The 1950’s decade was a period when production of Mythological and Religious films was in full swing and such films were coming out at the rate of almost one film every month. It continued for all 12 months, all through the next 10 years ( 1950 to 1960 ) ! One would wonder where from the producers got enough content to make so many films !! Actually there was no dearth of topics in our scriptures. Ramayan, Mahabharata and 18 Purans had enough material in them to last any one’s lifetime !!! In addition, there were creative “story writers”, capable of mixing stories and getting new concoctions, like “Shankar Seeta Anusuya ” which no Holy book dared to imagine !

Additionally, during the Bhakti Movement in India, in the period from the 14th to the 16th Century, many Saints and Godmen created made their own contributions in adding to Religious material. For example Meerabai, Kabir, Soordas,Raheem and many more left indelible footprints on the Bhakti literature in the form of Bhajans, Dohas etc etc.

Saints like Ramanuj, Nimbarak, Madhwacharya, Vallabhacharya, Ramanand, Namdev, Chaitanya Mahaprabhu, Meerabai, Tulsidas, Surdas, Shankar Dev, Narsimh Mehta, Kabir, Gyaneshwar, Eknath, Tukaram, Ramdas etc etc wrote their own treatises on Religion. Their lives became inspirational for our film producers.

The set of actors was a fixed one for such films. In older times-1930s and 1940s- Pritviraj Kapoor, Durga Khote, Shobbhana Samarth, Prem Adeeb, Jeevan, Nirnjan etc. were permanent actors for such movies. The usual coposers would be Vasant Desai, Shankar Rao Vyas, S N Tripathi, Sudhir Phadke, Avinash Vyas etc. Later in the 1950s, actors changed. Even leading ladies like Meena Kumari, Mala Sinha and Shakila acted in Mythological films. However usual actors were Nirupa Roy, Anita Guha, Ameeta, Manhar Desai, Mahipal etc. for this genre of movies.

In today’s film, it was actress Shyama who was in the lead opposite Mahipal. I not only like but also respect Shyama, because in my opinion, she is one of the few actresses, who was not only versatile but also very humble, modest and cooperative. Though she started from scratch- as an Extra- she worked with Top actors like, Ashok Kumar, Raj Kapoor, Guru Dutt, Kishore Kumar, Balraj Sahni, Motilal, Rehman, Shammi Kapoor, Raaj Kumar, Karan Dewan, Bharat Bhushan etc. But she never hesitated to work with B or C grade Heroes like Mahipal, Kamal Kapoor, Suresh etc. With Johnny Walker, she did 7 films as a Lead actress and 3 more in other roles.

Shyama did many child roles as Baby Khurshid Akhtar. When her first film as a Heroine-Shrimatiji-52, opposite Nasir Khan- was released in Opera House, Bombay, the film Soorat was released in Roxy cinema at the same time. In the film Soorat, she did a child role while in Shrimatiji she was the Heroine. Film Soorat-47 got delayed and was released in 1952. She was named Shyama By director Vijay Bhatt at the time of the film Nai Maa-46.

In her career of 41 years, Shyama acted in 169 films ( 70 as a Heroine) and sang about 140 songs on screen in her films. Presently, she is living a happy retired life at her luxurious flat in Napian Sea Road, Mumbai.

How many of us know that there was yet another actress by name Shyama in the 1930s ? Her name was Shyama Zutshi. She was a Kashmiri girl- the first ever to act in a film. She acted in films, Vishnu Bhakti-34 and Karvaan e hayaat-35. However actor Chandramohan- who too was a Kashmiri- objected to her acting in films, claiming that Kashmiri girls should not come in this line. He built up so much pressure on her that ultimately she had to leave films. Then she joined politics and became a Congress leader in Kashmir. So much for the Women’s liberty in those days ! ( However Chandramohan got a fitting reply to his Male Chauhinistic actions when another Kashmiri girl and a close relative of Pt. Nehru- Yashodhara Katju joined films. Here also Chandramohan tried to force her out of Films, but she did not bother about him and continued upto the 60s, well after Chandramohan died in 1949.)

There was one more Shyama or Shyamabai, who was only a singer. She was a Mahaharashtrian muslim from Kolhapur. She is also spelled Shama in some songs. She sang a few songs like in films Sangam-41,Aina-44, Parshuram-47, Gharana-49 and Gulnar -50 etc. Later she migrated to Pakistan.

Film Tulsidas-54 was directed by 2 directors- Balchandra Shukla and Harsukhbhai Bhatt. Harsukh was the brother of famous director and owner of Prakash pictures- Vijay Bhatt. As per wiki, Harsukh directed 14 films. The music was given by the king of melody- Chitragupta, with Dilip Dholakia as his assistant. Lyricist was G S Nepali. The film had 10 songs. Mohd. Rafi sang 5 solos and 3 duets with Asha Bhonsle. Asha had 2 solos. Rafi has sung some of his best Bhajans, in this film. 3 of these are already posted. This is the 4th Bhajan today. it is equally melodious like other Bhajans. The story of Tulsidas-54 is-

A boy Rambola, hated by all and sympathised by none happens to meet Saint Narharidas (Uma Dutt). Seeing a spark of greatness hidden in the boy, he brings him to his Ashram. Here Rambola is renamed as Tulsidas (Mahipal).

Studying all the shastras Tulsidas becomes a scholar. Tulsidas now grown up, composes lucid poems in Hindi, thus making the art of poetry enjoyable for scholars as well as for those who do not know Sanskrit. Ravidatta (Chaman Puri), a student of the same Ashrama, is jealous of Tulsidas. According to Ravidatta, to write in a language other than Sanskrit is a blasphemy and an insult to that great divine language. Further Ravidatta’s anger knows no bounds when he sees Tulsidas making love to Ratnavali( Shyama) who is to be betrothed to him (Ravidatta) But ultimately her father Dinabandhu Pathak(Ramesh Sinha) chooses Tulsidas for Ratnavali’s hand. Ravidatta burning with jealousy leaves the Ashram of Narharidas to go to Benares. Haladhar (Bhagwan) another student follows Him.

Tulsidas and Ratna are married in the midst of celestial music and blessings of Narharidas, Dinabandhu Pathak, and other guests from from Badaria and Soro. After marriage the intesity of Tulsidass love for Ratna increases to such an extent that he forgets his devotion to Shree Ram. Tulsidas’s madness for Ratnavali becomes the talk of the town. One day Ratna’s brother Shambhu takes her with him to Badana where father Pathakji is seriously ill. Tulsidas comes home bringing a beautiful pair of bracelets for Ratna but instead of her he finds a note left by her that she had gone to see her father who was ill. But Tulsidas cannot live without his wife. In rain and storm he comes to Badaria and stealthily gets into Pathak house. The neighbours of Pathak first mistake Tulsidas as a thief, but ultimately they recognise him.

Ratna hears the taunts of the neighbours that Tulsidas is a mad lover to come to meet his wife at her father’s house. She comes to Tulsidas and with anger, sorrow and pain hates this shameful deed of his. She tells him the piercing words `Your love for my frail body made of flesh and bones is futile. Had you transformed this intense love from this human body to Shree Ram, both you and I could have escaped from this merry-go-round of life and death”. Saying this she goes away. Her words were like lightening in the dark sky. The thunder of this lightning is echoed in his heart where starts a great storm. The wind of this storm blows away the heap of sand that covered the gem of devotion to Shree Ram. He goes away from here with a decision to renounce the world.
When Ratna comes back in the room she finds a note in which he had written “Leaving the wordly ties and the love of my wife. I am going to some unknown place with the aim of meeting Ram.” She almost faints.

Repeatedly calling Shree Ram like a lunatic, Tulsidas falls on the trunk of a tree. A spirit living in this tree shows him the way to meet Ram. On coming to Chitrakoot he sees Ram who appears before him. Tears of joy flow from his eyes. Being inspired from this event he comes to Ayodhya and writes. “Ramcharit Manas”, his famous epic poem on Shree Rams life. Preaching Ram-Bhakti (devotion to Ram) to the people he comes to Benares. In Benares Ravidatta and other pandits, the champions of Sanshrit, oppose his Rammayana wirtten in easy Hindi language. But they are all convinced when one day Lord Vishwanath himself endorses his Ramayana and accepts it as a real work of poetry and devotion. But Ravidatta is adamant. He thinks that is just the black-magic. He decides to set Tulsidas hut of fire. Ratna and Shambhu’s wife come to Benares, where, to their surprise they hear that Tulsidas’s hut is set on fire They rush to the spot. Shambhu and his wife meet Ratna,who seeing Tulsidas’s life in danger runs into the hut and finds that the fire is not touching Tulsidas at all. The fire subsides and all see Tulsidas safe. Ravidatta feels ashamed and he prostrates himself before Tulsidas and asks for his pardon.

Song-Raadha ji ke kunwar kanhaiyya ho (Tulsidas)(1954) Singers-Asha Bhonsle, Rafi, Lyrics-Gopal Singh Nepali, MD-Chitragupta

Lyrics

o o o
o o o
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa

raadha ji ke kunwar kanhaiya ho
meri naiyya ka kaun khewaiyya
ho teri naiyya ke raam khewaiyya
radha ji ke kunwar kanhaiya ho
meri naiyya ka kaun khewaiyya
ho teri naiyya ke raam khewaiyya

achcha bataa do chaand gagan ka kis dulhan ka teeka hai
sandhya ne sindoor udaaya
sandhya ne sindoor udaya
phir kyun pheeka pheeka hai
o o o o
raani chaand usi ka teeka hai
jal darpan mein dekh ke tujhko
jal darpan mein dekh ke tujhko
chanda pheeka pheeka hai
taare chaand ke raas rachaiya ho
meri naiyya ka kaun khewaiyya
ho teri naiyya ke raam khewaiyya
raadha ji ke kunwar kanhaiya ho
meri naiyya ka kaun khiwaiyya
ho teri naiyya ke raam khewaiyya

achcha bata do lahren uthh kar, lehron se kyun takraayen
kisko dekh sharaabi jaise
kisko dekh sharaabi jaise
uthh aayen gir gir jaayen
o o o o
ek chaand tum laakhon lahren
ek chaand tum laakhon lahren
aapas mein ladti aayen
tujhe pakadne ko lahron ke
kaandhon par chadhti jaayen
kheloon lahron se main ta ta thaiya ho
meri naiyya ka kaun khewaiyya
ho teri naiyya ke raam khewaiyya
raadha ji ke kunwar kanhaiyya ho
meri naiyya ka kaun khewaiyya
ho teri naiyya ke raam khewaiyya

This article is written by Raja, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Yesterday I happened to watch Anubhav (1971). I had last seen this film when I was a young boy. I must admit I wasn’t particularly impressed by it at that time. In those days, I was into “fun” movies which either had action (like Mera Gaon Mera Desh) or a typical storyline with catchy music (like Kati Patang). Anubhav had neither. The music was beautiful but not the type a 10-year old would find fun.

But Anubhav is a highly-rated film – and I wanted to see it again. So I did. And I quite liked it this time.

But this post isn’t about Anubhav.

It’s about another film. Gustaakhi Maaf (1969).

As we know, when we watch a video on youtube, we are given suggestions of other videos to watch. As I watched Anubhav, I was suggested “Gustakhi Maaf”. Seemed logical, since this film has the same tags as Anubhav, viz, Sanjeev Kumar and Tanuja.

Now I’m quite fond of both these actors – and they were excellent in Anubhav – so I decided to give Gustakhi Maaf (1969) also a try. I knew nothing of the movie though I’d vaguely heard of it.

The best thing about watching a film with no expectations is that even if you like it a bit, it has exceeded your expectations.

And I must say this film more than exceeded my expectations.

