This article is written by nahm, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Memories of visit to London in September 2021

This post has been a long time in arriving actually.  We went to UK not as tourist, but to see family, mainly the daughter of the family and the new grand-daughter.  We came back to Mumbai in October’21.  Lot of water has flown down the bridge since then and the grand daughter is growing by leaps and bounds since we were with her, by the grace of Almighty.

Upon returning, I found myself under pressure to find a song good enough, to write a post covering the visit.  I looked, searched and watched, found many songs, newer ones mainly filmed in the UK, and some also showing locations of the London city.  It has been a favorite location for Hindi film picturization of film makers since the 60’s, i.e. when the trend of filming on location really started in the industry. Unfortunately, I was less than satisfied with the newer songs, and characteristically, was reluctant to post a new song, which had song/dance, band/bajaa/baraat routine. The songs were quite good in their own genre, I might yet post at least one of them.

And all this while, Avinash ji has been doing a series of the songs of 70’s decade and his posts appear regularly. Now Avinash ji has also acquired a new degree, I have deduced from the Peevisie’s Mom’s post.  Congratulations to the happy parents and best wishes for the daughter and the son-in-law.

One lucky day, while browsing the YouTube, I found this Rafi-Asha duet from the film ‘Professor Pyarelal’ (1981).  It is a happy sounding romantic song and a much heard on the radio, which makes it a dear familiar friend, in my opinion.  The song is filmed in London, mostly around the city center area, around Thames River, Westminster Abbey, the London Clock Tower etc.  The famous London Tower Bridge is also visible in all its centuries old splendor.

Centuries old splendor is the term I was looking for to describe the architectural beauty of London city and its many monuments.  It is evident that it is one of the oldest surviving cities of the world.  And it has managed to maintain its beauty and its instinct for survival, adaptability to the modern times and modern architectural and infrastructure requirements can only be applauded and wondered at.

My search for a suitable song for this post ended the day I saw this song on YouTube.  But the actual writing kept getting deferred.  I thought this was a late 70’s song, and was apprehensive that Avinash ji or someone else may post this song and I will lose the opportunity to write this post.  Now I find that this movie is from 1981.  But the songs were released and popular for some years before the movie eventually released after production delays.

Getting back to the brief about our visit. As soon as we arrived in UK, various scheduling and planning for visits to different places were underway.  My uncle, our host, insisted upon a visit to London city.  The planning for the London city was so short, due to the leave constraints of my son-in-law, that I was on the verge of postponing it to the next visit.  But the window of opportunity, and my son’s contention that everybody is going to ask, “hey you went to England and didn’t see London!”, decided in favor of the visit, so it happened.

London and some other landmark locations of England are a part of the consciousness. Just as we exist, these buildings – man made creations – also exist, and are famous for the events, known as historical turning points. Unlike other major cities of the modern world, London has seen wars too and has been destroyed and built again many times over, from what ever history I have read about it. England, on the whole has had a most violent history, in the medieval and pre-medieval eras. The fault lines between the Welsh, Scots, Irish and Brits, is evident even today in the various ruins and forts, and castles.  But they did learn their lesson that divided they fall, decided to unite at some given point in history to conquer the world.  I think it was the threat of the Romans that eventually united the British Isles. The glue could only have been an ideology of self-interest, binding the factions despite bitter animosity and gruesome wars behind them. Maybe the Protestant church had something to do with it, so Britain rose to great heights as a dominant civilization in the world and they were motivated enough to write and re-write the worlds history, literally and figuratively.  British historians are also a notorious breed.  Their language, is the dominant language in the world for centuries now.  The rise of the British Empire took centuries to happen, where as the fall was swift in the 19^th and 20^th century.  But the cultural and linguistic dominance continues to remain on top now, and for the foreseeable future too in the 21^st century.  Willingness to adapt to other cultures and language habits is said to be a major factor in the success of the English language.   Historically speaking, the Roman empire was greater and more successful in the world, before the new found land of Americas.  But the impact is all but lost in today’s world.  The geopolitical scenario keeps changing with time and passing of centuries. These changes happen faster now in a matter of decades.  There are catalysts recognizable and visible to these power shifts. This is a very heavy and deep topic, so better to leave it here.

Yes, I had to chalk out a fool proof plan and schedule, wherein a few places I wanted to visit, were not missed.  Lords cricket ground and Thames River cruise were two things I was not willing to miss.  So we worked around this, to do the Lords tour, city ride in the red bus, short cruise of Thames river, Madame Tussaud’s, Harrods, a long walk inside the Hyde Park, especially where equestrian clubs are situated, visit to Science Museum and Natural History Museum (free entry), Bakers Street and Sherlock Holmes Museum, etc.  We gave a miss to Tower of London and Buckingham Palace tours, as they were more time consuming and also expensive. The London Eye is also a popular choice, which we could not take.  Other tourist locations in UK also have a giant wheel rides, as an attraction. The Giant wheel is a common feature in other places, like Dubai, Sydney, etc. I am wondering why we don’t have a thing like this in Mumbai.

We were based in Manchester, so could visit the nearby areas too like Lake District, North Wales, Blackpool, Lancaster, Chester, Preston etc. We passed through Oxford too on our way back from London. When we had arrived in UK, everyone told us the weather is good for only 2-3 days, so enjoy as much as you can, as it is really foul from September onward.  But luckily the weather held for the entire period of our stay, and we had rains to enjoy only in North Wales and for an hour or two in London, while we were riding the red bus and we had to cross the Bridge near Westminster on foot as we missed the stop for the Westminster Pier.  A part of the song I am presenting is filmed on the same bridge, where Zeenat Aman is standing in the middle of the road and crosses to join Dharmendra on the curb. The famous Tower Bridge is now painted in azure blue. I find that the Bridge has been painted blue since 1977, but in the song, it is not looking blue, so the song was filmed before 1977, it would seem.

Some trivia about the film:

This film took so long to complete – five years – and its plot was so convoluted that after director Brij had finished shooting it, nobody could figure out how to put the film together. The producers had then called in Hrishikesh Mukherjee to edit and salvage the film. He was credited prominently in the film’s posters and publicity material.

Astonishingly, no part of the city which is showcased as the beautiful attractions, looks old or dilapidated. All of them look freshly painted and well maintained, except for the bridges on the Thames River and the Westminster Abbey, which is the family church of the British Royals. London is best enjoyed on foot, I was told and I agree. After covering a few miles on foot, in and around Exhibition Street, Marylebone, Kensington, Hyde Park, we can be surprised and find the unexpected. In fact, the most parts of UK are best enjoyed on foot, which is the common consensus. Walking trails are taken as granted in different parts of UK.

I am told that the whole of UK is connected through rivers and canals and one can go from anywhere to anywhere on a boat. I was mentally prepared to be impressed by all that I was going to see in this visit, but was more than impressed and wish to do more trips which include visits to the remaining places in England, Scotland and Wales.

We took a pre-booked guided tour of the Lord’s cricket ground at the MCC.  Seeing the many Indian in the group taking the tour, the guide asked us “Where is Sachin Tendulkar’s home?”.  The common answer was the obvious – Mumbai.  But the guide insisted that “No. Sachin’s home is right here in Marylebone.” No surprises there too, for the evidence is everywhere in London especially, that who can afford to, would prefer to stay in London. On the other hand, Sachin Tendulkar was here in Mumbai in February 2022, as we all saw him attending the funeral of Lata Mangeshkar.  Incidentally, I could not find Sachin Tendulkar’s name in the list of Test centurions at the Lords. Extensive lists are put up inside the Pavilion, of all centurions and also 5+ wicket takers in an innings.  The guide was in full form and regaled us with a story about the ‘death row’ in the viewers gallery or members gallery.  There are two such galleries, one for the home team and one for the away team. As both India and West Indies are ‘away teams’, I guess the away team gallery was the one, where Kapil Dev stood with the Prudential Cup trophy after his team’s victory in 1983 World Cup. The original Prudential Cup is still there in the small Museum for memorabilia, related to the MCC.

I have read and heard at various places, that London was the favourite place in the world for Rafi Sahab also. He is said to have been fond of the city, as his sons are settled there.

I can go on remembering things and my impressions of the visit, but the post is got to end somewhere. The song being presented in this post is filmed in London on Dharmendra and Zeenat Aman. Rafi Sahab and Asha Bhonsle are giving playback to them in the song written by Rajendra Krishan and composed by Kalyanji-Anandji.

This duet is typical of the Kalyanji-Anandji style of duet composition, sounding very similar to the Rafi-Asha duet from ‘Qurbani’. We the radio fans, listened to the song in late 70’s, loved and liked it, but had all but forgotten it. Even the links on YouTube are few, with only one video available.

Video

Audio

Song – Tere Siwa Na Kisi Ka Banoonga (Professor Pyaarelal) (1981) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Rajendra Krishan, MD – Kalyanji Anandji
Mohammed Rafi + Asha Bhosle

Lyrics

tere siwa na
kisi ka banoonga aa
tere siwa na
kisi ka banoonga
khoon e jigar se
ye likh ke main doonga
ye waada aa
ye wada raha dilruba aa
ye wada raha dilruba aa
qadmon mein tere
jannat hai meri
ho ke rahoongi
hamesha main teri
ye waada aa
ye waada raha saajna aa
ye waada raha saajna

aayenge mausam
aayenge mausam
jaayenge mausam
hum ko sada
saath paayenge mausam
koi saaz badle
koi raag badle
na badlegi apni
muhabbat ki sargam
har saans meri
tere liye hai ea
har saans meri
tere liye hai
yeh waada raha saajna
yeh waada raha saajna aaa
tere siwa na
kisi ka banoonga
khoon e jigar se
ye likh ke main doonga
ye waada aa
ye wada raha dilruba aa
ye wada raha dilruba aa

awaaz de ke ea
awaaz de ke
jo roke zamaana
zamaane ki baaton
mein hargiz na aana
aankhon mein aankhen
baahon mein baahen
daale huey saathh chalte hi jaana
tera pyaar hi to
meri zindagi hai
tera pyaar hi to
meri zindagi hai
ye waada raha dilruba
ye waada raha dilruba
qadmon mein tere
jannat hai meri
ho ke rahoongi
hamesha main teri
ye waada aa aa
ye waada raha saajna
ye waada raha saajna
saajna
ye waada raha saajna
saajna
ye waada raha saajna