Based on Shakespeare’s Comedy of Errors, it stars Tanuja in a double role, with the lead male roles played by Sanjeev Kumar and Sujit Kumar.

It is a rollicking, madcap film which gets progressively crazier as the film progresses. I must say the second half drags on a bit – and at times you feel it has got stuck like a broken record. Even so, if you are truly the crazy type, and just want an entertainer without a single sad or heavy-duty emotional scene, even if it is silly, this film will not disappoint you. It will make you forget all your troubles for those couple of hours that you watch it.

Years later, Gulzar’s Angoor was also made, inspired by Comedy of Errors. That was a classic, and a rollicking comedy too. Gustakhi Maaf (1969) is directed by Raj Kumar Bedi and doesn’t come close to Angoor standards – but, inspite of its silliness, in its own small way, it gave me quite a few laughs

As I always do when I watch a film, I checked the blog to see which songs remained to be posted. To my surprise, I found that this film has not even made its debut here.

Coming to the music.

To be brutally honest, I felt the music, composed by Sapan Jagmohan, was OK, not particularly outstanding. I would give it an average score, at best. Now Sapan Jagmohan have composed some beautiful songs like “phir wo bhooli si yaad aayi hai” (Begaana – 1963), “ulfat mein zamaane ki” (Call Girl – 1974) and “tu laali hai savere waali” (Abhi To Jee Lein – 1977). So I do respect their quality – it is just that I feel this isn’t one of their better scores.

Anyway, for me, the film itself more than made up for the music. I thoroughly enjoyed the craziness in the movie.

Here is one of the songs of the film. Picturised on Sujit Kumar and Tanuja, sung by Rafisaab and Asha Bhosle.

The scene is that Sujit Kumar has stood up Tanuja, who he was supposed to meet at a particular place at a particular time. She’s obviously not happy with this. So he is now trying to pacify her. A not unfamiliar scene in Hindi films.

Lastly, a word about Tanuja. I really like her a lot – and she is loads of fun in this film. In Anubhav also she is very good. I’ve a feeling she was never really considered top-notch (like Hema Malini, Asha Parekh or Sharmila Tagore) but she totally deserved to be at that level. Maybe she didn’t get the big banners, and acted in a lot of “B” films, so got tagged as such.

I see that she acted in at least 5 films, opposite Sanjeev Kumar (who was also then not quite in the big league). Apart from Anubhav (1971) and Gustakhi Maaf (1969), they acted in Us Raat Ke Baad (1969), Priya (1970) and Purani Pehchaan (1971). All these in the space of 3 years. Since I like both these actors, I need to catch up on these other films as well.

Anyway, here’s the song for you to enjoy.

Song-Ae jaan e jaan chale kahaan (Gustaakhi Maaf)(1969) Singers-Rafi, Asha Bhonsle, Lyrics-Naqsh Llayalpuri, MD-Sapan Jagmohan

Lyrics

Ae jaan-e-jaan chale kahaan
Shut up!
Gustakhi maaf
Ae jaan-e-jaan chale kahaan
Khafa khafa judaa judaa
Ye berukhi hai kaisi
Naaraazgi hai kaisi
Jaao hato lo raasta
Humse tumhe kya waasta
Ye dillagi hai kaisi
Deewaangi hai kaisi
Aye jaan-e-jaan chale kahaan
Khafa khafa judaa judaa

Haaye ye phool si rangeen jawaani tauba
Chaal hai ya kisi dariya ki ravaani tauba
Shokh aanchal ka ye seene se dhalakna tauba
Mast aankhon se ye masti ka chhalakna tauba
Kaisa ye humko o deewaana mil gaya
Hey jaao hato lo raasta
Humse tumhen kya waasta
Ye dillagi hai kaisi
Deewaangi hai kaisi
Ae jaan-e-jaan chale kahaan
Khafa khafa judaa judaa

Shaayari karke mohabbat ka jataana chhodo
Hum samajhte hain tumhen
humko banaana chhodo
Kis liye tum ne sar-e-baat karna bhi nahin
??se ganwaara humko
Aisi bhi kya humse ho gayi khataa
Ae jaan-e-jaan chale kahaan
Khafa khafa judaa judaa
Ye berukhi hai kaisi
Naaraazgi hai kaisi
Heh jao hato lo raasta
Humse tumhe kya waasta

Dil mera chheen ke nazrein na churaao aise
Humse gustaakh nigahen na milaao aise
Kab tumhen meri mohabbat ka yakeen aayega
Aisa lagta hai ki wo din to nahin aayega
Baahon mein aao
ab chhodo ye adaa
Ae jaan-e-jaan chale kahaan
Khafa khafa judaa judaa
Ye berukhi hai kaisi
Naaraazgi hai kaisi
Jaao hato lo raasta
Humse tumhe kya waasta
Ye dillagi hai kaisi
Deewaangi hai kaisi
Ae jaan-e-jaan chale kahaan
Khafa khafa judaa judaa
Ahahaha
ho ho ho ho
Hi hi hi hi
aha ha ha

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

There was some speculation among regulars about the inactivity in the blog today despite it being a sunday. Someone felt that it was the long weekend effect.

There has been no post today so far though I have been doing nothing but blogwork the whole day till now. It is just that my work is about background work and very few people (may be Sudhir Jee and Mr Sadanand Kamath) may be noticing what background work I am doing for the last several months. Others too are welcome to guess.

I try to keep the post count going in the blog despite such pre occupation though. It must be said though that I could not find time for posts celebrating a few anniversaries yesterday due to various reasons.

Today (14 august 2016) is the death anniversary of Shammi Kapoor (21 october 1931- 14 august 2011). It is difficult to imagine that as many as five years have gone by since Shammi Kapoor left us. Time certainly flies quite fast.

Though well over 150 songs picturised on Shammi Kapoor are already showcased in this blog, we still have many more such songs that we can use to pay tribute to Shammi Kapoor.

Here is a song from “Sachchai”(1969) as a tribute to Shammi Kapoor. This song is sung by Asha Bhonsle, Rafi and chorus. The song is picturised on a grand scale as a drunkard dance song on a stage on Helen, Shammi Kapoor (bearded and perhaps in disguise), and several female dancers. Sanjeev Kumar is also visible in the picturisation.

Rajinder Krishan is the lyricist. Music is composed by Shankar Jaikishan.

Lyrics of this song were sent to me by Prakashchandra.

Audio

video

Song-Kab se dhari hai saamne botal sharaab ki (Sachchaai)(1969) Singers-Asha Bhonsle, Rafi, Lyrics-Rajinder Krishan, MD-Shankar Jaikishan
Chorus

Lyrics(Provided by Prakashchandra)

hmm mm
kab se dhari hai saamne
botal sharaab ki
kab se dhari hai saamne
botal sharaab ki ee
aa pee le iss mein band hain
aa haa
ke iss mein bandh hain
raathein shabaab ki ee
aa pee le iss mein band hai
aa haa
ke iss mein band hain
raatein shabaab ki
kab se dhari hai saamne
botal sharaab ki
kab se dhari hai saamne
botal sharaab ki ee
aa pee le iss mein band hain
aa haa
ke iss mein bandh hain
raatein shabaab ki…ee
aa pee le iss mein band hain
aa haa
ke iss mein bandh hain
raatein shabaab ki ee

o o o o o
o o o o
o o o o o o
saaghar mein aaj dhalke
saayaa shabaab ka aa
saaqi ne rukh hi mod diyaa
aaftaab kaa aa
aaftaab kaa aa
aa baith meri zulf ki chhaaon mein do ghadi
aayegaa tujh ko lutf shab-e-maahtaab kaa
aa baith meri zulf ki chhaaon mein do ghadi
aayegaa tujhko lutf shab-e-maahtaab kaa
kab se dhari hai saamne
botal sharaab ki
aahaa
kab se dhari hai saamne
botal sharaab ki
aa pee le iss mein band hain
aahhaa
ke iss mein band hai
raatein shabaab ki ee
aa pee le iss mein band hain
aa haa
ke iss mein band hain
raatein shabaab ki

o o o o o
o o o o o
o o o o o
saaqi fizaa zamaane ki
kitni udaas hai ae ae
main aa gayaa ye soch ke
maikhaanaa paas hai ae
maikhaanaa paas hai ae
tere liye hi rakhaa hai
maine woh ek jaam
jiss mein mere haseen labon ki mithaas hai
o tere liye hi rakhaa hai
maine woh ek jaam
jiss mein mere haseen labon ki mithhaas hai
kab se dhari hai saamne
botal sharaab ki
kab se dhari hai saamne
botal sharaab ki ee
aa pee le iss mein band hain
aahhaa
ke iss mein bandh hain
raatein shabaab ki ee
aa pee le iss mein band hain
aa hhaa
ke iss mein band hain
raatein shabaab ki

o o o o o o
o o o o o
o o o o
saaqi sharaab laa
ke ye dil
bekaraar hai ae ae
har cheez iss jahaan ki
be-aitbaar hai ae ae
be-aitbaar hai
jo maikade mein aa gayaa
duniya ko chhod kar
ik ek lamha uske liye
khushgawaar hai ae
jo maikade mein aa gayaa
duniyaa ko chhod kar
ik ek lamha usske liye
khushgawaar hai
kab se dhari hai saamne
botal sharaab ki
kab se dhari hai saamne
botal sharaab ki
aa pee le iss mein band hain
aahaa
ke iss mein bandh hain
raathein shabaab ki ee
aa pee le iss mein band hain
aa hhaa
ke iss mein bandh hai raatein shabaab ki

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today’s song is from film Durgapooja-54, a Mythological film. It is a lovely duet of Rafi and Asha Bhonsle. Looks like, songs of C.Ramchandra and songs from religious films will not leave me alone in my life !

Films having word Durga in the title were many. “Durga” itself was made in 1939, 1984,1991 and 2001. Durga Maa was in 1986, Durgamata in 1960 and Durgapooja in 1954 and 1962. Durgapooja-54 was produced by Dhirubhai Desai and Sharad Desai, under the banner of Sharad productions ( Sharad was Dhirubhai’s son ). The film was directed by Dhirubhai Desai and the music was by S N Tripathi, the Mythological film specialist. The film had 10 songs and today’s song will be the second song from the movie to be discussed by me.

The cast of the film consisted of the usual Mythological players like Trilok Kapoor, Shahu Modak, Nirupa Roy, S N Tripathi, Kamal, Indira Bansal, Prabha Shanker, Yashodhara Katju and many other regular actors. The name of Yashodhara Katju has reminded me about a story of her film entry.

We all know that in the initial era of film making, it was very difficult to get people from good and respectable families to act in the films. There were many educated persons who were Producers, Directors, Lyricists, Composers,Story writers etc but getting such people to act in the films was really difficult.Later Males became available but females were not forthcoming, so many times the males had to do the acting of female parts in the silent films. After some time girls from the lower strata of the society like uneducated, Tawayafs and singing family girls came into films, but girls from educated respected families were scarce even then.

When the Talkie films started, girls from educated and respectable families started joining films. In this, Maratha and Kayastha ( specially CKP) were in the forefront. Lalita Pawar, Wadkar, Shanta Hublikar, Durga Khote, The Samrths(Shobhana, Nutan etc) Jaywant etc were some examples. Except for the first woman actress Kamlabai Gokhale, rarely any of the Bramhin girls came into films for a long time. In Male actors most were Kayasth or Bramhin ofcourse.

Chandramohan was one of the most handsome actors of the 30s and the 40s. He was a Kashmiri Bramhin and his full name was Chandramohan Wattal. It so happened that in the early 30s-in 1934 precisely- one actress by name Shyama (Zutshi) joined films. She was a beautiful girl of considerable talent. She was educated also and a bright future awaited her.She acted in many films, like Vishnu Bhakti-1934, Majnu-35, and Karvan-e-hayat-35 ( opposite Saigal and Pahadi Sanyal), etc.

Shyama Zutsi was a Kashmiri Bramhin girl. She belonged to a well to do family of Lahore where she studied upto 10th standard. Her father was a Barrister. She was successful as an actress and was much in demand, but suddenly she left films and joined Politics. In due course, she became a Congress leader in Kashmir. Everyone was surprised why she left films suddenly.

The reason of her leaving films was actor Chandramohan. He too was a Kashmiri Bramhin and held the view that Kashmiri Bramhin girls should not work in films as it is below their dignity. He strongly opposed Shyama’s work in the films and put lot of pressure on her to quit films. Fed up of his pestering and also afraid of his anger, Shyama left films. Her last film was Khooni Jadugar-1939.

However, soon after this yet another girl who too was a Kashmiri Bramhin came into films from 1941. Chandramohan tried all his pressure tactics and tried to force her out of the films, but this girl was different. She was tough and did not fear him or yield to his intimidations. She continued to work in films unabated. Chandramohan died in 1949, but this girl worked in films from 1941 to 1974. She worked in 86 films and earned quite a name.

Her name was Yashodhara Katju ( 15-4-1928 to 1974 ). She was a niece of Pt. Nehru, but never ever used her high connections to get work. Her father K L Katju was a well known politician of UP and he was also a senior bureaucrat. They were from Lahore, where Yashodhara had studied upto Senior Cambridge and also dancing. She was a leading comedienne in the early 50s and had formed a pair with Gope for some films. She married a Navy officer and spent her retired life as a housewife, away from filmdom.

Film Durgapooja, as the name suggests, was about the powers of Maa Durga. Like a clever person that he was, Dhirubhai Desai got the film censored on 22-9-1954, just before the Dushhera festival, falling on 7th October 1954, to get the advantage of public emotions. The story of the film was…

Mahishasoor, the mighty Demon-King had spread a reign of terror in every nook and corner of the world. Blood of innocent people flowed like water. There was no safety of person of property. Religion and chastity of women were in jeopardy, every moment, at the hands of the vulture-like Rakshasas. People were cowed down, as the hands of the beastly tyrant had crushed all opposition. All the vanquished Kings and Princes cowardly accepted his slavery to save their lives.

Prince Shatrughna was the only exception. For not accepting his sovereignty he was ordered to be killed by throwing down from a hill-top. But he excaped bravely. . Saranyu, the beautiful and daring daughter of Mahamuni Twashta had undertaken the task of spreading the spirit of revolt against the oppressive rule of Mahish. But as fate would have it, Mahish happened to see her one day and her charming beauty captured his heart. He proposed to make her his queen and on her declining that offer, tried to molest her. Luckily, however, Prince Shatrughna arrived at the nick of time and saved her honour. Cupids dart struck the young herarts of Saranyu and Shatrughna.

But they preferred to dedicate their lives to the service of the people and some how bring about the destruction of Mahish. . The fragrance of saranyus beauty had reached even the celestial heights of Swarga-lok. And Devraj Indra, personally went to Mahamuni Twashta to request for her hand. But the splendour and riches of even Indra-lok had no attraction for Saranyu. She rejected Indras offer too.

Mahish sent his soldiers to abduct Saranyu forcibly, But before they could succeed, Indra took her away. This enraged Mahish so much that he ordered to invade Swarga, immediately. But Narad Muni advised him to first acquire superior strength than Indra, by performing Tapasya. . When saranyu refused to marry him, Indra tried to fulfill his desire by force-but Shachidevi, Indras wife, interrupted him and sent her back to her fathers Ashram.

Mahish pleased Brahma by his penance, and obtained a boon of virtual immortality from him viz. No one, except a woman, could kill him in the three worlds. Intoxicated by this boon, he proclaimed himself as God-issued a fiat to worship none but him and mercilessly persecuted and put to death thousands of devotees who persisted in worshipping Lord vishnu, shanker and Goddess Adya Shakti, in defiance of his orders.
Suloma, the kind-hearted queen of Mahishasoor several times tried to persuade and prevent Mahish from the path of sin-but to no purpose. He invaded Swarga-lok also, defeated Indra in a war and humiliated him as well as Indrani, by inhuman tortures. In the meantime, Mahamuni Twashta had married Saranyu to prince Shatrughna.

But Mahish had, still, not forgotten Saranyu. He got her kidnapped just on her wedding night. When Saranyu did not yield to his several tactics-mahish blinded Mahamuni Twashta’s eyes with hot iron bars, in her presence and also killed her husband, before her eyes. But the true Sati, as she was, Saranyu remained firm in her pious resolve. . Then from the Lights of all the Gods-Goddess Durga was born. Bhagwati Durga Mata kills the proud Mahishasoor. she revives Sati Saranyu’s husband to life, the blind Mahamuni Twashta regains his lost eyesight and Suloma sacrifices her life for a just and noble cause.

Song- Mera man hai magan laagi tumse lagan (Durga Pooja)(1954) Singers- Asha Bhonsle, Rafi, Lyrics-Bharat Vyas, MD-S N Tripathi
Both

Lyrics

mera man hai magan
laagi tumse lagan
ho sajan ye ghadi na bhulaana ji
sajan ye ghadi na bhulaana ji
dekho preet ki reet nibhaana ji
dekho preet ki reet nibhaana jee
ye anokha milan
jaise dharti gagan
mera sachcha vachan na bhulaana ji
sachcha vachan na bhulaana ji
dekho preet ki reet nibhaana ji
dekho preet ki reet nibhaana ji

pujaaran ko ye vardaan milaa
pujaaran ko ye vardaan milaa
tu mile to(?) mujhe bhagwaan milaa
bhagwaan milaa
ho o o o
o o o o
naache jhan jhan jeewan
jaise san san pawan
ye sapan mera ab na mitaana ji
sapan mera ab na mitaana ji
dekho preet ki reet nibhaana ji
dekho preet ki reet nibhaana ji

nahin haathhon se haath kabhi chhoote
nahin haathhon se haath kabhi chhoote
nahin jeewan mein saathh kabhi chhoote ae
nahin jeewan mein saathh kabhi chhoote
na kabhi chhoote
ho o o o
o o o
jaise man mein umang
jaise jal mein tarang
jaise phoolon mein rang suhaana ji
phoolon mein rang suhaana ji
waise preet ki reet nibhaana ji
waise preet ki reet nibhaana ji
mera man hai magan
laagi tumse lagan
ho sajan ye ghadi na bhulaana ji
sajan ye ghadi na bhulaana ji
dekho preet ki reet nibhaana ji
dekho preet ki reet nibhaana ji

This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

One of the more easily recognizable figures on the Hindi film screen. There are two hallmark identifications, with which we can easily pick out Asit Sen (the actor). The first one is his size. It is remarkable that he maintained his figure through the entirety of his career. One can see him in his earliest appearances in films like ‘Do Bigha Zameen’, playing the role of a seller of sweets and savories, and then also see him in films after three decades – ‘Mera Karam Mera Dharam’ (1987), playing the role of school headmaster. There is no change in his physique. For the number of years one sees him on screen in the same physical dimensions, the thought almost comes into the mind – maybe this is how he was born.

The second most distinguishing feature of his personality is his dialogue delivery. A busy, hurried person would certainly miss his train, or flight, waiting for Asit Sen to complete one dialogue. The measured slowness simply cannot be a result of practice. Asit Sen had an natural-ness about his leisurely and well, almost painstakingly deliberate pace of conversation. His one spoken word has the capacity to stretch on for a few seconds. Such an exchange would cause irritation under normal circumstances.  But with Asit Sen, this ended up with such comic effects that he was a comedian in very high demand. In a career that spans almost three and a half decades, he appeared in no less than 450 films, in supporting roles of all shades and hues. So effective was his on screen presence that the audience were quite well tuned to his entry into a scene – with his pudgy frame and chubby features, he would enter a frame, and audience would already start to chuckle, knowing well that a funny interlude was about to follow.

He would have been a director, but he chose to become a comedian, leaving the lightweight Asit Sen (the director) a clear space. I once read in one issue of ’Filmfare’ magazine long ago – the reference to these two contemporaries was given as ‘Chhote Asit Sen’ (the director) and ‘Motey Asit Sen’ (the actor).

I reproduce below a brief bio sketch presented by our dear Arun ji, from his article on the ‘Anmol Fankar’ blog in the series of ‘Same Name Confusions’. (http://www.anmolfankaar.com/features/blog/317-same-name-confusions-part-1.html).

The roly poly, slow speaking, heavily built comedian would have actually been an A-class Director, but for his laziness. Born in Gorakhpur (UP) on 13th May, 1917, his photographer father put him in New Theatres camera department. Doing small bit roles, he slowly became an assistant to Bimal Roy and shifted to Bombay in 1950. He was the production executive for ‘Do Bigha Zameen’ (1953) as well as the asst. director for ‘Parineeta’ (1953) and ‘Biraj Bahu’ (1954). He directed two films – ‘Pariwar’ (1956) and ‘Apradhi Kaun’ (1957). Unfortunately, these two well directed films of roly poly Asit Sen are mistakenly often credited to the other Asit Sen. Though his work was appreciated, perhaps due to his heavy body, he preferred to work as actor than a director.

After doing small roles in Bimal Roy’s films like ‘Sujata’, ‘Parakh’, ‘Anuradha’, ‘Mem Didi’ and ‘Kabuliwala’, he did his first significant comic roles in Junglee (1961) and Sautela Bhai (1962). It was here that he perfected his slow dialogue delivery style.

He worked in almost 450 films in all languages. He also tried doing serious roles, like in ‘Chetna’, ‘Zaroorat’, and ‘Aradhana’, but he was rejected. The audience wanted him as a comedian only.

I present this song and article today – today’s date is listed as the anniversary of passing away of this comic actor (in 1993). As I check IMDB and Wikipedia, this is the date that those web pages also carry. Arun ji’s article on ‘Anmol Fankar’ carries a different date. I request dear Arun ji, to please check and clarify for us about this date discrepancy.

Seeing Asit Sen perform songs on the screen, is kind of a switch-hit – the batsman changing his mind while shaping up for a cover drive, switching stance, and dispatching the ball to mid wicket boundary with a reverse flick. What I mean to say is that one is so used to Asit Sen’s dawdling and sluggish dialogue delivery, that one is taken by complete surprise watching him lip sync a song, which necessarily has a regular pace and tempo – characteristics that one simply does not associate with him. And so, the song turns out to even more fun as Asit Sen is now seen playing catch up with the playback singer, at times with some funny effects, as his actions appear to be late by many fractions of a second, behind the spoken word.  There is this male duet song (Rafi Sb and Manna Dey) from the film ‘Gunaahon Ka Devta’ (1967) – “Mehfil Mein Shama Chamki, Parwaane Chale Aaye” (not yet posted on the blog), which is performed on screen by Asit Sen and Mehmood. It is such fun watching the antics of these two – Mehmood’s actions are quite in sync with the sung lyrics, and Asit Sen, although lip syncing the same lines, is quite discernibly lagging in his lip movement and actions, by some fraction of seconds. Just that discrepancy is so hilarious, as Asit Sen, with his oversize bulk, is trying keep pace with Mehmood.

Today’s song is another wonderful presentation from the 1970 film ‘Begunaah’. The film is the regular Sheikh Mukhtar genre, which also includes NA Ansari for good measure. The six songs in this film are attributed to two songwriters – Asad Bhopali and Manohar Khanna. However, the specific songwriter for this song is not identified. Music is by Usha Khanna. (Intresting note – Manohar Khanna is the father of Usha Khanna).