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Hindi script lyrics (Provided by Sudhir)
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तेरे सिवा ना
किसी का बनूँगा
तेरे सिवा ना
किसी का बनूँगा
खून ए जिगर से
ये लिख के मैं दूँगा
ये वादा॰॰आ
ये वादा रहा दिलरुबा
ये वादा रहा दिलरुबा

कदमों में तेरे
जन्नत है मेरी
हो के रहूँगी
हमेशा मैं तेरी
ये वादा॰॰आ
ये वादा रहा साजना
ये वादा रहा साजना

आएंगे मौसम
आएंगे मौसम
जाएंगे मौसम
हमको सदा साथ पाएंगे मौसम
कोई साज बदले
कोई राग बदले
ना बदलेगी अपनी
मोहब्बत की सरगम
हर सांस मेरी
तेरे लिए है
हर सांस मेरी
तेरे लिए है
ये वादा रहा साजना
ये वादा रहा साजना
तेरे सिवा ना
किसी का बनूँगा
खून ए जिगर से
ये लिख के मैं दूँगा
ये वादा॰॰आ
ये वादा रहा दिलरुबा
ये वादा रहा दिलरुबा

आवाज़ दे के॰॰ए
आवाज़ दे के
जो रोके ज़माना
जमाने के बातों में
हरगिज़ ना आना
आँखों में आँखें
बाहों में बाहें
डाले हुये साथ चलते ही जाना
तेरा प्यार ही तो
मेरी ज़िंदगी है
तेरा प्यार ही तो
मेरी ज़िंदगी है
ये वादा रहा दिलरुबा
ये वादा रहा दिलरुबा
कदमों में तेरे
जन्नत है मेरी
हो के रहूँगी
हमेशा मैं तेरी
ये वादा॰॰आ
ये वादा रहा साजना
ये वादा रहा साजना
साजना
ये वादा रहा साजना
साजना
ये वादा रहा साजना

This article is written by Avinash Scrapwala, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

#the Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # # Dil Ka Raaja -1972#
—————————————

Today’s song is from the ‘1972’ movie ‘Dil Ka Raaja’.

This is another movie which I came across while presenting the ‘missing movies of 1972’ on the blog. Though this movie made its debut on the blog way back on 14.10.2014, only one song from this movie has been posted on the blog. I do not remember to have listened to other songs from this movie. That is the reason for this post where today we will enjoy the second song from this movie.

Music for this movie is also composed by R.D. Burman.

‘Dil Ka Raaja-1972’ was directed by P. Madhwan for ‘Nadiadwala Associates, Bombay’. It was produced by A.A. Nadiadwala.

It had Raj Kumar, Leena Chandavarkar, Ajit, Bindu, Jagdeep, Indrani Mukherjee, Randhir, Meena T., Sheikh, Surendra Rahi, Manjeet, Omkar, Pandit Iqbal, Jankidas, Uma Dutt, Rajesh, Maqbool, Master Anil, Master Ripal, and Waheeda Rehman (in special appearance).

Story and screenplay of this movie was written by Balamurugan. Dialogues of this movie were written by Kaushal Bharti.

Editing of this movie was done by Babubhai Thakkar.

This movie was passed by Censor Board on 29.11.1972.

As I mentioned above one song from this movie has been posted on the blog earlier and that was presented by Shri Satyajit Rajurkar on the blog.

In his post (which is his passionate post about Rafi Saab) he had also mentioned about the story of this movie which I am reproducing below from his post.

This movie is about two brothers who try to retrieve the lost glory of their “king” father through hard work and sincerity. After generously donating all the wealth accumulated by three generations of his family, Ramnagar-based Raja Vichitra Singh (Raaj Kumar), faces humiliation at the hands of Thakur Gajendra Singh (Ajit) when he is unable to pay a dowry for his sister, Gauri (Indrani Mukherjee). He does fulfill his promise by mortgaging his mansion, Raghupathi Bhavan, but the shock kills his wife, Lakshmi (Waheeda Rehman). Humiliated, with no one coming forward to help him, he leaves Ramnagar, along with his three children, Raja (Raaj Kumar), Bajrang (Jagdedep), and Vijaya (Meena T) and re-locates to Bombay, hoping to accumulate Three Lakh Rupees, so that he can get the Bhavan back as well as restore his honour. The rest of the story is about how Vichitra Singh, now a tonga driver and his children, who end up working as a coolies and labourers, try and save the money to enable them to get the mansion back.

The movie is a remake of the A Nageshwar Rao starrer “Dharma Daata” (1970).

‘Dil Ka Raaja’ had five songs written by Majrooh Sultanpuri and composed to music by Rahul Dev Burman.

Mohd Rafi, Asha Bhonsle and Manna Dey had given their voices to the songs in this movie.

Here is the list of songs of this movie.

Today’s song is sung by Rafi Saab and Asha Bhonsle and on screen it is performed by two pairs i.e. Raj Kumar – Leena Chandavarkar, and Jagdeep – Bindu. (Rajkumar and Jagdeep play brothers in this movie).

This is a nice entertaining song sung by Rafi Saab and Asha Bhonsle. I hope readers will enjoy listening and watching this song.

Let us now enjoy today’s song …

Lyrics are by Majrooh Sultanpuri and music is composed by R.D. Burman.

Video

Audio (Partial)

Song-Badi hai shohrat tumhaare honthon tumhaari aankhon ki (Dil Ka Raaja)(1972) Singers-Rafi, Asha Bhonsle, Lyrics-Majrooh Sultanpuri, MD-R D Burman
Both

Lyrics

rajeshwari ee
parmeshwari ee
rajeshwari
parmeshwari
baageshwari

badi hai shohrat tumhaare honthhon
tumhaari aankhon ki
kabhi meri bhi
muraad poori karo na devi ji
ho badi hai shohrat tumhaare honthhon
tumhaari aankhon ki
kabhi meri bhi
muraad poori karo na devi ji
o rajeshwari
o parmeshwari
o bhaagyeshwari
o yogeshwari

ae agar hai chahaat
hamaare honthhon
hamaare aankhon ki
to kuchh dinon tak
abhi tapasya karo
pujaari ji
agar hai chahaat
hamaare honthhon
hamaare aankhon ki
to kuchh dinon tak
abhi tapasya karo
pujaari ji
o rajeshwari
o parmeshwari
o bhaagyeshwari
yogeshwari ee

hey sundari
upaay kuchh karo
tabeeyat bahot vikal hai
aajkal meri ee
ho o
thhodaasa tu agar sabr kare
kar doon deewaane zindagi
safal teri
seene ae se
lag jaao
aa ha aa
seene ae se
lag jaao
aa ha aa
om namah shivaay
namah shivaay
buri hai ulfat mein
jaldbaazi
suno anaadi ji
kabhi meri bhi
muraad poori karo na devi ji
o rajeshwari
o parmeshwari
o bhaagyeshwari
o yogeshwari

yogi banaa
bhabhoot mal ke main
dekho ye tumne haal kya kiya
meraa aa
hmm mm
mandir mein aake
aaj pyaar ke
yogi re toone dil churaa liya mera aa
dil mera
de jaao o
dil mera
de jaao o
om namah shivaay
namah shivaay
isi adaa par to jaan jaati
hai meri pyaari ji
to kuchh dinon tak
abhi tapasya karo
pujaari ji
o rajeshwari
o parmeshwari
o bhaagyeshwari
yogeshwari ee
agar hai chahaat
hamaare honthhon
hamaare aankhon ki
to kuchh dinon tak
abhi tapasya karo
pujaari ji
o rajeshwari
o parmeshwari
o bhaagyeshwari
yogeshwari ee

This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

The blog completes 14 years of its existence today (19 july 2008-19 july 2022).

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Blog 10-Year Challenge (2012-2022) – Song No. 71
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This date ten years ago (viz 19 July 2012) saw five songs from five different movies getting covered in the blog. Here are the details:-

We can see that four movies (out of five) whose songs were covered on this date ten years ago have since been YIPPEED.

The only movie from ten years ago that remains unYIPPEED is “Lekh”(1949).

“Lekh”(1949) was produced by Mehta and Raghupat Roy and directed by G Rakesh for Liberty Art Productions, Bombay. The movie had Suraiyya, Sitara aka Sitaara Devi, Motilal, Eeshu Jagirdar, Cuckkoo, Anand Pal, Suraiyya chaudhary, Sudheer, Gurdasram,Chamanpuri, Amena Bai, Rekha, Sarita Veer, Kanwal, Vaatsa,Pittooo, Aatma Prakash etc in it.

The movie had 15 songs in it. Ten songs have been covered so far.

Here is the eleventh song from “Lekh”(1949) to appear in the blog. This song is sung by Asha Bhonsle and Rafi. Qamar Jalalabadi is the lyricist. Music is composed by Krish Dayal.

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

Lyrics of the song and other details were sent to me by Prakashchandra.

Song-Kar le kisi se pyaar jawaani do din ki (Lekh)(1949) Singers-Asha Bhonsle, Rafi, Lyrics-Qamar Jalalabadi, MD-Krishn Dayal

Lyrics(Provided by Prakashchandra)

kar le kisi se pyaar
kar le kisi se pyaar
jawaani do din ki ee
do din ki
kar le kisi se pyaar
jawaani do din ki ee
do din ki
yaad hai sarkar jawaani
yaad hai sarkar jawaani
do din ki
do din ki
kis se kare koi pyaar
kis se kare koi pyaar
ye duniya matlab ki ee
kis se kare koi pyaar
ye duniya matlab ki ee
jhootha sab sansaar
jhootha sab sansaar
ye duniya matlab ki ee
matlab ki
yaad hai sarkaar jawaani
yaad hai sarkaar jawaani
do din ki ee
do din ki

kisi phool ko apna bana le
ban kar bulbul geet suna le
kisi phool ko apna bana le
ban kar bulbul geet suna le
kar le aankhen chaar
kar le aankhen chaar
jawaani do din ki ee
do din ki
phoolon se dil kaun lagaaye
phoolon se dil kaun lagaaye
aaj khile aur kal murjhaaye
aaj khile aur kal murjhaaye
kehta hai gulzar
kehta hai gulzar
ye duniya matlab ki ee
matlab ki
yaad hai sarkaar jawaani
yaad hai sarkaar jawaani
do din ki ee
do din ki
oye
kar le kisi se pyaar
jawaani do din ki ee
do din ki
kar le kisi se pyaar

This article is written by nahm, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

8^th September – Birthday of Asha Bhonsle
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There are 25 songs tagged as ‘Tasweer’ (https://atulsongaday.me/category/tasweer-song/) song in the blog. Some of the stellar songs have missed the tag and have given a miss to the tag of ‘Tasweer’. I have listed a few such songs which I can refer to off-hand:

Tasweer Banaata Hoon Tasweer Nahin Banti

Ye Zulf Kaisi Hai

I feel as if some more significant songs are missing from my list above as well as the tagged page. So, the list is incomplete.