The song is picturized as a villain’s den song. In the beginning of the clip we see a person tied to a chair, making efforts to release himself. One cannot make out the face clearly, but I am guessing it is Dev Dutt, the male lead actor in the film. And then the song starts – it is a dance song. The lead dancer is Shahida, and Asit Sen is the companion. I have this film, but have not yet watched it. Apparently, the hero has been imprisoned by the gangster boss, and the heroine, along with the side kick has come the gangster hideout, disguised as dancers, in an effort to rescue the hero. That is how this situation seems to be designed.

And so, paying tributes to one of the most likeable and endearing comic persona of the Hindi film screen, on the anniversary of his passing away. Always to be remembered as a 78 rpm record being played on a player that seems to be low on power. The extended drawl as the words coming from his lips take their own time to form and be heard.

Asit Sen – the portly funny man, who found his way into our hearts – slowly, quite slowly.

Song – Antul Maahboobi Antul Maahboobi (Begunaah) (1970) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – (unknwon), MD – Usha Khanna
Rafi+ Asha

Lyrics

aaaaaa

aaaaaa

antul mahboobi
mahboobi
antul mahboobi

antul mahboobi
antul mahboobi
antul mahboobi
antul mahboobi
(?) hasan ta alaiqaa
(?) hasan ta alaiqaa
main teri rukhsaana
tu mera parwaana
ae mere humdum

antul mahboobi
antul mahboobi
antul mahboobi
antul mahboobi

jalwe hain andaaz hai mai hai masti hai
duniiya ki har cheez yahaan mil sakti hai
teri surat chaand se pyaari surat hai
tere dum se aaj ye duniya jannat hai
tu haseen hai
dil-nasheen hai
maahtaab jaisi
antul mahboobi
antul mahboobi
antul mahboobi
antul mahboobi

aaaa aaa
aaaaa aaaa aaaa aaaa
aaaaa aaaaa aaaaaaa
aaaaaa
aaaaaaa
aaaa aaaaa aaaaa

jab jab tere saath nigaahen milti hain
dil mein kitni shokh bahaaren khilti hain
aaj nazar ke saamne mera qaatil hai
tauba jee ab hosh mein rehna mushkil hai
mere pyaar par
aitbaar kar
ae haseen saathi
antul mahboobi
antul mahboobi
antul mahboobi
antul mahboobi

o deewaane kaun tujhe ye samjhaaye
jaane ik pal baad yahaan kya ho jaaye
har afsaana khwaab mein dhalta jaata hai
rang e mehfil aur badalta jaata hai
mere meharbaan
apni dastaan
jaan le na koi
ho antul mahboobi
antul mahboobi
antul mahboobi
antul mahboobi

(?) hasan ta alaiqaa
(?) hasan ta alaiqaa
main teri rukhsaana
tu mera parwaana
ae mere humdum

antul mahboobi
antul mahboobi
antul mahboobi
antul mahboobi

mahboobi

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-

आssss

आssss

अनतुल माहबूबी
माहबूबी
अनतुल माहबूबी

अनतुल माहबूबी
अनतुल माहबूबी
अनतुल माहबूबी
अनतुल माहबूबी
(?) हसन ता अलइका
(?) हसन ता अलइका
मैं तेरी रुख़साना
तू मेरा परवाना
ए मेरे हमदम

अनतुल माहबूबी
अनतुल माहबूबी
अनतुल माहबूबी
अनतुल माहबूबी

जल्वे हैं अंदाज़ है मय है मस्ती है
दुनिया की हर चीज़ यहाँ मिल सकती है
तेरी सूरत चाँद से प्यारी सूरत है
तेरे दम से आज ये दुनिया जन्नत है
तू हसीन है
दिल-नशीन है
माहताब जैसी
अनतुल माहबूबी
अनतुल माहबूबी
अनतुल माहबूबी
अनतुल माहबूबी

आsss आss
आssss आsss आsss आsss
आssss आssss आssssss
आsssss
आssssss
आsss आssss आssss 

जब जब तेरे साथ निगाहें मिलती हैं
दिल में कितनी शोख बहारें खिलती हैं
आज नज़र के सामने मेरा क़ातिल है
तौबा जी अब होश में रहना मुश्किल है
मेरे प्यार पर
एतबार कर
ए हसीन साथी
अनतुल माहबूबी
अनतुल माहबूबी
अनतुल माहबूबी
अनतुल माहबूबी

ओ दीवाने कौन तुझे ये समझाये
जाने इक पल बाद यहाँ क्या हो जाये
हर अफसाना ख्वाब में ढलता जाता है
रंग ए महफिल और बदलता जाता है
मेरे मेहरबान
अपनी दास्तान
जान ले ना कोई
हो अनतुल माहबूबी
अनतुल माहबूबी
अनतुल माहबूबी
अनतुल माहबूबी

(?) हसन ता अलइका
(?) हसन ता अलइका
मैं तेरी रुख़साना
तू मेरा परवाना
ए मेरे हमदम

अनतुल माहबूबी
अनतुल माहबूबी
अनतुल माहबूबी
अनतुल माहबूबी

माहबूबी

This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today (16 october 2016) is the birthday of Hema Malini, MP from Mathura.

But we will not go into her political career here. That is not of any particular interest to this blog. What we are interested in here is music and the film industry – and that is what we will focus on.

If I were a Britisher, I would probably say “It is fair to say that Hema Malini had a fairly successful career as a leading actor of her time, with a not insignifant number of successful films. ”

That would be typical British understatement. And anybody who’s familiar with the British style of speech, will translate this into “She must have had a phenomenally successful career, with a very large number of hits.”

And that would be a pretty accurate assessment of Hema Malini’s career. She was the reigning queen of her time, with others playing catch-up.

Being a 70s kid, I had the privilege of following Hema Malini’s career first hand right through that decade. She made her debut in the late 60s (so that was slightly before my time) but I do remember watching her early movies (Sapnon Ka Saudagar, Aansoo Aur Muskaan, Tum Haseen Main Jawaan, Abhinetri, Johny Mera Naam, Andaaz) when I was very young.

With the arrival of the 70s decade, Hema Malini seemed to come into her own. That was the period when Sharmila Tagore, Asha Parekh and Mumtaz were probably the top heroines. But Hema Malini, who was a newbie compared to these ladies, was soon right up there with all of them as a much-in-demand heroine.

And then, while these heroines’ careers as leading women gradually ended, Hema’s just took off. She dominated the 70s decade like none other.

In fact, one can say that, while the 70s decade was split between Rajesh Khanna and Amitabh Bachchan in superstardom for the male lead, it was singularly dominated by Hema Malini, for the female lead.

This is no disrespect to the other heroines of the time. They were also popular – but Hema’s popularity easily surpassed all of them.

Not for nothing did we have dialogues like “apne aap ko Hema Malini samajh rahi hai kya?”

Not for nothing was she called “Dream Girl” – and even had a film by this name in which she played the female lead.

Not for nothing were her co-stars like Jeetendra and Sanjeev Kumar, not to mention Dharmendra, interested in wooing her.

Through all this, Hema Malini maintained a professionalism – probably also under the watchful eye of her mother, Jaya Chakravarty.

The successes kept coming. There were many – I am not going to list them here, except mention the odd film.

Johny Mera Naam (1970). An early film in her career – and a MASSIVE hit. This kicked off the Dev Anand – Hema Malini partnership. They acted in quite a few films thereafter, never quite with the success of Johny Mera Naam. Hema did admit later that Dev Anand was one of her favourite directors.

Lal Patthar (1971). Early film for Hema, but one in which her performance could be said to be every bit as impressive as the highly-rated Raj Kumar. One could hardly think this is somebody just starting out on her career.

Andaaz (1971). Hema played the role of a mother. Again, rather uncharacteristic for someone so early in her career. But clearly Ramesh Sippy had confidence in her, even then.

Seeta Aur Geeta (1972). Another Ramesh Sippy film, Hema Malini was the standout in this delightful “separated twins” story (remade as Chaal Baaz later). She won the Filmfare Award for this film – and deservedly so.

Sholay (1975). Again, a Ramesh Sippy film. Amongst the many fond memories of this film are the scenes involving Hema Malini. Who can forget Basanti? In fact, she has often said that even today, when she travels to places, she meets people who refer to her as Basanti. She was just fabulous in Sholay.

Kinara (1977). A Gulzar film. Hema Malini was by then a superstar, but many of her films had been “typical” films of the time. Often masala, with a lot of running around trees, song and dance and typical dhishum-dhishum. This was a different film – one in which Hema got a chance to dispay acting depth. Gulzar had earlier worked with Hema in Khushboo (1975) – another lovely film, with a good storyline.

Meera (1979). Another Gulzar film, which centred around the female protagonist (Meera) played by Hema. I remember reading about this film when it was being made. Hema was very keen on this role.

Razia Sultan (1983). Now this is a film I haven’t seen (and I think it didn’t do well), but again she had the female protagonist role. It’s a film I’d like to see.

Ek Chaadar Maili Si (1986). Hema was just outstanding in this film – again a role with maturity and depth.

Rihaee (1988). A powerful film that talks about women and their experiences in the village, when left behind by their husbands who’ve gone to the city for work. It’s a bold film – and Hema Malini’s performance (20 years after Sapnon Ka Saudagar, her first film as lead heroine) is still pretty spot on.

She’s acted in films after that too – more recently in character roles, like opposite Amitabh Bachchan in the hit film Baghbaan (2003). I must admit I’ve not seen many of these “recent” films.

I’ve listed only a few films here. Other than these, there were plenty of films which were not only very successful, but where she played a big part in the film’s success. She was also an accomplished Bharat Natyam dancer – and in several of her films, she had a chance to display her dancing skills.

I will admit one thing though. For all her superstar success in the 70s, Hema was NOT my favourite heroine of the time. That was possibly partly because she was the favourite for many – and I wanted to be the rebel. I would support a Moushumi or a Sulakshana or a Vidya Sinha, but not Hema – just to be “hatke”. Besides, her accent was always a bit of a dampener for me, though I must give her credit for getting to the top, despite it.

Now to the song for today.

I’ve picked a song from one of Hema’s early films. A song that I vividly remember from my childhood – it was a popular song in its time. A pretty catchy tune – one that I used to sing a lot. I was quite surprised this song hasn’t been posted yet.

But beyond these reasons, a reason to post this is that the song is composed by Shankar Jaikishen. Yesterday (15th October) was the birth anniversary of Shankar. I did not post a separate song on this occasion, so I am using this song to pay tribute to this maestro too.

The song is “aap ko pehle bhi kahin dekha hai” from Tum Haseen Main Jawan (1970). Those who like catchy tunes will like this one. Typical Shankar Jaikishen of the time. They could do classical tunes – and they could do foot-tapping ones too. This one belongs in the latter category. But don’t miss the interludes – they have a classical bend to them! So this song has both.

Hope you like it. I believe this was also the film where Hema and Dharam acted together for the first time – and there was a sort of initial attraction between them.

And wish you a very happy birthday and many happy returns of the day, Hemaji.