A ‘tasveer’ is something which tells a story. Be it a still image, a painting, a motion picture or mural. Imaginary or factual, reflection in reverse or converse. Not always needing a camera to capture it, just a glance is indelible sometimes. Moments captured in memory forever.

Some old timers in the film industry refer to movie as a ‘Tasveer’. I have forever called movies as ‘picture’. We never went to see film or movie, it was always ‘picture’. Some convent educated friends referred to them as ‘movie’ and some Kendriya Vidayala aluminis called them films. This is my own experiences, not a comment on anyone word preferences. In Urdu print, it is ‘film’ and in Hindi it is called ‘chal chitra’ translated as moving picture. So, the films moved and talked and told stories. But to tell a story, sometimes a still image is also enough. Technically, film is a roll on which the reflections are captured. What we watch on the screen is a projection of images captured on film rolls.

On the other hand, sometimes the story a ‘tasveer’ tells is incomplete for being one dimensional. The scene, the background, lighting, the capturer’s intentions, all have an impact on the story it tells. Even a panoramic photo fails capture the photographer. So, the millennials invented ‘selfies’ so that they can capture their own stories.

In our times, we have seen numerous such photos which have made history, given cause to monumental events, made unknown non-entities of the world into famous people. Also, photos which captured the events for posterity, stills which make us wonder at the creativity and unfathomable and unrecordable capability of creator of such beauty, and fabulous natural phenomena. Over the decades, there have been photos of apathy of humans around the world, which made humanity hang its heads in shame. Glory, shame, pain, ecstasy, wonder, happiness, surprise, loss and victory and many more emotions and expressions are recorded.
The camera is mechanical equipment after all. It has no feelings, so no sympathy with the subject it is capturing. It also reveals things, the subject wants to hide sometimes. I must grant it, it is a capable equipment, it captures the expression in the eyes of the subject. Mischief, despair, jealousy, pain, love, gaiety, you name it, the camera has seen it all.

I am glad to report that sometimes in gathering of friends, we forget to take selfies or pics… then we lament it on whatsapp that we didn’t click any. Better leave somethings for the mind and heart to capture. Is there a hard disk which can store as much as a human mind?

The ‘tasveer’ category song being presented here is from the film “Basant” (1960). The following 11 songs of this film are already posted in the blog.

Out of 14 songs of this film, 11 are Rafi-Asha duets and trio with SD Batish. Remaining 3 are solos by Asha Bhonsle. Incidentally, I have noticed that in the blog we spell the surname of Asha as ‘Bhonsle’, where as every where else that I can see it is Bhosle. Eleven duets in a film is a record, second such record is in the film ‘Halla Gulla’ (1954), where this same pair is singing all 9 songs.

Here is the song to celebrate the 89^th Birthday of Asha Bhonsle, penned by Shewan Rizvi and composed by OP Nayyar.

Song-Jee chaahta hai khench loon tasweer aap ki (Basant)(1960) Singers-Asha Bhonsle, Mohammed Rafi, Lyrics-Shewan Rizvi, MD-O P Nayyar

Lyrics

aa aaa aaaha
hmmm mmmm mmmmm hmm hmm
aa aaa aaaha
hmmm mmmm mmmmm
aa aa aaaa aaaaaaa aaaa
mmmmmm
a aa aa aaa

kitni badal gayi hai
zara chaal dekhiye
iss dillagi mein
aap ka yeh haal dekhiye
mukhde ka rang haathh ka
roomaal dekhiye
jee chaahtaa hai
khainch loon tasveer aap ki
jee chaahataa hai
khainch loon tasveer aap ki

phoolon ki tarah
aap ka chehra khilaa huaa
aa aaa aaaa aaaa
aaaa aaaa aaaaaaa
phoolon ki tarah
aap ka chehra khilaa huaa
aur uss pe kaali zulf ka
baadal ghiraa huaa
aur uss pe kaali zulf ka
baadal ghiraa huaa
parde mein chaand
husn ka aadha chhupa huaa
jee chaahataa hai
khainch loon tasveer aap ki
jee chaahataa hai
khainch loon tasveer aap ki

bikhre huye yeh baal
garebaan khulaa huaa
gardan mein ek reshmi
muffler padaa huaa
saare jahaan ka ishq
nazar mein chhupa huaa
jee chaahataa hai
khainch loon tasveer aap ki
jee chaahataa hai
khainch loon tasveer aap ki

kitni haseen hai zara
aawaaz dekhiye
aa aaa aaaa aaaa
aaaa aaaa aaaaaaa
kitni haseen hai zara
aawaaz dekhiye
aawaaz se bhi badh ke
haseen saaz dekhiye
aawaaz se bhi badh ke
haseen saaz dekhiye
sharma ke munh phiraane ka
andaaz dekhiye
jee chaahataa hai
khainch loon tasveer aap ki
jee chaahataa hai
khainch loon tasveer aap ki

aa aaa aaaha
hmmm mmmm mmmmm
aa aaa aaaha
hmmm mmmm mmmmm
aa aa aaaa aaaaaaa aaaa

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

आ आss आहा
हम्म म्मम म्ममम ह्म्म ह्म्म
आ आss आहा
हम्म म्मम म्ममम
आ आ आsss आssssss आsss
म्ममममम
आ आ आ आss

कितनी बदल गई है
ज़रा चाल देखिये
इस दिल्लगी में आपका
ये हाल देखिये
मुखड़े का रंग
हाथ का रूमाल देखिये
जी चाहता है खींच लूँ तस्वीर आपकी
जी चाहता है खींच लूँ तस्वीर आपकी

फूलों की तरह आपका चेहरा खिला हुआ
आ आss आsss आsss
आsss आsss आssssss
फूलों की तरह आपका चेहरा खिला हुआ
और उसपे काली ज़ुल्फ का
बादल घिरा हुआ
पर्दे में चाँद हुस्न का आधा छिपा हुआ
जी चाहता है खींच लूँ तस्वीर आपकी
जी चाहता है खींच लूँ तस्वीर आपकी

बिखरे हुये ये बाल
गरेबाँ खुला हुआ
गर्दन में एक रेशमी मफ़लर पड़ा हुआ
सारे जहां का इश्क़ नज़र में छुपा हुआ
जी चाहता है खींच लूँ तस्वीर आपकी
जी चाहता है खींच लूँ तस्वीर आपकी

कितनी हसीन है ज़रा आवाज़ देखिये
आ आss आsss आsss
आsss आsss आssssss
कितनी हसीन है ज़रा आवाज़ देखिये
आवाज़ से भी बढ़ कर हसीन साज़ देखिये
शर्मा के मुंह फिराने का अंदाज़ देखिये
जी चाहता है खींच लूँ तस्वीर आपकी
जी चाहता है खींच लूँ तस्वीर आपकी

आ आss आहा
हम्म म्मम म्ममम ह्म्म ह्म्म
आ आss आहा
हम्म म्मम म्ममम
आ आ आsss आssssss आsss

This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

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Blog 10-Year Challenge (2012-2022) – Song No. 102
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Ten years back on this date viz on 1^st October 2012, eight songs from eight different movies were covered on the blog. Here are the details:-

One can observe that six movies (out of eight movies) whose songs were covered on the blog on this date ten years ago (on 1 october 2012) have since been YIPPEED in the blog. That leaves us with two movies that are still eligible for blog Ten Year Challenge ten years later on 1 october 2022.

“Mere Armaan Mere Sapne”(1963) is a movie that qualifies on this count.

“Mere Armaan Mere Sapne”(1963) was produced and directed by Arabind Sen for Lalit Kala Mandir, Bombay. The movie had Pradeep Kumar, Kumari Naaz, Ashim Kumar, Pran, Agha, Jayshri Gadkar, Sumitra devi, Manmohan Krishna, Asit Sen, Badri Prasad, Johnny Whisky, Padma Devi, Paro devi, Samar Chatterjee, Paul Mahendra,
Madhumati, Surekha, Sohanlal Khanna, Laxmi Chhaaya, Abhi Bhattacharya, Sujit Kumar etc in it.

The movie had seven songs in it. Four songs have been covered in the blog so far.

Here is the fifth song from “Mere Armaan Mere Sapne”(1963) to appear in the blog. The son is sung by Asha Bhonsle and Rafi. Rajinder Krishan is the lyricist. Music is composed by N Datta.

The song is picturised as a dance song on Madhumati and Sohanlal Khanna. The dance performance is being watched by many people, inclusing Pradeep Kumar, Ashim Kumar and Kumari Naaz aka Naaz.

Sohanlal Khanna, who lip syncs in Rafi’s voice was the dance choreographer of this movie.

Lyrics of the song and other details were sent to me by Prakashchandra.

video link:

audio link:

Song-Hai bade zor ki dhoop (Mere Armaan Mere Sapne )(1963) Singers-Asha Bhonsle, Mohammed Rafi, Lyrics-Rajinder Krishan, MD-N Datta

Lyrics(Provided by Prakashchandra)

hai badey zor kee dhoo…oop
hai badey zor kee dhoop
jaley is dhoop mein meraa roop
o sainyyaan zaraa pagdi ki chhaaon kar dey
o saiyyaan zaraa pagdi ki chhaaon kar dey aey ae ae aey ae
hoyye aey ae
woh dekhee jabse teree chaal
buraa hai deewaaney ka haal
o gori zaraa zulfon ki chhaaon kar dey
o gori zaraa zulfon ki chhaaon kar dey aey ae ae aaa

jab se bolaa dil par mere
tere pyaar ne hullaa..aaa
chhod ke maine galee mohallaa
thhaam liyaa teraa pallaa..aaa…aaa
waahhaaa waahaa waa waaaa
hoohh
jab se bolaa dil par mere
tere pyaar ne hullaa..aaa..aaa
chhod ke maine galee mohallaa
thhaam liyaa teraa pallaa..aaa..aa
chhod ke maine galee mohallaa
thhaam liyaa teraa pallaa
lagaa hai jab se nazar kaa teer
tadapthaa hai teraa dilgeer
o gori zaraa zulfon ki chhaaon kar dey
o gori zaraa zulfon ki chhaaon kar de hey aey ae hey aey ae

tere jaisee koyee na dekhee
kali nazaaqat waalee..eee
haayye raam
badaa naseebon waalaa hogaa
tu jiski matwaalee oyye
kyaa (aaa aaa)
tere jaisee koyee na dekhee
kalee nazaaqath waalee..eee
hoyye hoyye
badaa naseebon waalaa hogaa
tu jiski matwaalee..ee
badaa naseebon waalaa hogaa
tu jiski matwaali
kiyaa jab dil ne mujhe majboor
to aayee chalkar itnee door
o sainyyaan zaraa pagdi ki chhaaon kar dey
o saiyyaan zaraa pagdi ki chhaaon kar dey ae hey aey

khilee rahey mere dil mein teree
muskaanon ki kaliyaan aan aan
meri jannat saiyyaan teri
do aankhon ki galiyaan..aaan..aan..aaan
khilee rahey mere dil mein teree
muskaanon ki kaliyaan aan aan
haayye meri jannat saiyyan teri
do aankhon ki galiyaan..aan..aan
meri jannat saiyyan teri
do aankhon ki galiyaan
meraa dil hai teri jageer
aa aa haan aa haa aa
hai is mein teree hee tasweer
o gori zaraa zulfon ki chhaaon kar dey
hho gori zaraa zulfon ki chhaaon kar de aey ae ae
hey aey ae hey aey ae

hai badey zor kee dhoop
jaley is dhoop mein meraa roop
o sainyyaan zaraa pagdi ki chhaaon kar dey
hho saiyyaan zaraa pagdi ki chhaaon kar dey aey ae ae aey ae
(whistling sound)
o dekheejabse teree chaal
buraa hai diwaaney ka haal
o gori zaraa zulfon ki chhaaon kar dey
o gori zaraa zulfon ki chhaaon kar dey aey ae ae

hho oo oo ooo oo ooo
hho oo oo ooo oo ooo
hho oo oo ooo oo ooo

(Rafi,Asha Bhosle and chorus voices)

This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

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Blog 10-Year Challenge (2013-2023) – Song No. 2
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On this date ten years back viz on 4 January 2013, eight songs from seven different movies (plus one NFS) were covered in the blog. Here are the details:-

We observe that as many as four movies (out of 7 movies) whose songs were covered on this date ten years ago have since been YIPPEED. That leaves us with three movies that are eligible for Blog Ten Year Challenge today (4 January 2023).

“Laadla”(1966) is one of the eligible movies. It was produced by A V Meiyappan and directed by Krishan Panju for AVM studios, Madras. The movie had Nirupa Roy, Pandari Bai,Kumud Chugani, Sulochana Chatterjee, Shammi,Gayatri, Chandini, Balraj Sahni, Manmohan Krishna, Jagdeep, Parsuram, Umesh Sharma,Sudhir Kumar, Mukri, Johnny Whisky, Kunwar Kesho, Vasant Puranik, Swaraj Kumar etc in it.

The movie had seven songs in it. Five songs have been covered by now.

Here is the sixth song from the movie. It is sung by Rafi and Asha Bhonsle. Rajinder Krishan is the lyricist. Music is composed by Laxmikant Ptyarelal.

Only audio of the song is available. It seems that the song was either not picturised or it was deleted from the movie. I request our knowlegeable readers to throw light on the picturisation of the song.

Lyrics of the song and other details were sent to me by Prakashchandra.

audio link:

Song-Seene mein muhabbat ka pehla armaan tumhaari daulat hai (Laadla)(1966) Singers-Rafi,Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Laxmikant Pyarelal

Lyrics(Provided by Prakashchandra)

hmm hmm hmm hmm
hmm hmm hmm hmm

seene mein mohabbat kaa pehlaa
armaan tumhaaree daulat hai aey ae
armaan tumhaaree daulat hai
seeney mein mohabbat kaa pehlaa
armaan tumhaaree daulat hai ae ae
ye ae dil hai tumhaaree malkiyat
ye jaan tumhaari daulat hai aey ae ae
ye jaan tumhaaree daulat hai ae

andaaz dhadakney kaa seekhaa aaa
andaaz dhadakney kaa seekhaa
is dil ne tumhaaree aankhon se
andaaz dhadakney ae kaa seekhaa
is dil ne tumhaaree aankhon se ae ae
is dil pe tumhaaree aankhon kaa
ehsaan tumhaaree daulat hai ae
ehsaan tumhaari daulat hai
ye dil hai tumhaaree malkiyat
ye jaan tumhaari daulat hai aey ae
ye jaan tumhaari daulat hai

kyaa cheez muhabbat hoti hai ae
kyaa cheez muhabbat hoti hai
ab tak ye hamein maaloom na thhaa
kyaa cheez muhabbat hoti hai ae
ab tak ye hamein aen maaloom na thhaa
jitnee bhi huyee hai ulfat se
pehchaan tumhaari daulat hai ae
pehchaan tumhaari daulat hai ae
seeney ae mein muhabbat kaa pehlaa
armaan tumhaaree daulat hai
ye jaan tumhaaree daulat hai jee
armaan tumhaaree daulat hai

This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Basant”(1960) was produced and directed by Bibhuti Mitra for Mitra Productions Bombay. The movie had Nutan, Shammi Kapoor, Minoo Mumtaz,Kammoo,Cuckoo(guest artiste), Murad, Vittaldas Panchotia, Jagadish Kamal, Gyani, Rajendar, V.Namade, Rawley, ShyamLal And Johnny Walker in it.

“Basant”(1960) had 14 songs in it. 12 songs have been covered so far.

Here is the 13th song from “Basant”(1960) to appear in the blog. The song is a duet sung by Asha Bhonsle and Rafi. Qamar Jalalabadi is the lyricist. Music is composed by O P Nayyar.

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

Lyrics of the song and other details were sent to me by Prakashchandra.

audio links:

Song-Idhar main khoobsoorat hoon udhar tu khoobsoorat hai (Basant)(1960) Singers-Asha Bhonsle, Rafi, Lyrics-Qamar Jalalabadi, MD-O P Nayyar

Lyrics (Provided by Prakashchandra)

idhar main khoobsoorat hoon
udhar tu khoobsoorat hai
mujhe teree tujhe meree
zaroorat hai ae zaroorat hai
zaroorat hai ae zaroorat hai

bahot dekhey
hain dilwaaley ae aey ae
aey ae ae ae ae
bahot dekhey hain dilwaaley
magar tum sabse teekhey ho o
khudaa jaaney
ke ye qaafir adaayein kis se seekhey ho
haseen dekhey hazaaron par..rr
tu sabse khoobsoorat hai
haseen dekhey hazaaron par..r
tu sabse khoobsoorat hai
tu sabse khoobsoorat hai ae ae
idhar main (h)khoobsoorat hoon
udhar tu (h)khoobsoorat hai
mujhe teree tujhe meree
zaroorat hai ae zaroorat hai
zaroorat hai ae zaroorat hai

main apnee reshmee zulfein aen aen
aen aen aen aen
main apnee reshmee zulfein
bakheroongee nazaaron mein
anokhey khel kheloongi
machaltey aabshaaron(?) mein aen
tujhe milkar huaa maaloom
duniyaa khoobsoorat hai
tujhe milkar huaa maaloom
duniyaa khoobsoorat hai
jee duniyaa khoobsoorat hai aey ae ae
idhar main(h) khoobsoorat hoon
udhar tu (h)khoobsoorat hai
mujhe teree tujhe meree
zaroorat hai ae zaroorat hai
zaroorat hai ae he hey zaroorat hai

lutaakar do jahaan dil kee ee eee
ee ee ee eee
ee ee eee ee
lutaakar do jahaan dil ki
khushee leney ko jee chaahey
main ek betaab dil laayee
tujhe deney ko jee chaahe ae
qareeb aa jaa
zaraa dekhoon
tu kitnee khoobsoorat hai
qareeb aa jaa
zaraa dekhoon
tu kitnee khoobsoorat hai
tu kitnee khoobsoorat hai hayye
idhar main(h) khoobsoorat hoon
udhar tu(h) khoobsoorat hai
mujhe teree tujhe meree
zaroorat hai ae zaroorat hai
zaroorat hai ae zaroorat hai

This article is written by Arunkumar Deshmukh, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, 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 the film “Hum bhi kuchh kam nahin” -1958.

The film, as per its story belongs to a Costume and imaginary genre, but HFGK mentions it as a ” Social ” film. I wonder why ? The cast of the film consisted of Ameeta, Ranjan, Sumitra, P. Kailash, Kanu Roy, Majnu, Ram Avtar, Manju and others. The 7 songs of this film were written by Anand Bakshi, Rahil Gorakhpuri, Kaif Irfani and Sharki Bhopali. The lyricist Rahil Gorakhpuri wrote 30 songs in 12 films from Sun to le haseena-58 to Aaja Sanam-75. In addition, as Anwar in the pair Javed-Anwar, he wrote songs in 8 films. Javed in this pair was Manohar Lal Khanna – father of Composer Usha Khanna. The Music Director for today’s film was S.D.Batish. The film was directed by Raman Desai.

Now, this name Raman Desai is a strong case of ” Same Name Confusion”, because there was another Hindi film Director Raman Desai operating during the same period. Their fathers’ names were different but never mentioned anywhere. Sometimes Raman Desai of today’s film was mentioned as Raman Lal Desai in the film credits-like this film. With this small clue, I found out information about these two film directors to differentiate them from each others. Here we go….
RAMAN (Lalbhai) DESAI

Ramanlal Lalbhai Desai was born on 6-9-1915 at Ahmedabad ( some sources indicate different year and place). His father was a Station master in the BBCI Railway ( Bombay-Baroda and Central India Railway). He was educated in Bombay and he studied up to Inter-Arts. He soon left his studies to work as an assistant cameraman and assistant Director, in Paramount Pictures for Thief of Baghdad-34. In 1935 he shifted to Ganesh Movietone but came back to Paramount. He was assistant director in Fairy of the flute-36, Guru Ghantal-37 ,Black ghost-37, Burqawali-36, Aladdin-33, Vagabond lover-38, Madhur bansari-39 etc. He co-directed films like Patriot-37, Darpan-41 and Mere Saajan-41, in Rex Pictures. He was a good editor and a musician.