Song-Aapko pehle bhi kahin dekha hai (Tum Haseen Main Jawaan)(1970) Singers-Rafi, Asha Bhonsle, Lyrics-Hasrat Jaipuri, MD-Shankar Jaikishan
Both

Lyrics

Aap ko pehle bhi kahin dekha hai
Khwaab mein ya rubaroo par dekha hai
Aao hil mil jaayen
mauj udaa lein zindagi mein
Tum haseen main jawaan
Tum haseen main jawaan
Tum haseen main jawaan
Tum haseen main jawaan
Aap ko pehle bhi kahin dekha hai
Khwab mein ya rubaroo par dekha hai
Aao hil mil jaayen
mauj udaa lein zindagi mein
Hah tum haseen main jawaan
Tum haseen main jawaan
Ah tum haseen main jawaan
Tum haseen main jawaan

Aap mein aisa jalwa nazar aa gayaa
Aap mein aisa jalwa nazar aa gayaa
Pyaar banker khayaalaat par chha gayaa
Pyaar banker khayaalaat par chha gayaa
Ab to koi haseen mujhko janchta nahin
Apni manzil ko main khud ba khud paa gayaa
Haaye
Aap ko pehle bhi kahin dekha hai
Khwab mein ya rubaroo par dekha hai
Aao hil mil jaayen
mauj udaa lein zindagi mein
tum haseen main jawaan
Tum haseen main jawaan
tum haseen main jawaan
Tum haseen main jawaan

Aap ki baat ka kaise kar loon yakeen
Aap ki baat ka kaise kar loon yakeen
Jis ne dekha mujhe ho gaya meherbaan
Jis ne dekha mujhe ho gaya meherbaan
Ye jawaani ka shaayad chamatkaar hai
Is fasaane mein warna haqeeqat kahaan
Aap ko pehle bhi kahin dekha hai
Khwab mein ya rubaroo par dekha hai
Aao hil mil jaayen
mauj udaa lein zindagi mein
Tum haseen main jawaan
Tum haseen main jawaan
Tum haseen main jawaan
Tum haseen main jawaan

Dil ke sheeshey pe mujhko bharosa to hai
Dil ke sheeshey pe mujhko bharosa to hai
Jhooth boley kabhi aisa sheesha nahin
Jhooth boley kabhi aisa sheesha nahin
Aap maanen na maanen khushi aap ki
Dekh le jisko dil bhoolta hi nahin
Ho
Aap ko pehle bhi kahin dekha hai
Khwaab mein ya rubaroo par dekha hai
Aao hil mil jaayen
mauj udaa lein zindagi mein
Haah tum haseen main jawaan
Haah Tum haseen main jawaan
Haah tum haseen main jawaan
Tum haseen main jawaan
Aap ko pehle bhi kahin dekha hai
Khwab mein ya rubaroo par dekha hai
Aao hil mil jaayen
mauj udaa lein zindagi mein
Tum haseen main jawaan
Tum haseen main jawaan
Tum haseen main jawaan
Tum haseen main jawaan

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Ustaad”(1957) was produced by Darshan and directed by Nanabhai Bhatt for Shree Krishn Films, Bombay. The movie had Ashok Kumar, Anjali Devi, Anita Guha, Rehman, K N Singh, Kumkum, Bhagwan, Yashodhra, Ramesh Kapoor, Kammo, Cuckoo, Robert, Kamaldeep, Jagdish Kamal, Rajan Kapoor, Vishwanath, Verma, Yusuf H H , Sheila Vaz etc in it.

There were seven songs in this movie. Six songs from the movie have been covered in the blog.

Here is the sixth song from “Ustaad”(1957) to appear in the blog. This song is sung by Asha Bhonsle and Rafi. Jaan Nisaar Akhtar is the lyricist. Music is composed by O P Nayyar.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of the song.

With this song, “Ustaad”(1957) joins the list of movies that have all their songs covered in the blog.

Song-Kiske liye beqaraar gori aaj tera pyaar (Ustaad)(1957) Singers- Asha Bhonsle, Rafi, Lyrics-Jaan Nisaar Akhtar, MD-O P Nayyar

Lyrics

aa aa aa
aa aa aa
aa aa aa aa aa

kisi ka naam jo honthon pe baar baar aaye
koi bataaye mujhe
kis tarah ae ae karaar aaye

kiske liye bekaraar gori aaj tera pyaar
kiske liye bekaraar gori aaj tera pyaar
dil mein jaadu sa jagaaye ho o
jaadu sa jagaaye
gori teri ye pukaar
kiske liye bekaraar
gori aaj tera pyaar
tere liye bekaraar sainya aaj mera pyaar
tere liye bekaraar sainya aaj mera pyaar
mera jiyara jalaaye ho
jiyara jalaaye teri aankhon ka khumaar
tere liye bekarar sainya aaj mera pyaa..aar

khadi khadi jhoomoon main tere aage
ab to piya tose nain hain laage
ab to piya tose nain hain laage
dil mein sainya dard sa jaage
dil mein saniya dard sa jaage
kiske liye bekarar gori aaj tera pyaar
tere liye bekarar sainya aaj mera pyaar
tere liye bekarar sainya aaj mera pyaar
mera jiyra jalaaye ho o
jiyara jalaaye teri aankhon ka khumaar
tere liye bekaraar sainya aaj mera pyaa aar

teekhi teekhi nazren teer chalaayen
hum to bhare gori der se aahen
dil se nikle phir bhi duaayen
dil se nikle phir bhi duaayen
tere liye bekaraar sainya aaj mera pyaar
kiske liye bekaraar gori aaj tera pyaar
dil me jaadu sa jagaaye ho o
jadu sa jagaye gori teri ye pukaar
kiske liye bekaraar gori aaj tera pyaa aar

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Indrasabha”(1956) was produced by Ramniklal Shah and directed by Nanubhai Vakil for Shah Pictures, Bombay. The movie had Chitra, Daljit, Hiralal, Ameeta, Roopmala, Wazir Muhammad Khan, Al Nasir, Sadiq, Roohi, Rajan Haksar, Kanchanmala, Ranjana Shukla, Narbada Shankar, Najma, Jharna, Savitri Chaand, Shashimala, Chandrkala, Shama , Kiran etc with Ram Singh in guest role.

The movie had eleven songs in it. One song from the movie has been discussed in the past.

Here is the second song from “Indra Sabha”(1956) to appear in the blog. This song is sung by Rafi and Asha Bhonsle. Shewan Rizvi is the lyricist. Music is composed by A R Qureshi.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.

Song-Chhala de diya ho chhala de diya (Indra Sabha)(1956) Singers-Asha Bhonsle, Rafi, Lyrics-Shewan Rizvi, MD-A R Qureshi

Lyrics

chhalla de diya
ho chhalla de diya
hamen yaad rakhna
o chhalla de diya
ho chhalla de diya
ho challa de diya
humen yaad rakhna
o chhalla de diya
chhalla le liya
ho challa le liya
hamen yaad rakhna
ho chhalla le liya
ho chhalla le liya
ho chhalla le liya

arz itni hai ke ab tum na bhulaana hamko
o o o o o o
arz itni hai ke ab tum na bhulaana hamko
bewafaai ki nazar se na mitaana humko o
bewafaai ki nazar se na mitaana humko
chhalla de diya
ho chhalla de diya
hamen yaad rakhna
o chhalla de diya
ho challa de diya
ho chhalla de diya

is nishaani ki kasam
ab na bhulaayenge tumhen
aen aen aen aen aen
is nishaani ki kasam
ab na bhulayenge tumhen aen
kisko kehte hain mohabbat
ye dikhaayenge tumhen
kisko kehte hain mohabbat
ye dikhaayenge tumhen
ho chhalla le liya
ho chhalla le liya
hamen yaad rakhna
ho chhalla le liya
ho chhalla le liya
ho chhalla le liya

dil mein tasveer mohabbat ki utar aayi hai
ae ae ae ae ae
dil me tasveer mohabbat ki utar aayi hai ae
aapki yaadon mein marne ki kasam khaai hai
ae ae ae ae ae ae
aapki yaad mein marne ki kasam khaai hai
ho chhalla le liya
ho chhalla le liya
hamen yaad rakhna
ho chhalla le liya
ho chhalla de diya
ho challa de diya
hamen yaad rakhna
o chhalla de diya
ho chhalla de diya
ho chhalla de diya
aa aa aa

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

We in this blog mostly deal with old songs that were mostly created during the golden era of HFM.

Many of us were in fact born during the golden era of HFM and so we lived in that era and we are in a position to say “those were the days” to the younger generation if they are interested.

The music lovers of those days listened to music on loudspeakers and by visiting movie halls. Rich people would listen to music on their record players. But the most common and affordable may of listening to music used to be Radio.

The serious and strict kind of people would use Radio to listen to serious stuff like news and would scoff at the low brow people who sought to listen to filmy songs on radio. Even the first Information and broadcasting minister of India was a serious and strict type of person who believed that cheap filmy music was detrimental to Indian youth and he banned filmy music from All India Radio. Only pucca classical music by pucca classical music ustaads were allowed.

Radio Ceylon, the radio station of our neighbours across the Palk strait fully capitalised on this opportunity and started a Hindi service where they would predominantly broadcast Hindi movie music. Radio Ceylon took HFM lovers by storm. Indian adverstisers made a beeline to the doorsteps of Radio Ceylon and Radio Ceylon began to carry advertisements as well as sponsored programmes.

Radio Ceylon (later renamed SLBC) too had its golden era which coincided with the golden era of HFM. The end of golden era saw the quality of HFM going down. At the same time, All India Radio too began to allow advertiement of Vividh Bharati (music wing of All India Radio, which was opened in 1957 after the first I & B minister’s dictat proved counterproductive for the listenership of AIR).

The heyday of SLBC is a thing of the past. Now a days no sponsors go to SLBC and its Hindi service has become a very curtailed affair. It is broadcast only in the morning and it basically consists of two programmes daily. Old timers who grew up listening t this radio can still listen to its daily programmes in the morning.

Those who cannot listen to it on radio, can still catch up later. The recording of the days programmes are dutifully uploade on YT every morning alongwith full details of the songs. This is a great service for music lovers who want their daily dose of SLBC Hindi service.

How many of us know about this extremely dedicated individual who uploads these programmes daily without fail ! He has been doing it for many years now.

The fact that SLBC programmes are still broadcast was something I came to know from him when he made a few comments in this connection in this blog.

Today (13 december 2016) is the birth anniversary of Mr Ashwani Kumar, the indefatiguable SLBC lover who is bringing musical sunshine in our lives every morning. Mr Ashwani Kumar is a Delhi based music lover. Our Delhi base regulars, such as Sudhir Ji, Bakshish Ji etc are familiar with Mr Ashwani Kumar, having met with him several times. I have never met Mr Ashwani Kumar, though we are facebook friends. He very kindly admitted me in a facebook group of SLBC that he runs. SLBC announcers also recognise the cotributions of Mr Ashwani Kumar and they too are members of this group. The details of the songs of these programmes are provided by Mr Narsingh D Agnish, a USA based music lover. So he is another dedicated bird of the same feather.

Mr Ashwani Kumar is a few years senior to me (as I can make out). His dedication to the cause of HFM is something that we all can draw inspiration from. Personally I am immensely benefitted by his uploads. This blog too has benefitted as a result.

I take this opportunity to wish Mr Ashwani Kumar a very happy birth anniversary on behalf of the blog. Here is hoping that he will have a long, healthy and fruitful musical innings ahead of him. HFM musical lovers are highly indebted to Mr Ashwani Kumar.

On this occasion, here is a nice song from “Maaya Baazaar”(1958). “Maaya Baazaar”(1958) was directed by Babubhai J Mistri for Basant Pictures, Bombay. The movie had Anita Guha, Rajkumar Pandey, Ulhas, B M Vyas, Ram Singh, Ramesh Sinha, Mahipal, Vasantrao Pahalwan, Dalpat, Babu Raje, Shree Bhagwan, Samar Roy, Ratnamala, Krisha Kumari, Sulochana, Kanchanmala, Pal Sharma, Uma Dut, Master Prithvi, Premlata, Geeta, Ratan, Rajni, Neelophar, Manda, Bhumiya, Ajit Kumar, R S Dubey, T N Sinha , Korega etc in it.