He became a full fledged Director with Daughter of the jungle-42, Mohabbat ki jeet-43, Circus girl-43, Bhagata Bhoot-43, Rangila Dost-44, Aadhar-45, Qismat ka Dhani-46, Jadui putali-46, Tiger man-47, Naqli Heera-48, Dhanwale-48, Dilwale-48, Roshni-49,Sangeeta-50, Aab e Hayaat-55, Hum bhi kuch kam nahin -58, Minister-59 and Jalim tera jawab nahin-60. He turned to Gujarati films and directed Sole saaj singar-77 and Kul deepak-78.
He was working as a Production supervisor for the film Nastik-54 (credited).

(Thanks to Shri. Harish Raghuwanshi ji for some info used here along with my notes).

RAMAN (Bhimbhai) DESAI

Raman B Desai was born in Bilimora, Gujarat, on 28-4-1918. At the age of 20 years, he joined Wadia Movietone as an assistant Director. He assisted Director Chaturbhuj Doshi for quite some time.

He became an independent Director with Pehli Pehchan in 1947. Then came Narad Muni-49, Raja Harishchandra-52, Hari Darshan-53, Naag Panchami-53, Chakradhari-54, Rajyogi Bharthari-54, Navaratri-55, Waman Avatar-55, Ram Navami-56, Naag Mani-57, Chandi Pooja-57, Grihalaxmi-59 (he also produced it) and Amar jyoti-1965. He also directed 6 Gujarati films. Due to his expertise in religious films, he was known as ” King of Mythological Films”.

Raman B Desai expired on 22-12-1997. ( He should not be mistaken for another director Raman Lal Desai, who operated in the same period and directed films like Aab-e-Hayaat-55 and Sangeeta-50 etc).

The name KANU ROY in today’s film cast is another instance of ” Same name confusion “. There was a composer (and an actor also) by the name Kanu Roy who gave music in a few films. Most people and many internet sites, including IMDB, consider these two different persons as one and claim films for acting and music together, as if he was an actor and a composer – a Two In One person !

In Hindi films this happened routinely, but in the early era of Talkie films. Master Krishna rao, Vinayak rao Patwardhan, Master Mohammed, Badriprashad, Vithaldas Panchotiya etc can be quoted as actor/composers. Lately, only the name of Kishore Kumar comes to mind in this category, off hand. Let us see who these two Kanu Roys were…

Kanu Roy (the Actor) was in reality a name for Nalini Ranjan Roy, born at Jabalpore. He was very fond of acting and so landed at Bombay Talkies,a company started by 2 Benagalese- Himanshu Roy and Devika Rani. Those days many people from Bengal used to come to Bombay Talkies, but only the capable ones like Amiya Chakravarty, Shashadhar Mukherjee or Ashok Kumar etc could make their careers here. Kanu Roy started his acting career with the film Basant-1942. His name Nalini was sounding like a Girl’s name in Bombay ( there were already a dozen Nalinis working in films those days), so it was changed and he opted for Kanu, his pet name in the house. Thus Kanu Roy came into films. Due to his good looks, he even became a lead actor in a few films. Nazrana-46 (UR) was one such film where he was working opposite Kamini Kaushal. Kanu Roy worked in 46 films from 42 to 83 ( kisi se naa kehna). Kanu Roy also left Bombay Talkies along with S.Mukherjee and others and joined Filmistan. He was in many Filmistan films like, Mahal, Munim ji, Nastik, Naagin, Jagriti etc. He acted in a Bangla film ‘Samar’too in 1950.

The other Kanu Roy (MD) was an extremely talented music composer of Bengali and Hindi cinema during 1960s and 1970s.. An unsung hero of Indian cinema, despite giving some wonderful songs to Geeta Dutt and Manna Dey, he got very little opportunities in Hindi cinema. He composed songs for Basu Battacharya’s introspective trilogy on marital discord in an urban setting, ‘Anubhav’, ‘Avishkar’ and ‘Griha Pravesh’ in the 1970s, and best remembered for giving the last but finest songs to Geeta Dutt – Meri Jaan Mujhe Jaan Na Kaho, Koi Chupke Se Aake and Mera Dil Jo Mera Hota. Ironically she died 6 months after she made a comeback to playback singing for the last time.

Kanu Roy hailed from West Bengal. He was born on 9th December 1912, in a poor family in the outskirts of Kolkata. During his early days he worked as a welder at Howrah Bridge, engaged in repairing work of the bridge. He worked as an assistant to Salil Chowdhury during his early days. As a full-fledged music composer, Basu Battacharya introduced him to Hindi cinema through Uski Kahani in 1966. He gave some of the finest songs to Geeta Dutt such as three songs of Anubhav (her last and final recordings), Aaj Ki Kali Ghata of Uski Kahani etc. He also composed music for Shyamla, which was recensored as Woh phir na aayee in 1981. ‘Geeton Ki Duniya Mein Sargam’ and ‘Khali Pyala Dhundla Darpan’ of Sparsh, ‘Hasne Ki Chaah’ of Aavishkar and ‘Boliye Surilee Boliyan’ of Grihapravesh are memorable songs of Kanu Roy. He gave music to only 8 films, namely Uski kahani-66, Anubhav-71, Avishkar-74, umhara kallu-75, Mayuri-75, Shyamala-79, Griha Pravesh-79 and Sparsh-1980.

He passed away on December 20, 1981, aged 69. . A less-known but extremely talented music director, very little data is available about him on net, In his colleague Gulzar’s words he was a simple person with a humming song always on his lips, and that he never quarreled or mingled with others. Some people and sites describe him as Geeta Dutt’s brother, but he was not her brother. Her brother was Mukul Roy.

HUM BHI KUCHH KAM NAHEEN-1958 was a typical B grade film specially made for the front benchers. As these types of films go, it had a story of king, vazir, a rebel, a princess, a joker, stunt fight, few good songs and lot of big animals like,Horses,Elephants tigers etc.

The hero was Ranjan(Ramnarayan Venkatramana Sarma, born in Madras in 1918 and died in USA in 1983) whose name spelt lot of Sword fighting(in real life too Ranjan was an expert Sword fighter).His name guaranteed lot of fighting,stunts and duet songs around trees.In this film also all this was present.
The story, s/play and dialogues were by Ramprakash Ashk.The music was by S.D.Batish who started his singing career in 1944 and Composer career in 1948 with Chupke chupke.Then came Balma, Patjhad, Khush Raho, Bahu beti, betaab, Amar kirtan, Rooprekha, Haar jeet, Toofan, Deewar, Ek arman mera, Saajish, Tipu sultan, Jalim tera jawab nahin, etc. He gave music as Nirmal Kumar in Lal Nishan and Nakhrewali also.

Batish who shifted to UK in 1964,moved to Santacruz,California-USA,in 1970 till he died there in 2006.(He used to say,’ I shifted from Santacruz,Bombay to Santacruz USA’).

Usman(Ranjan) and Mamubhai(Majnu) were fast friends.Usman was a young manwho did nothing, Mamu was King’s employee.Yar Khan(P.Kailash) the evil and crook Vazir of the king was waiting for a chance to usurp the throne.He kidnapped Zubeida(Manju),sister of Usman and took her to his palace where she commits a suicide.Now Usman wants his revenge.

Princess Zarina(Ameeta) is returning from her hunting trip.She is attacked by Yarkhan’s goons,but Usman saves her.They dutifully fall in love and she promises to help him.When the y reach the palace Usman is attacked by Yar khan’s soldiers but is saved by Zarina.There is Salma(Sumitra) court dancer,who also loves Usman and promises her help.

Finally Yar khan, croockedly captures both Usman and the King and blackmails Zarina to marry him or else……
Salma,Mamubhai and other loyalists rescue Usman.There is a terrific Sword fighting(obviously to use Ranjan’s skills) in which Yar khan is killed by Usman.The king returns with a bandbaja and Usman gets the job of Vazir and princess Zarina as his salary.

Today’s song is sung by Rafi and Asha Bhosle and obviously is a Road Show song. Enjoy….

Song-Jaadoogarni Cheen ki khaala Alladin ki (Ham Bhi Kuchh Kam Nahin)(1958) Singers-Rafi, Asha Bhonsle, Lyrics-Kaif Irfani, MD-S D Batish
Chorus

Lyrics

hey ae ae
tadak tadak tak tikdaak tikdam saasha
aaya qalandar dekh tamaasha
tod ke patthar kar doon bataasha
rakh doon jalaakar kabr se laashaan
aaya qalandar dekh tamaasha
tamaasha
tamaasha
dekh tamaasha

chiklaye chikbak
chonch kalaaram
chakbak chakbak
chaksa jaa
chiklaye chikbak
chonch kalaaram
chakbak chakbak
chaksa jaa
hey
chiklaye chikbak
chonch kalaaram
chakbak chakbak
chaksa jaa

hey hey
waah waah waah waah
jaadoogarni cheen ki
khaala Alladin ki
jaadoogarni cheen ki
khaala Alladin ki
abba mera jaapani qalandar
amma filistine ki
jaadoogarni cheen ki
khaala Alladin ki eeee

mere jaadoo ki chakri
kar de duniya ko chakram
saari safaai haath ki hai
yaani ghaple ka ghaplam
dekh na pahle kartab logon
phir naqdi ka naqdon
main na maanoon
main na maanoon
kuchh karke dikha
hey hey
chiklaye chikbak
chonch kalaaram
chakbak chakbak
chaksa jaa

dekh ??
laga ke chashma
baat nahin yaqeen ki
waah waah waah waah
jaadoogarni cheen ki
khaala Alladin ki
jaadoogarni cheen ki
khaala Alladin ki

haath mein rakhhoon
kha ke tambaaku
munh se nikaaloon chaakoo
dekh ke jisko kaan pakad le
chor lutere daakoo
vaar karoon to dum ko dabaa kar
bhaage Khan Halaaku
main na maanoon
main na maanoon
kuchh karke dikha
hey hey
chiklaye chikbak
chonch kalaaram
chakbak chakbak
chaksa jaa
dekh ke ??
laga ke chashma
baat nahin yaqeen ki
waah waah waah waah
jaadoogarni cheen ki
khaala Alladin ki
jaadoogarni cheen ki
khaala Alladin ki

ae beta jamoora

ek baar mein gat kar jaaoon
kar ke aag ko paani
bina piye daaru ??
ho jaaun mastaani
phir dekh bechaaram jaani mera
naach Balochistani
main na maanoon
main na maanoon
kuchh karke dikha
hey hey
chiklaye chikbak
chonch kalaaram
chakbak chakbak
chaksa jaa
dekh ke ??
laga ke chashma
baat nahin yaqeen ki
waah waah
waah waah waah waah waah
jaadoogarni cheen ki
khaala Alladin ki
jaadoogarni cheen ki

This article is written by Avinash Scrapwala, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

#the Decade of Seventies – 1971 – 1980 #
————————————————————————
# Bhoole-Bisre Geet # (Missing movies of 1973-14)
——————————————-——————————

Today we introduce the till now missing movie ‘Vishnu Puraan’ to join the movies of ‘1973’ on the blog.