Four songs from this movie have been discussed in the past. This is the fifth song from the movie to appear in the blog. This song is sung by Asha Bhonsle and Rafi. Gopal Singh Nepali is the lyricist. Music is composed by Chitragupta.

The song is picturised on Anita Guha(I guess) and many female and male dancers. Thier dance is being witnessed by two men who seem capable to doing magic as we see in the picturisation.

I request our knowledgeable readers to help identify the actors who are visible in the picturisation of this song.

Song-Gore gore gulaabi gaal re(Maaya Baazaar)(1958) Singers-Asha Bhonsle, Rafi, Lyrics-Gopal Singh Nepali, MD-Chitragupta
Female chorus
Male chorus

Lyrics

re ma re malaali ho
re ma re malaali ho
jhumchak jhumchak jhulaa liya
jhumchak jhumchak jhulaa liya
re ma re malaali ho
re ma re malaali ho

gore gore gulaabi gaal re
huye maare sharam ke laal re
teri roke gagariya mujhpe saanwariya
yoon na najariya daal re
gore gore tumhaare gaal re
bas hote rahenge laal re
gori ek nahin chalti
aankhiyaan jo milti
dil ki badalti chaal re
gore gore gulaabi gaal re

chaal deewaani
ye jawaani ki rawaani aur hai
chaal deewaani
ye jawaani ki rawaani aur hai
baat ye maani roopraani
par kahaani aur hai
teri meri jodi
mili hai abhi gori
milaa de paayal ki bhi taal re
gore gore gulaabi gaal re
hue maare sharam ke lal re
teri roke gagriya mujhpe sawariya
yu na najariya daal re
gore gore gulaabi gaal re

aa aa aa aa aa aa
aa aa aa
o o o o o
aa aa aa
o o o o o
aa aa aa
laakh sambhalta chalta chalta
dil uchhalta pyaar mein
laakh sambhalta chalta chalta dil uchhalta pyaar mein
chain na dete dil le lete
nain pahli baar mein
meethhi meethhi baaten
chori ki mulaakaaten
ye pyaar ki hai jaadu bhari chaal re
gore gore gulaabi gaal re
hue maare sharam ke laal re
ho gori ek nahin chalti
aankhiyaan jo milti
dil ki badalti chaal re
gore gore gulaabi gaal re

laaj ho karna
to dilon mein yoon utarna chhod de
laaj ho karna
to dilon mein yoon utarna chhod de
aaj se maana tera kehna
par tu naina jod de
teri meri jodi
mili hai abhi gori
milaa de paayal ki bhi taal re
gore gore gulaabi gaal re
huye maare sharam ke laal re
gori ek nahin chalti
aankhiyaan jo milti
dil ki badalti chaal re
gore gore gulaabi gaal re

hoy hoy hoy hoy
haay haay
haay haay haay
gore gore gulaabi gaal re
huye maare sharam ke laal re
gore gore tumhaare gaal re
bas hote rahenge laal re
gore gore gulaabi gaal re
huye maare sharam ke laal re
gore gore tumhaare gaal re
bas hote rahenge laal re
gore gore gulaabi gaal re
bas hote rahenge laal re
gore gore gulaabi gaal re
bas hote rahenge laal re

This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

The last two weeks of December are usually relatively busy weeks for me. I say “relatively” only in the context of the rest of the year for me, which is reasonably relaxed. My generally lazy nature gets a thorough jolt and wake-up call, in these last two weeks.

The main reason for this is that my family, including extended family, wherever located around the globe, tends to converge at this time in India. Obviously not everyone can make it, but we usually manage to get a group together.

It is, of course, wonderful to meet, even if only for a few days. Whatsapp, skype and all that jazz, are great tools to help keep in touch, no doubt, but there is no substitute for actually meeting face-to-face.

But why am I discussing all this here?

The main reason is that this results in my spending less time on the blog than I’d like to. Not that I spend a lot of time otherwise, but especially when it comes to writing posts, the distractions make it just that little bit more difficult.

(This also just further highlights how amazing it is that Atul manages to write and post SO many posts every single day, year after year. Hats off to him! I get a few distractions – and I’m looking for excuses already!

But, inspite of all the distractions, there’s one specific reason to somehow find time to do one specific post during this period.

And that is a post on Rafisaab.

It is his birth anniversary on 24th December – and I make it a point to write a post, however brief or disjoint, on the occasion.

It’s the least I can do for him.

For all that Rafisaab has given me, through his divine voice, if I cannot even write a post on his birth anniversary to remember him and pay tribute to him, phir to “laanat” hi hai mujh par.

So here’s the post on the occasion. Please excuse me if it’s not upto your desired standard, but the sentiment behind it is meant for Rafisaab. And that’s what matters most.

When I think of Rafisaab’s contribution to my enjoyment of music, it is like “tere bina zindagi se koi shikhwa to nahin..tere bina zindagi bhi lekin, zindagi to nahin”. One of my favourite Kishore-Lata duets from the 70s, but a sentiment that suits Rafisaab’s role in my life very well.

Sure, I love a lot of non-Rafisaab songs. In fact, I like a wide variety of songs by various singers, old and new. Each singer has his/her quality and I don’t get hung up on any one. Or any one genre either. It often depends on mood.

So, in a sense, I could technically live a life of music without Rafisaab. But could I love such a life? Maybe I’m spoilt now but it’s difficult for me to say, without having some doubt, that I could love a world of music in which Rafisaab doesn’t exist at all. Maybe I’d get used to it, but let’s just say that it would be more than a minor inconvenience.

I’ve often written about how Rafisaab came into my life with “o duniya ke rakhwaale” one fine afternoon, at a time when I was all “Kishore, Kishore, Kishore”. Those were the 70s – and boys my age were largely Kishorified. I was no exception. I will not repeat the whole story here.

I’ll just say that since then I’ve also jumped onto the Rafisaab fan bandwagon. It must be a pretty sturdy bandwagon, seeing as it manages to accommodate several million people.

There’s no need for me to discuss Rafisaab’s career or life – what I know is in the public domain already, so I wouldn’t be adding anything of value.

I’ll just say that another big reason I am a big Rafisaab fan is that, towering over his singing quality, if ever it was possible at all, is his quality as a human being.

There was a time when Rafisaab was THE go-to singer for composers. Actors insisted they wanted his voice only for playback. It would have been SO easy for Rafisaab to have become arrogant, or selfish or greedy.

Even at that time, he remained the same soft-spoken, humble, generous, grounded person. He didn’t let fame or success go to his head. He would sing songs for new, or not-so-famous, composers for a token fee. Even on the royalty issue that caused a misunderstanding between him and Lata, his stand was to stick by the composers and not demand more. Maybe not financially smart, but that was Rafisaab in a nutshell.

How often do you come across somebody with so much capability in his profession AND being such an amazing human being? Not very often.

These are the thoughts that come to me today as I remember Rafisaab and pay tribute to him on his birth anniversary. He was one of a very rare kind – the world desperately needs more people like him.

So Rafisaab, thank you SO much for everything. For enriching our lives. You are long gone from here now and have no idea of what your legacy means to all of us here. Let’s just say, you will NEVER EVER be forgotten by HFM lovers.

Now, to the song for today.

I have picked a duet of Rafisaab and Asha Bhonsle. It is a fun song that I happened to hear a while ago. And as usual, I fell in love with it the first time I heard it. It is a lively song – the type that used to sung by Geeta Dutt but this time has Asha opposite Rafisaab.

It is from the film “Kya Yeh Bombay Hai” (1959) picturised on Maruti and Nishi. I haven’t seen the film Looking at the cast of the film on imdb, it would appear that they play the lead roles. Lyrics are by Noor Dewasi, with music by Bipin Dutta. So it looks like a classic B-film of the time.

We already have two songs from this film on the blog – both of which are enjoyable. Seeing as this one also is a fultoos timepass song, I think this film could be worth watching just as a light-hearted comedy.

I’ve seen a few films of Maruti and Nishi – and I like them both. That’s one reason I picked this song. Anyway, I wanted a Rafisaab fun song for the occasion.

And this song fits the bill perfectly. Add to it the catchy tune and Maruti caper, and it is a delight to both listen to, and watch. Nishi matches Maruti, step for step.

It’s the type of song one associates with Johny Walker, but Maruti does a terrific job here. In fact, I think Maruti might have been under-rated as a comedian in his time. I’d heard of him vaguely in my childhood more for his dancing skills than anything else.

Here the scene looks like a picnic scene. The song would suggest Maruti has been sent by Nishi and her sahelis to get lunch for them all. He returns, with the lunch – but late. Nishi pretends to be upset. He then proceeds to pacify her. All typical for the times, and good fun.

Let’s now enjoy this song. And once again, pay tribute to Rafisaab. A word of mention for Asha Bhosle too. She complements Rafisaab really well here – as she almost always does.

Song-Zara back ke chalna (Kya Yeh Bombay Hai)(1959) Singers-Rafi,Asha Bhonsle, Lyrics-Noor Dewasi, MD-Bipin Dutta

Lyrics

Zaraa bach ke chalna
Zaraa hat ke chalna
Ye shaahi khataara
Chala aa raha hai
Zaraa bachke chalna
Zaraa hat ke chalna
Ye shaahi khataara
Chala aa raha hai
Lagi hai bhookh humko
Bajey hain paune baarah
Ye aaloo bukhaara
Lo ab aa raha hai
Kya baat hai
Lagi hai bhookh humko

O rang birangi
Niraali chidiyon
Tumhaare vaaste main laaya daana paani
Na phadphadaao
Yahaan to aao
Na rakho apne dil mein koi bad-gumaani
Aha
o ho
Hey hey hey
Dekho ji dil na todo
Ye chhed chhaad chhodo
Tumhaare roothne se
Mazaa ja rahaa hai
Lagi hai bhookh humko
Bajey hai paune baarah
Ye aaloo bukhaara
Lo ab aa raha hai
Zaraa bachke chalna

Hamen banaaya
Hamen sataaya
Nibhegi khaakh jo hameshaa late aaya
O meri mainaa
Tera kya kehna
Ke gusse mein shabaab aur muskuraaya
Aha
Hehe
oho ho
Uthha hai tera fatka
Kya bheja tera khatkaa
Jo khaamakhaa ki bakbak
Kiye jaa raha hai
Zaraa bachke chalna
Zaraa hatke chalna
Ye shaahi khataara
Chala aa raha hai
Lagi hai bhookh humko

O dil ke kaale
Khataare waale
Yakeen kaise tujh pe aaye
Ye bataa de
Le khaana khaa le
Le paani pee le
Kasam hai meri
ab zaraa to muskuraa de
Aha
oho
Ahahaha
Karega phir jo tikdam
To hoga kaam bigdam
Abhi to maaf tujh ko
Kiyaa jaa raha hai
Zaraa bach ke chalna
Zaraa hat ke chalna
Ye shaahi khataara
Chala aa raha hai
Zaraa bach ke chalna
yeah aha

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Each and everyone of us is required to do some work for a living. Often one needs to give one’s best while working. But then there are government jobs where one can seemingly get away by doing poor quality work. “Doing work takes effort whether you do a good quality work or a poor quality work, so why not do a good quality work by taking some extra pains and avoid the bad name that you may get due to your poor quality”-This is an advice that I give to everyone who cares to listen.

Doing a quality work every time with full motivation and dedication, no matter how “unimportant” and “non critical” that work may appear to be, is what separates a developed society and nation from an “also ran” society and nation. People will not disagree with me if I state that we in India are still an “also ran” society and nation, because we have not yet inculcated the culture of quality. We in our own lives will show little evidence of quality, but we expect everyone else to give perfect quality every time. The day we start to judge ourselves with the same yardsticks of quality with which we judge others, we would have achieved a major reform in our society.