“Vishnu Puraan-1973” was directed by Shridhar Prasad for ‘Shibani Pictures, Bombay’. It was produced by Bhanu Bannerjee.

“Vishnu Puraan” was a mythological movie inspired from the ‘folk tales’ and ‘legends’ of our country, and especially the ‘Katha Saritsaagar’ written by Somdev and the play ‘Swapnvasavadattam’ written by Mahakavi Bhas. This movie was about the ‘ten incarnations’ (‘dash-avtaar’) as mentioned in ‘Vishnu Puraan’, their greatness and glory.

It had Manish, Shilpi, Ashim Kuma, Anita, Praveen Kumar, S.N. Tripathi, Master Chintoo, Leela Mishra, Mohan Shery, Rajani Kemkar, Manjula, Sudarshan Dheer, Surjit Kumar, Kaushal Raj, Madhu Vagal, Shri Bhagwan, Radheshyam, Ramchandra Varde, Bhanumati, Suman Merchant, Sumita Malik, Sujata, Baby Anu, Baby Sandhya, and Mahipal.

Shahu Modak made a guest appearance in this movie.

Shridhar Prasad who directed the movie was also the write of this movie. Editing of this movie was done by Manohar Rathod.

“Vishnu Puraan-1973” was passed by Censor Board on 09.02.1973. It means this movie is completing its ‘fifty’ years of its creation now.

This movie has six songs (one of the six songs is in eight parts).

All the songs of this movie were written by B.D. Mishra and music was composed by S.N. Tripathi.

Asha Bhonsle, Mohd Rafi, Manna Dey, Usha Mangeshkar, Usha Bhattacharya, and Vani Jairam had given their voices to the songs in this movie.

We will have the detailed list of the songs in future while covering the remaining songs of the movie .

Today we will listen to a melodious song from this movie. It is a two part duet song sung by Asha Bhonsle and Mohd Rafi.

It is picturised on Manish and Shilpi (I guess) with some others visible as well in the picturisation of this song.

With this song this movie ‘Vishnu Puraan-1973’ makes its debut on the blog.

Let us listen to the song now…

video (Part I)

Lyrics

———————
(Part-1)
———————
aa aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa

aa aa aa aa aa
aa aa aa
tumhaari hoon
mere ho tum
tumhaari hoon
mere ho tum
tumhaari meri preet hai
(aa aa aa aa aa aa)
janam janam se mera man
tumhaare man ka meet hai
janam janam se mera man
tumhaare man ka meet hai
tumhaari meri preet hai ae

aa aa aa aa
aa aa aa aa aa
roop main tumhen kahoon
roop main tumhen kahoon
pyaar tum mujhe kaho
jaise tan mein man rahe
mere man mein tum raho o
sadaa rahegaa honthhon pe
jo aaj madhur geet hai
tumhaari meri preet hai ae
tumhaari hoon
mere ho tum
tumhaari meri preet hai
janam janam se mera man
tumhaare man ka meet hai
tumhaari meri preet hai

aa aa aa aa
aa aa aa aa aa
apni prem dor ye ae
apni prem dor ye
toote na kabhi priye
janam loongi baar baar
main tumhaare hi liye
rahenge sang sang ham
preet ki ye reet hai
tumhaari meri preet hai ae
tumhaari hoon
mere ho tum
tumhaari meri preet hai
janam janam se mera man
tumhaare man ka meet hai
tumhaari meri preet hai

aa aa aa aa aa aa
aa aa aa aa aa aa aa
aa aa aa
aa aa aa
aa aa aa

————————
(Part-II
————————

aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa

aa aa aa aa aa aa
aa aa aa aa aa
tumhaari hoon
mere ho tum
tumhaari hoon
mere ho tum
tumhaari meri preet hai
janam janam se mera man
(aa aa aa aa aa aa)
tumhaari meri preet hai

aa aa aa aa aa aa
aa aa aa aa

pyaara pyaara jag lage
jo saajnaa ho sang mein
(aa aa aa aa aa aa)
jhoomtaa hai ang ang
prem ki umang mein
virah na dena priya kabhi
virah na dena priya kabhi
usey jo man ka meet hai
tumhaari meri preet hai

tumhaari hoon
mere ho tum
(aa aa aa aa aa)
tumhaari meri preet hai
(aa aa aa aa aa)
janam janam se mera man
(aa aa aa aa aa aa)
tumhaare man ka meet hai
tumhaari meri preet hai

aa aa aa aa aa aa
aa aa aa aa
tan badalte baar baar
pyaar badaltaa nahin
(aa aa aa aa aa)
aatma ka ye amar
singaar badaltaa nahin
bhulaa na dena priya kabhi
bhulaa na dena priya kabhi
usey jo man ka meet hai
tumhaari hoon
mere ho tum
(aa aa aa aa aa)
tumhaari meri preet hai
(aa aa aa aa aa)
janam janam se mera man
(aa aa aa aa aa aa)
tumhaare man ka meet hai
tumhaari meri preet hai

This article is written by Avinash Scrapwala, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

This article is his 700^th post in the blog

#the Decade of Seventies – 1971 – 1980 #
———————————————————–—-
,strong>#Bhoole-Bisre Geet # (Qawwalis – Part-2 – Post 3)
——————————————————————————
(Yippeeee to ‘Naukar-1979’)

Today we take ‘1979’ movie ‘Naukar’ to ‘Yippeeee-land’:). This movie had made its debut on the blog long back on 25.08.2010. aOut of the five songs from this movie four have already been posted on the blog.

Today we present the final song from this movie.

“Naukar-1979” was directed by Ismail Memon or ‘Ismail Films’. Ismail Memon was also the producer of this movie. And Khairoo Ismail was the co-producer of this movie.

It had Sanjeev Kumar, Jaya Bhaduri, Mahmood, Manmohan Krishna, Sundar, Lalita Pawar, Anwar Hussain, Jalal Agha, Madhu Malini, Meena T., Parveen Paul, Tiwari, Manmouji, Baby Nishat, Soni Shukla, and others.

Shailendra Singh, Yogita Bali, and Shammi had a guest appearance in this movie.

Story of this movie was written by Ismail Memon. Screenplay and dialogues of this movie was written by Pt. Mukhram Sharma. Editing of this movie was done by Vithhal Bankar.

This movie was passed by Censor Board on 01.12.1979.

I vaguely remember that we (me and my two younger brothers) watched this movie with our parents in a theatre at the nearby city Akola. This movie was a ‘family entertainer’ and overall it was liked by all. Also I remember from our ‘cricket playing group’ discussions then, that irrespective of fans of Amitabh Bachchan, Dharmendra, and others all liked this movie. Sanjeev Kumar was the only actor who was liked by everybody in those days. This movie had some good music too.

Here is a brief about the story of this movie as mentioned by Peevesie’s Mom ji in her post.

The movie was the story of a wealthy widower Amar (Sanjeev Kumar) who swaps his identity with his servant Dayal (Mehmood) when he sets out to look for a bride who will be a good mother to his daughter too. He lands up in the house of Shanti Swarup (Manmohan Krishna) and Durga Devi (Lalita Pawar) who have daughters of marriageable age -Madhu Malini and Meena T.

But the girls have other plans- one falls in love with Dayal and the other is in love with Vijay (Shailendra Singh) who happens to be Dayal’s brother.
There is one more entity in the Shanti Swarup household- Geeta (Jaya Bhaduri) who happens to be Durga Devi’s friend’s daughter who is treated as a non-entity by Durga Devi and her daughters.

Amar -‘the Naukar’ and his daughter take a liking to Geeta who also has a soft-corner for the motherless child.
So that then is the synopsis of this movie…

(Peevesie’s Mom ji had sent her post on the occasion of the birth anniversary of Jaya Bachchan. I have not included the other text about Jaya Bachchan and her movies here).

“Naukar-1979” has five songs (including one multiple version song). All songs were written by Majrooh Sultanpuri. And the music was composed by Rahul Dev Burman.

Despite having some good songs none of the songs of this movie made it to the ‘annual list of ‘Binaca Geetmala’ of 1979. Pancham’s songs from the movies –
‘Shalimar’, ‘Jurmana’, The Great Gambler’, ‘Devataa’, ‘Golmaal’, ‘Azaad (1978)’ etc. were present in this list, though.

The song Pallo latkey hai mhaaro pallo latkey from ‘Naukar’ stood at no.31 in the annual list of ‘Binaca Geetmala’ of ‘1980’.

Today we are going to listen to a wonderful ‘Qawwali’ from “Naukar” which is the final song from this movie to be covered on the blog.

In the movie this song happens on the occasion of ‘silver jubilee’ marriage anniversary of Manmohan Krishna and Lalita Pawar. The get together party has this ‘naach-gaana’ program. While Yogita Bali (Qawwali Singer) is the star-performer of this program, the ‘Naukar’ played by Sanjeev Kumar (“who is masquerading as a servant” (Atul ji’s terminology), with the help of Madhu Malini and Meena T pushes the original ‘Naukar’ Mehmood (now the ‘maalik’), to join Yogita Bali and sing. He had already told the girls that his ‘maalik’ is a good singer and the city of ‘Bhopal’ where they live wakes-up every morning listening to his ‘maalik’s alaap’…

Also seen in the picturisation of this song are Jalal Agha, Jaya Bhaduri and others.

Let us listen to this song which is sung by Asha Bhonsle and Mohd Rafi and Asha Bhonsle. It is lip synced on screen by Yogita Bali and Mehmood respectively.