When we look at the icons of our society and nation, one cannot fail to notice that they all had some qualities in common. One of these qualities was to try and give one’s best everytime, instead of picking and chosing when to do a good job and when to do a mediocre job. We also notice that they all were physically and mentally unbelievably strong who would keep on doing their work despite seemingly unsurmountable hurdles. Third thing that one would notice is that they would continue to improve and innovate and add new strings to their bows. Fourth thing to notice is that they would continue to be humble and self effacing despite achieving great success in their chosen field.

Each and everyone of us admire some people and look up to them. We need to admire them not because of the success they have achieved, but because of the qualities that have enabled them to succeed. It is these qualities that we, as admirers, need to inculcate in ourselves.

Today (24 december 2016) is the 92^nd birth anniversary of Rafi (24 december 1924- 31 july 1980). We celebrate Rafi in this blog almost every day, and we post special articles on the occasion of Rafi’s anniversaries. Articles on Rafi by two of our regulars have already appeared on the blog.

When I planned to discuss a song on the occasion, I settled for this song from “Naya Andaaz”(1956). I tried to visualise how this song would have come into existence in 1956, exactly 60 years ago. I could not help but feel that the team that was involved in the creation of this song were fully ISO-14001 compliant as far as quality was concerned, even though this quality standard was not yet in existence at that time. Each and every member of the team knew his/her job and gave the best that one was capable of.

I could have played this song just a few times that was necessary for getting the lyrics of this song right, but I found myself playing this song again and again. This song sounds quite special. Just listen to the beat (taal). The percussioninsts have played their percussion instruments with passion. The lyricist Jaan Nisaar Akhtar has come up with quite imaginative lyrics for what to the unmotivated would have been “just another club dance” situation. And the song is performed with their characteristic elan by Kumkum and Johny Walker, while suspicious looking baddies (including Pran) have taken their positions, ready for their next move.

The song is sung by Asha Bhonsle and Rafi. And they have made light of a song that is quite difficult to sing for lesser mortals. The video is quite abridged, so one needs to listen to the audio of the song for deriving full pleasure of this song.

Here is this superb song from “Naya Andaaz”(1956). This song is one of our many tributes that we pay to the legend that is Rafi. And as noted earlier, we cannot emulate Rafi’s achievements in his chosen field, but we need to try and learn and inculcate at least some of the qualities that enabled him to scale such heights.

Video

Audio

song-Ye raat aashiqaana (Naya Andaaz)(1956) Singers-Asha Bhonsle, Rafi, Lyrics-Jaan Nisaar Akhtar, MD-O P Nayyar

Lyrics

ye raat aashiqaana
chhaaya sama suhaana
nazren milaane waale
dil bhi zara milaana
zulfen haseen ghataayen
aankhen sharaab-khaana
tujhse nazar mili kya
dil ho gaya deewaana
ye raat aashiqaana
chhaaya sama suhaana
nazren milaane waale
dil bhi zara milaana
zulfen haseen ghataayen
aankhen sharaab khaana
tujhse nazar mili kya
dil ho gaya deewaana

tere liye hai aaja
palkon ke ye ishaare
honthon ki mast kaliyaan
aankhon ke shokh taare
chhaaya hua nasha hai
apni kise khabar hai
kya jaane main kahaan hoon
kya jaane dil kidhar hai
tere liye hai aaja
palkon ke ye ishaare
honthon ki mast kaliyaan
aankhon ke shokh taare
chhaaya hua nasha hai
apni kise khabar hai
kya jaane main kahaan hoon
kya jaane dil kidhar hai
kuchh keh raha hai tujhse
ye dilruba zamaana
nazren milaane waale
dil bhi zara milaana
zulfen haseen ghataayen
aankhen sharaab khaana
tujhse nazar mili kya
dil ho gaya deewaana

behke huye kadam hain
behki huyi fiza hai
dil ka har ek armaan
tujhko pukaarta hai
dil mein tujhe bitha len
aankhon mein aa chhupa len
ye door ke ishaare
hamko na maar daale
kuchh main kareeb aaun
kuchh tu kareeb aana
nazren milaane waale
dil bhi zara milaana
zulfen haseen ghataayen
aankhen sharaab khaana
tujhse nazar mili kya
dil ho gaya deewaana
ye raat aashiqaana

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today (25 december 2016) is the 97^th birth anniversary of Naushad (25 december 1919-5 may 2006). As is usual for us, we celebrate an occasion like this by discussing a few songs of the artist concerned on such occasions.

As it is, all available Naushad compositions from 1940 (his debut year) till 1968 have already been covered in the blog. Ten songs from the first four movies of Naushad are unavailable. One out of 13 from “Prem Nagar”(1940), three songs out of 13 from “Darshan” (1941), four songs out of 10 from “Maala”(1941) and 3 songs out of 11 from “Nayi Duniya”(1942) are not coered in the blog since I have not been able to locate them. After that, all subsequent Naushad movies from 1942 upto 1968 (47 movies) have been YIPPEED in the blog.

All 301 songs where Shakeel Badayuni collaborated with Naushad have already been covered in the blog.

“Ganwaar”(1970) is the earliest movie with Naushad compositions that still has a few available songs not yet covered in the blog. This movie was produced and directed by Naresh Kumar for Dimple Films. This movie had Rajendra Kumar,Vyjayanthimala, Pran, Tarun Bose, Nishi Kohli,Jeevan, David Abraham, Sunder, Dulari, Viju Khote, Ram mohan, Sadhu Singh, Kamal Deep, Ravi Kale, Master Ratan, Randhir, Gulshan Bawra, Pratima, Shefali, Sabina, Seema, Tabassum, Nikita, Ramlal, Madhu Apte, Tilak Raj, Dhanraj, Bashir, Chandra, Rammurthi, Radheyshyam, Ujagar Singh, Gulab Singh, Maherunnisa, Dulari, Shamsher, Ravikala, Satya Devi, Rita etc in it.

The movie had six songs in it. Four of the songs from the movie have been discussed in the past.

Here is the fifth and penultimate song from “Ganwaar”(1970) to appear in the blog. This song is sung by Rafi, Asha Bhonsle and chorus. Rajinder Krishan is the lyricist. Music is composed by Naushad.

The song is picturised as a “nok jhonk” dance song on Rajendra Kumar, Vyjyanti Mala and many others, including Gulshan Bawra.

Lyrics of this song were sent to me by Prakashchandra.

Video

Audio

Song-Tera chikna roop hai aisa (Ganwaar)(1970) Singers-Singers-Rafi, Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Naushad
Male chorus
Female chorus
All

Lyrics(Provided by Prakashchandra)

tera chikna roop hai aisa
roop hai aisa
anaar jaise gadreelaa pagli
anaar jaise gadreelaa
chhil jaaye na haath kahin teraa
haath kahin teraa
badan mera pathareelaa
pagley ae
badan meraa pathreelaa
bhurrrrrrrbhurrrrrrr
harraaa haraaa rraaa arraa raa hoyye

sun ree pagli
khaaye chugli
ankhiyaan laaj ki maari
haaye ae
ab tak rahi kanwaari
hoye kaaran kyaa hogaa
tu kaaran kyaa jaane
ho pagle deewaane
tu kaaran kyaa jaane
ho pagle deewaane
main to kab se jiyarwaa haari
piyaa ki pyaari
rahi hoon kanwaari kanwaari
chhil jaaye na haath kahin teraa
haath kahin teraa
badan mera pathreelaa
pagley ae
badan meraa pathreelaa
bhurrrrrr
saraa raa saraa raaa rraa
daiyyaa

jis ne pakdi meri bainyyaan
woh laakhon mein nyaaraa
haayye ae
dekh jaley jag saaraa
hey tu bhi jal jaaye
kasam tere gaalon ki
inn udte baalon ki
kasam tere gaalon ki
inn udte baalon ki
jal jaayegaa ye deewaanaa
na phir pachhtaanaa
na aansoo bahaanaa
bahaanaa
tera chiknaa roop hai aisaa
roop hai aisaa
anaar jaise gadreelaa
pagli ee
anaar jaise gadreelaa
chhil jaaye na haath kahin teraa
haath kahin teraa
badan mera pathreelaa
pagley ae
badan mera pathreelaa
bhurrrr
arraa raaa raaa raa raa hoyye

mujhse gori
baandh le dori
banwaa doongaa banglaa
hoye ae
jo hogaa rang ranglaa
hoye baithhi raaj karey
main kangli kangle ki
na bhookhi bangle ki
main kangli kangle ki
na bhookhi bangle ki
jahaan mere sajan ka pheraa
pyaar ka deraa
wohi ghar meraa
meraa
chhil jaaye na haath kahin teraa
haath kahin teraa
badan mera pathreelaa
pagley ae
badan mera pathreelaa
laaaa laaaa laaaa laaaa laaaa (aaaa aaaa aaaa)
laaaa laaaa laaaa laaaa laaaa (aaaa aaaa aaaa)
laaaa laaaa laaaa laaaa laa laaaa (aaaa aaaa aaaa)
laaaa laaaa laaaa laaaa laaaa (aaaa aaaa aaaa)
laaaa laaaa laaaa laaaa laaaa (aaaa aaaa aaaa)

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Ghamand”(1955) was produced by Rijhulal Sewaram and directed by Deepak Asha for Keertan Pictures, Bombay. The movie had Shyama, Shiela Ramani, Rajkumar, Kamal Mehra, Ramlal, Seeta Bose, Mohini, Manjeet Kumari, Shakeel, Thakur, Ishwan, Bajaj, Jaani, Muraad etc in it.

This obscure “social” movie had ten songs in it.

Here is the first song from “Ghamand”(1955) to appear in the blog. This song is sung by Asha Bhonsle and Rafi. Kaif Irfani is the lyricist. Music is composed by Gulshan Soofi.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.

With this song, “Ghamand”(1955) makes its debut in the blog.

Song-Tere dil ki dhadkanen mere dil mein aayen(Ghamand)(1955) Singers-Asha Bhonsle, Rafi, Lyrics-Kaif Irfani, MD-Gulshan Soofi
Both

Lyrics

tere dil ki dhadkanen
mere dil mein aayen
mere dil mein aayen
baat bane ya na bane
aen aen aen
baat bane ya na bane
pyaar to nibhaayen
pyaar to nibhaayen
tere dil ki dhadkanen
mere dil mein aayen
mere dil mein aayen
din ye rahen ya na rahen
din ye rahen ya na rahen
pyaar to nibhaayen
pyaar to nibaayen
tere dil ki dhadkanen
mere dil mein aayen
mere dil mein aayen

aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
ik jahaan ho pyaar ka
nikhaar ho bahaar ka
aa aa aa aa
aa aa aaa aa
aa aa aa
aa aa aa aa
ik jahaan ho pyaar ka
nikhaar ho bahaar ka
ho o o o
o o o
bahaar ki hai baat kya
ho geet dil ke taar ka
ho o o o
o o
bahaar ki hai baat kya
ho geet dil ke taar ka
ho o o o
o o
ho gham mein jeet haar ka
aasmaan ke vaar ka
aasmaan ke vaar ka
ham to daren ya na daren aen aen aen
ham to daren ya na daren
log to daraayen
log to daraayen
tere dil ki dhadkanen
mere dil mein aayen
mere dil mein aayen
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aasmaan ka darr na kar
tu jahaan ka darr na kar
ho o o
o o o
o o o
o o
o o o
aasamaan ka darr na kar
tu jahan ka darr na kar
o o o o
o o
ik jahaan ki baat kya
do jahaan ka darr na kar
ho o o o
o o
ik jahaan ki baat kya
do jahaan ka darr na kar
ho o o o
baagbaan ka darr na kar
tu khizaan ka darr na kar
tu khizaan ka darr na kar
phool khilen ya na khilen
aen aen aen aen
phool khilen ya na khilen
baag to lagaayen
baag to lagaayen
tere dil ki dhadknen
mere dil mein aayen
mere dil mein aayen

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Kaun Apna Kaun Paraaya”(1963) was directed by Niranjan for Golden Films, Bombay. The movie had Vijay Kumar, Waheeda Rehman, Nirupa Roy, Amar, Nasreen, Shammi, Dulari, Shyam Kumar, Tuntun, Johnny Walker etc in it.