And here is ‘Y I P P EE EE’ to ‘Naukar-1979’ on the blog.

Important This movie starts showing the departmental store of Amar – Amar Departmental Stores at Bhopal. The city mentioned specifically. (and I am also mentioning it specially here)…

(PS- Just before finalising this post as I read the old posts of this movie-song I noted that Prakash ji had mentioned about sending the lyrics of this song too for the BTYC of this movie. So Prakashjee is the lyrics contributor for this song.

Audio

Video

Lyrics (Provided by Prakashchandra)

aa aa aa aa aa
aa aa aa aa
dekhin hazaaron mehfilen
par ye fizaa kuchh aur hai ae ae
dekhin hazaaron mehfilen
par ye fizaa kuchh aur hai ae ae
jalwe bhi dekhe hain magar
teri adaa kuchh aur hai
teri adaa aa
teri adaa
teri adaa
teri adaa
haan haan aan
kuchh aur hain
jalwe bhi dekhe hain magar
teri adaa kuchh aur hai ae ae
dekhin hazaaron mehfilen
par ye fizaa kuchh aur hai ae
haan
jalwe bhi dekhen hain magar
teri adaa kuchh aur hain ae ae
dekhin hazaaron mehfilen aen

ye gul rukhon ki anjuman
ye shaam hain bahaar ki
bahaar
bahaar
ye gul rukhon ki anjuman
ye shaam hain bahaar ki
ye jashn hai
jashn e shabaab
ye raat hai khumaar ki
haaye allaah
haaye allaah
haaye allaah
haaye allaah
hai wallaah
hai wallaah
hai wallaah
hai wallaah

aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
sadqe mere aye saaqiya
ik jaam to mujhko pilaa
sadqe mere aye saaqiya
ik jaam to mujhko pilaa
thhodi magar wo bhi pilaa
wo jo teri aankhon mein hai
thhodi magar wo bhi pilaa
wo jo teri aankhon mein hai
sadqe tere ae saaqiya
ik jaam to mujhko milaa
thhodi magar wo bhi pilaa
wo jo teri aankhon mein hai
wo bhi pilaa
aaj zaraa
wo bhi pilaa
aaj zaraa
o saaqiya
wo jo teri aankhon mein hai
uskaa nashaa kuchh aur hai
wo jo teri aankhon mein hai
uskaa nashaa kuchh aur hai
dekhin hazaaron mehfilen aen

allaah aa

haan aa aa aa aa
haa aa aa aa
aa aa aa aa
teri nazar us dil pe hai
jo dil kisi qaabil nahin
hai wallaah
hai wallaah
hai wallaah
hai wallaah
o teri nazar us dil pe hai
jo dil kisi qaabil nahin
dil mein tere wo baat hai
jiska koi haasil nahin
aa aa aa aa aa
aa aa aa aa aa aa aa
aa aa aa aa aa aa
sun ae mere bandaa nawaaz
ye sab tere
andaaz o naaz
ho jaayegaa inka ilaaj
aane to de wo din zaraa
sun ae mere bandaa nawaaz
ye sab tere
andaaz o naaz
ho jaayegaa inka ilaaj
aane to de wo din zaraa
aane to de
jaan e jigar
aane to de
jaan e jigar
wo din zaraa
ye dil nahin tera ilaaj
teri dawaa kuchh aur hai ae
dekhin hazaaron mehfilen
par ye fizaa kuchh aur hai ae
teri adaa aa
teri adaa
teri adaa
teri adaa
kuchh aur hain
jalwe bhi dekhe hain magar
teri adaa kuchh aur hai ae ae
dekhin hazaaron mehfilen
par ye fizaa kuchh aur hai ae
dekhin hazaaron mehfilen

armaan ye hai
ae jaaneman
yoonhi tujhe dekha karoon
armaan ye hai
ae jaaneman
yoonhi tujhe dekha karoon
saari hain baatein waqt ki
tu kya kare
main kya karoon
saari hai baatein waqt ki
tu kya kare
main kya karoon
aa aa aa aa aa aa aa aa
aankhon mein hai saara
jahaan
koyi tere jaisaa kahaan
dekhe haseenon e jahaan
par tu niraali cheez hai
aankhon mein hai saara
jahaan
koyi tere jaisaa kahaan
dekhe haseenon e jahaan
par tu niraali cheez hai ae
kya kahoon kya
cheez hai tu
jaane e jahaan
cheez hai tu
teri qasam

aa aa aa aa aa
tujhme wo jo ik baat hai
samjhe janaab
tujhme wo jo ik baat hai
samjhe janaab
ae dilrubaa
kuchh aur hain
dekhin hazaaron mehfilen
par ye fizaa kuchh aur hai ae
dekhin hazaaron mehfilen
aa aa aa aa
dekhin hazaaron mehfilen aen …

This article is written by Avinash Scrapwala, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

#the Decade of Fifties –1951 – 1960 #
——————————————————————

In this post I am presenting a song from the ‘1955’ film ‘Pyaara Dushman’.

This film was passed by censor board on 26.05.1955.

‘Pyaara Dushman’1955 was ‘Bhagwan Art Productions’, Bombay presentation and it was Produced and Directed by Bhagwan.

‘Pyaara Dushman-1955’ had Nadira, Jairaj, Sulochana, Bhagwan, Baburao, Leela Gupte, Vasantrao Pahalwaan, Kumkum, Dar Kashmiri, Ramlal, Deepak, Balaram, Swami, Parshuram, Datu, Bihari Singh, Govind, Sando, Kardar and others.

Its music was composed by Nisar. Saba Afghani penned the lyrics for all the seven songs in this film.

Asha Bhonsle and Mohd Rafi gave their voices to the songs in this film. They have four duets, two solo songs by Rafi Saab and one solo song by Asha Bhonsle.

So far, three songs from this movie have been posted on the blog as per details given below:-

Today’s song is the fourth song from this movie to be presented on the blog.

Today’s song is a lovely ‘nok-jhonk’ type duet song sung by Mohd Rafi and Asha Bhonsle.

Let us enjoy the song now … Only the audio of this song is available.

Song-Kuchh bolo zara munh kholo zara (Pyaara Dushman)(1955) Singer/s- Asha Bhonsle, Mohd Rafi, Lyrics-Saba Afghani, MD-Nisar
Both

Lyrics

kuchh bolo zaraa aa
munh kholo zaraa
kuchh bolo zaraa aa
munh kholo zaraa
yoon raaz chhupaanaa thheek nahin
aji haan
thheek nahin
yoon zid naa karo o
bas door raho
yoon zid naa karo o
bas door raho o
sunte hain zamaanaa thheek nahin
aji haan thheek nahin

tere hote baanke sanwariyaa
sooni man ki nagariyaa aa aa
tere hote ae baanke sanwariyaa
sooni man ki nagariyaa aa aa aa
kehte hain ye pyaase nainaa aa
kehte hain ye pyaase nainaa
apnon se sharmaana thheek nahin
aji haan thheek nahin
yoon zid naa karo o
bas door raho
sunte hain zamaanaa thheek nahin
aji haan thheek nahin

aisi baatein kuchh bhi naa samjhen
ham to hain bhole-bhaaley ae
aisi baatein kuchh bhi naa samjhen
ham to hain bhole-bhaaley ae
dekho ji ik chhote se dil pe ae
dekho ji ik chhote se dil pe
teeron ka barsaanaa thheek nahin
aji haan thheek nahin
kuchh bolo zaraa aa
munh kholo zaraa
yoon raaz chhupaanaa thheek nahin
aji haan thhik nahin

nahin(?) apnaa
karke deewaanaa aa
yoon karo naa
bahaanaa aa
soch samajh kar
kadam uthhaanaa
dekho thhokar naa khaanaa aa aa
prem dagar pe chalte chalte
prem dagar pe chalte chalte
raste mein ruk jaanaa thheek nahin
aji haan thheek nahin
kuchh bolo zaraa aa
munh kholo zaraa aa
yoon raaz chhupaanaa thheek nahin
aji haan thheek nahin

This article is written by Avinash Scrapwala, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

#the Decade of Sixties – 1961 – 1970 #
————————————————————————

I do not remember to have listened to the songs from this movie ‘Dev Kanya-1963’. So, when I came across this movie on the blog, I listened to its only song available on the blog. And what a song it is. I immediately fell in love with this duet song ‘zaraa pehchaano to main kaun kahaan se aayi’.

As mentioned by Atul ji in this post this movie seems to be a forgotten movie. That could be the reason the beautiful songs from this movie may have failed to catch the attention of music lovers. I have listened to the few songs from this movie already available on the internet and all of them appear to be nice songs to me.

As per information available in HFGK Vol-IV (1961-1970) ‘Dev Kanya-1963’ was directed by Sri Nath Tripathi (S.N. Tripathi) for ‘Sur Sagar and Amrit Films’.

It had Anita Guha, Mahipal, B.M. Vyas, Mukri, Krishna Kumari, Babu Raje, Mishrilal, Sheela Kashmiri, S.K. Shukla, Ratnamala, Radheshyam, Shri Bhagwan, Uma Khosla, Tiwari, Sudarshan Kumar, Madhumati and others.

This movie has seven songs penned by B.D. Mishra. And these were composed to music by S.N. Tripathi.

Singer’s name is not mentioned for one song and the singer’s names that we get from the other six songs are Asha Bhonsle, Mukesh, Mohd Rafi, and Mahendra Kapoor.

As mentioned above only one song from this movie has been posted on the blog earlier on 08.09.2013. That was long ago.

Today we listen to the second song from this movie. It is another nice duet song sung by Mohd Rafi and Asha Bhonsle.

Only audio of this song is available.

I would request knowledgeable readers to throw more light on this movie and its songs.