The movie had six songs in it. Four of these songs have been discussed in the past.

Here is the fifth song from “Kaun Apna Kaun Paraaya”(1963) to appear in the blog. The song is sung by Asha Bhonsle and Rafi. Shakeel Badayuni is the lyricist. Music is composed by Ravi.

The song is picturised as a romantic song on Waheeda Rehman and Vijay Kumar, with the duo seen boating in a lake, running around greenery etc.

The hero Vijay Kumar looks somewhat like Johny Walker and that is no coincidence because Vijay Kumar (actual name Waheeduddin) was a brother of Johny Walker. This movie was produced with the aim of launching the acting career of Vijay Kumar.

It appears that the song has a third stanza in it as well, but I have not been able to locate its full version. I request our knowledgeable readers to inform us if they can locate that.

Song-Zindagi bhar yahi iqraar kiye jaayenge (Kaun Apna Kaun Paraaya)(1963) Singers-Asha Bhonsle, Rafi, Lyrics-Shakeel Badayuni, MD-Ravi

Lyrics

zindagi bhar yahi ikraar kiye jaayenge
zindagi bhar yahi ikrar kiye jaayenge
hum tumhaare hain tumhen pyaar kiye jaayenge
hum tumhaare hain tumhen pyaar kiye jaayenge
zindagi bhar yahi ikraar kiye jaayenge
koi jalwa na samaayega nazar mein apni ee
koi jalwa na samaayega nazar mein apni ee
sirf sarkaar ka deedaar kiye jaayenge
sirf sarkaar ka deedaar kiye jaayenge

ye dhadakte huye hanste huye gaate huye dil
keh rahe hain ke mohabbat ki yahi hai manzil
aao kuchh aur badhen pyaar ke toofaanon mein
dil ki kashti hai salaamat to hazaaron saahil
waqt ko apna tarafdaar kiye jaayenge
waqt ko apna tarafdaar kiye jaayenge
hum tumhaare hain tumhen pyaar kiye jaayenge
zindagi bhar yahi ikraar kiye jaayenge
zindagi bhar yahi ikraar kiye jaayenge

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Kahin Aur Chal”(1968) was one movie which few people have seen because this movie was withdrawn after one show in one movie hall by its maker. That is how it was Tolaram Jalani, the maker of this movie, who was not interested in releasing the movie and was more interested in balancing his books for income tax purposes by showing this movie as a loss making venture for him.

This movie was directed by Vijay Anand for J.M.Films’ production, Bombay. This movie had Dev Anand, Asha Parekh, Shubha Khote, Padma Chavan, Madan Puri,Jagdish Raj,Sunder, Tun Tun, Rashid Khan, Hari Shivdasani etc in it.

The director, actors , music team etc had performed their tasks with sincerity. Six songs from this movie had got recorded and they were in fact even released.

Four songs from this movie have already been discussed in the past. Here is the fifth song from “Kahin Aur Chal”(1968) to appear in the blog. This song is sung by Rafi and Asha Bhonsle. Hasrat Jaipuri is the lyricist. Music is composed by Shankar Jaikishan.

Only the audio of this song is available of course. One can guess that this song was picturised on Dev Anand and Asha Parekh, but there is no way to confirm this guess.

What a nice song it is to listen to.

Song-Shokh aankhen dekh kar soorat pe pyaar aa hi gaya(Kahin aur Chal)(1968) Singers-Rafi, Asha Bhonsle, Lyrics-Hasrat Jaipuri, MD-Shankar Jaikishan

Lyrics

shokh aankhen
shokh aankhen
shokh aankhen dekh kar
soorat pe pyaar aa hi gaya aa
shokh aankhen dekh kar
soorat pe pyaar aa hi gaya aa
umr bhar
umr bhar
umr bhar tadpa kiye
aakhir karaar aa hi gaya
umr bhar tadpa kiye
aakhir karaar aa hi gaya

kaisi kaisi uljhanen thhin
zindagi ke mod par
kaisi kaisi uljhanen thhin
zindagi ke mod par
saath tere aa gaye hum
sabko peechhe chhod kar
aankh jab tumse mili
aankh jab tumse mili
dil mein khumaar aa hi gaya
shokh aankhen
shokh aankhen
shokh aankhen dekh kar
soorat pe pyaar aa hi gaya
umr bhar tadpa kiye
aakhir karaar aa hi gaya

main jo is duniya mein aayi
to tumhaare waaste
main jo is duniya mein aayi
to tumhaare waaste
ek apni manzilen
aur ek apne raaste
mera hamdam
mera saathi ee
mera hamdam
mera saathi
raazdaar aa hi gaya
umr bhar
umr bhar
umr bhar tadpa kiye
aakhir karaar aa hi gaya
shokh aankhen dekh kar
soorat pe pyaar aa hi gaya aa

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Paapi”(1953) was directed by Chandulal Shah for Ranjit Movietone, Bombay. The movie had Raj Kapoor and Nargis in lead roles, with Raj Kapoor playing a double role. The movie also had Dulaari, P Kailash, Maruti, Ramesh Thakur, Amarnath, Mehar Banu, Shrawan Kumar, Butaram Sharma etc in it.

The movie had eight songs in it that were penned by as many as six lyricists.

Seven songs from this movie have been discussed in the past.

Here is the eighth and final song from “Paapi”(1953) to appear in the blog. This song is sung by Rafi and Asha Bhonsle. Surjeet Sethi is the lyricist. Music is composed by S Mohinder.

The song is picturised on Raj Kapoor and Nargis. Yes, it is one of those rare songs where Raj Kapoor lip syncs in Rafi’s voice.

With this song, “Paapi”(1953) joins the list of movies that have all their songs covered in the blog.

Song-Meri zindagi hai tu(Paapi)(1953) Singers-Rafi, Asha Bhonsle, Lyrics-Surjeet Sethi, MD-S Mohinder
Both

Lyrics

meri zindagi hai tu
mujhko teri justzu
meri zindagi hai tu
mujhko teri justzu
aaja tere haathon mein aen
aaja tere haathon mein
ishq ki hai aabroo
ishq ki hai aabroo
meri zindagi hai tu
mujhko teri justzu

meri ye nigaahon ki
shokhiyaan betaab hain
shokhiyaan betaab hain
meri ye nigaahon ki
shokhiyaan betaab hain
shokhiyaan betaab hain
tere hi deedaar meri
tere hi deedaar meri zindagi ke khwaab hain
zindagi ke khwaab hain
dekho tadpaaye na
mujhko meri aarzoo
aaja tere haathon mein
ishq ki hai aabroo
ishq ki hai aabroo
meri zindagi hai tu
mujhko teri justzu

taareek(?) manzilon mein
ik teri raushni hai
taareek(?)h manzilon mein
ik teri raushni hai
aaja ke zindagi mein
aaja ke zindagi mein
tujhse hi zindagi hai
tujhse hi zindagi hai
tu hai to zindagi
zindagi hai chaar su
aaja tere haathon mein
ishq ki hai aabroo
ishq ki hai aabroo
meri zindagi hai tu
mujhko teri justzu

ulfat bhari nigaahen
behosh ho rahi hain
ulfat bhari nigaahen
behosh ho rahi hain
khaamosh aarzuyen
khaamosh aarzuyen
madhosh ho rahi hain
madhosh ho rahi hain
phoolon ki taazgi mein
tera hi rangobu
aaja tere haathon mein aen
aaja tere haatho mein
ishq ki hai aabroo
ishq ki hai aabroo
meri zindagi hai tu
mujhko teri justzu
meri zindagi hai tu
mujhko teri justzu

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Bharosa”(1963) was produced by N.Vasudeva Menon and directed by K.Shankar for Vasu Films, Madras. This movie had Guru Dutt, Asha Parekh, Mehmood, Sudesh Kumar, Neena, Kanhaiyalal, Sulochana Chatterjee, Nana Palsikar, Lalita Pawar, Shivraj, Om Prakash, Shubha Khote etc in it.

This movie had eight songs in it. Six of these songs have been discussed in the past.

Here is the seventh song from “Bharosa”(1963) to appear in the blog. This song is sung by Rafi and Asha Bhonsle. Rajinder Krishan is the lyricist. Music is composed by Ravi.

The song is picturised on Mehmood and Shubha Khote.

Lyrics of this song were sent to me by Prakashchandra.

Audio

Video

Song-Kabhi dushmani kabhi dosti (Bharosa)(1963) Singers-Rafi, Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Ravi

Lyrics(Provided by Prakashchandra)

kabhi dushmani kabhi dosti
kabhi baat baat mein dillagi
haayye allaahaa
jaayein kahaan dilwaale
haayye allaahaa
jaayein kahaan dilwaale
kabhi haan kahey
kabhi naa kahey
kabhi jhoothh moothh meri jaan kahey
haayye aallaahaa
mar jaayein dilwaale ae
haayye aallaahaa
mar jaayein dilwaale

tum na hote
hum na hote
zindagi tum hi se hai
tum na hote
hum na hote
zindagi tum hi se hai
husnwaalon
yaad rakho
aashiqui tum hi se hai
aashiqui tum hi se hai
ye banaawaatein
ye khushaamadein
din raat naak mein dum karein
haayye aallahaa
mar jaayein dilwaale
haayye aallaahaa
mar jaayein dilwaale
kabhi dushmani
kabhi dosti
kabhi baat baat mein dillagi
haayye allaahaa
jaayein kahaan dilwaale ae
haayye allaahaa
jaayein kahaan dilwaaley

aaj kal toh jis ko dekho
woh hi parwaanaa bane
aaj kal toh jis ko dekho
woh hi parwaanaa bane
baal jis ke bhi hon bikhre
woh hi deewaanaa bane
woh hi deewaanaa bane
kabhi ye adaa
kabhi woh adaa
kabhi bewafa toh kabhi baa-wafaa
haayye allaahaa
jaayein kahaan dilwaale
haayye allaahaa
jaayein kahaan dilwaale
kabhi haan kahey
kabhi naa kahey
kabhi jhoothh moothh meri jaan kahey
haayye aallahaa
mar jaayein dilwaale
haayye aallaahaa
mar jaayein dilwaale

kya sitam hai
dil churaa kar
aankh dikhlaate hain woh o o
kya sitam hai
dil churaa kar
aankh dikhlaate hain woh
kya samajh kar
peechhe peechhe
dil liye aate hain woh
dil liye aate hain woh
koyee ghar nahin
koyee dar nahin
meri jaan jeb mein zar(/??) nahin
haayye allaahaa
jaayein kahaan dilwaale ae
haayye allaahaa
jaayein kahaan dilwaaley
kabhi haan kahey
kabhi naa kahey
kabhi jhoothh moothh meri jaan kahey
haayye aallahaa
mar jaayein dilwaale ae
haayye aallahaa
mar jaayein dilwaale
kabhi dushmani
kabhi dosti
kabhi baat baat mein dillagi
haayye allaahaa
jaayein kahaan dilwaale ae
haayye allahaa(ha)
mar jaayein dilwaale ae