Let us enjoy this duet song from ‘Dev Kanya-1963’ now…

Song-Sainyyaan chhod de mera haathh (Dev Kanyaa)(1963) Singers-Asha Bhonsle, Mohd Rafi , Lyrics-B D Mishra, MD-S N Tripathi

Lyrics

sainyyaan chhod de
mera haathh
haaye dhadke jiyaa aa
sainyyaan chhod de ae
mera haathh
haaye dhadke jiyaa aa
kaise chhod doon
teraa haathh
toone mera dil liyaa
haaye dil liyaa
sainyyaan chhod de ae

aise to mat chhed baalma
padoon main tore painyyaa
sainyyaan
padoon main tore painyyaa aan
lootaa huaa dil
waapas de de
tabhi main chhodoon bainyyaan
haaye ae
tabhi main chhodoon bainyyaan aan
hoye dil kaa lootnaa
main kyaa jaanoon
abhi umar larkaiyyaan
sainyyaan aan chhod de
mera haathh
haaye dhadke jiyaa aa
kaise chhod doon
teraa haathh
toone mera dil liyaa
haaye dil liyaa aa
sainyyaan chhod de ae

ghoom ghoom kar
aage peechhe
ghadi ghadi kyun ghere
sakhiyaan
ghadi ghadi kyun ghere ae ae
diye ki lau par jal jaane ko
hoy hoy hoy hoy hoye
haaye
diye ki lau par jal jaane ko
kare patangaa phere
hoye ae
kare patangaa phere ae
oye jaan jaayegi
phir naa aayegi
ho o o o o o
jaan jaayegi
phir naa aayegi
jo ham se uljhe re
sainyyaan aan
chhod de
mera haathh
haaye dhadke jiyaa aa
kaise chhod doon
teraa haathh
toone mera dil liyaa
haaye dil liyaa aa
sainyyaan chhod de ae

pyaar to hai phaansi kaa phandaa
galey mein tu kyun daale
rasiyaa
galey mein tu kyun daale ae ae
aisi phaansi se
kab darte
pyaar pe marnewaale
hoye ae
pyaar pe marnewaale ae
oye mar ke dikhaa de
ek baar
dil kardoon tere hawaale
sainyyaan aan
chhod de
mera haathh
haaye dhadke jiyaa aa
kaise chhod doon
teraa haathh
toone mera dil liyaa
haaye dil liyaa aa
sainyyaan chhod de ae ae

This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

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Blog 10-Year Challenge (2013-2023) – Song No.57
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On this date ten years ago (2 April 2013), eight songs were covered in the blog. Seven of them were from seven different movie while one song was a non film song. Here are the details:-

We observe that two movies (out of 7) whose songs were covered on this date ten years ago (on 2 april 2013) have since been YIPPEED. That leaves us with five unYIPPEED movies that re eligible for Blog Ten Year Challenge today (2 april 2023).

Two oldest unYIPPEED movies has been taken up under BTYC earlier in the day.

The third oldest unYIPPEED movie on that day is “Maa Aur Mamta”(1970).

“Maa Aur Mamta”(1970) was Produced by M.M.Malhotra and Baldev Pushkarna and directed by Asit Sen for Suchitra Kala Mandir, Bombay. The movie had Ashok Kumar, Nutan, Jeetendra, Mumtaz,Rehman, Sujit Kumar, Shabnam, Roopesh Kumar, Nirupa Roy, Birbal, Shivraj, Leela Misra, Brahm Bhardwaj, Keshto Mukerji, Karan Diwan, Paro,Bilquis, Dilip Dutt, Machhar, Madhu Apte, Jayant etc in it.

“Maa Aur Mamta”(1970) had six songs in it. Four songs have been covered so far. Here is the fifth song from the movie to appear in the blog. The song is sung by Rafi and Asha Bhonsle alongwith chorus. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

The song is picturised on Jeetendra, Mumtaz and others as a stage dance song. Housefull audience is seen in the picturisation. Roopesh Kumar clearly upto something villainous (such as switching off the lights just as the performance ends.:) ) is also visible in the audience.

Lyrics of the song were sent to me by Prakashchandra.

Audio link:

Video link:

Song-Tere roop ne ye kaam kiyaa (Maa Aur Mamta)(1970) Singers-Rafi, Asha Bhonsle, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Female chorus
Male chorus
All chorus

Lyrics(Provided by Prakashchandra) (Based on video link)

ho o o h
ooo ho o
aa aaaa aaaa
hhaa aaa
ho o o
ooo ho o ho o o oooooo ooo o
aa aaaa aaaa
hhaaa aaa

aaa aaa aaaa aaaa
aaa aaa aaaa aaaa
ooo ooo ooo haaaa aaaa
aaa aaa aaaa aaaa aaa aaa aaaa aaaa
ooo ooo ooo hhaaaa aaaa aaa aaaa

ho o ho o o
ho o o ho o o o
hoyye ae aey ae

tere roop ne ye kaam kiyaa aaa aa aaa
mere pyaar ko badnaam kiyaa aaa aaa
jo baat huyee chupke chupke
us baat kaa charchaa aam kiyaa aa aa aaa
aaa aaaaa aaa
tere pyaar ne ye kaam kiyaa aaaa
mere roop ko badnaam kiyaa aa aa
jo raat katee chori choree
us raat ka charchaa aam kiyaa aaaa aaa
aaa aaa aaa aaaaa
tere pyaar ne ye kaam kiyaa aaaa aaa aaa

ye haal kiyaa toone meraa
kabhi chhed diyaa
kabhi tok diyaa aa aa aaa
aaa aaa aaaa
ye haal kiyaa toone meraa
kabhi chhed diyaa
kabhi tok diyaa
kabhi aanchal meraa thhaam liyaa
kabhi rastaa meraa rok diyaa aaa
din raat kiyaa bechain mujhe ae ae ae
haayye tang saverey shaam kiyaa aa aa
jo raat katee chori choree
us raat ka charchaa aam kiyaa aaaa
aa aa aaa aaa aaaa
tere pyaar ne ye kaam kiyaa aaaa aaa aaa

teree in reshmi zulfon kaa
main kyun deewaanaa ho baithhaa aaa aaa
aaa aa aaaaaa
teree in reshmi zulfon kaa
main kyon deewaanaa ho baithhaa
pehle main chaain se sothaa thha
ab neend bhi apnaa kho baithhaa
kyun pher na lee maine aankhein aen aen ae ae
jab toone mujhe salaam kiyaa aaa aa aa aaa
jo baat huyee chupke chupke
us baat ka charchaa aam kiyaa aaa aaa
aa aaa aaaaa
tere roop ne ye kaam kiyaa aaa aa

(Chorus singing and cheering)

This article is written by Avinash Scrapwala, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # (Qawwalis – Part-2 – Post 5)
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(Muqaable Ki Raat 1970s (UR)) (A tribute to Lyricist – Fauq Jami)

In my earlier post today (10 april 2023) I had mentioned about today being the ‘Remembrance Anniversary’ of lyricist Fauq Jami.

On this occasion we had already posted a song written by him from the movie ‘Guzaaraa-1954’. In all Fauq Jami had written songs for only three Hindi movies viz. ‘Guzaaraa-1954’, ‘Saawan Ko Aane Do-1979’ and one incomplete or un-released movie from the seventies (As per information available on online sources).

In this post we get introduced to the incomplete or un-released movie from the seventies or from the year ‘1977’ (to be authenticated).

This movie is ‘Muqaable Ki Raat’.

As per the little information available in HFGK Vol-V (1971-1980) , this movie ‘Muqaable Ki Raat’ was directed by P.L. Santoshi for ‘Shakeel Pictures’.

Only Ranjeet and Bindu’s name have been mentioned as cast for this movie.

Music for this movie was composed by Iqbal Qureshi (and this post very well serves the purpose of adding one more movie of this Composer on the blog).

HFGK Vol-V mentions only one song for this movie which is a qawwali written by Fauq Jami.

We present this song from this movie today which is sung by Mohd Rafi, Asha Bhonsle and chorus.

This ‘qawwali’ is a ‘muqaabla qawaali’ for the ‘muqaabla’ between ‘husn’ aur ‘ishq’ or ladkaa and ladki rather it is about how the girl wants a boy like, and how the boy wants a girl like, both of them looking for a suitable spouse to marry.

(I have tried to note the lyrics as accurate as possible and left (?) wherever I have doubt in noting the correct words. I would request readers with keener ears to kindly provide correct words there please).

With thiss song, this movie ‘Muqaable Ki Raat’ makes its debut on the blog and achieve ‘Yipeeeee’ status as well

Today’s song is in two parts. Only audio of this song is available.

Enjoy the magic of ‘Qawwali’ and the verses penned by Fauq Jami.

Audio (Part 1)

Audio (Part 2)

Song-Mujhe ik ladki chaahiye mujhe ik ladki (Muqaable Ki Raat)(UR)(1977) Singers-Mohd Rafi, Asha Bhonsle, Lyrics-Fauq Jami, MD-Iqbal Qureshi
Male chorus
Female chorus

Lyrics

—————————-
(Part-1)
—————————
dil ki betaabiyon se
haaraa hoon
aur taqdeer kaa bhi
maaraa hoon
dushmanon ne
to shaadiyaan aan aan kar lin
doston
doston main
abhi kunwaaraa hoon
is liye

mujhe ik ladki chaahiye
mujhe ik ladki
haan haan
mujhe ek ladki chaahiye
mujhe ik ladki
ladki
ladki
ladki
ladki
hoye
mujhe ek ladki chaahiye
mujhe ik ladki
ahaa
mujhe ik ladki chaahiye
mujhe ik ladki

haseenon ka hoon
main bandaa
mohabbat hai meraa
dhandhaa
samjhi
nahin samjhe
haseenon ka hoon
main bandaa
mohabbat hai meraa
dhandhaa
magar hai aajkal mandaa
mera dhandhaa
mera dhandhaa
magar hai aajkal mandaa
mera dhandhaa
mera dhandhaa
meri jaagir ir ir
meri jaagir
hai kadki
meri jaagir
hai kadki
mujhe ik ladki chaahiye
mujhe ik ladki
ahaa
mujhe ik ladki chaahiye
mujhe ik ladki ee

le ke angdaayee
aah bharti hoon
choodiyon ki khanak
khanak se
darti hoon
kyun naa kosoon
muyee jawaani ko
roz jeeti hoon
roz marti hoon
haaye ae
isliye
mujhe ik ladkaa chaahiye
mujhe ik ladkaa
haan haan
mujhe ik ladkaa chaahiye
mujhe ik ladkaa
ho
mujhe ik ladkaa chaahiye
mujhe ik ladkaa
ahaa
mujhe ik ladkaa chaahiye
mujhe ik ladkaa
jawaan ho
khoobsoorat ho
haseen ho
nekseerat ho
samjhe
nahin samjhe
jawaan ho
khoobsoorat ho
haseen ho
nekseerat ho
mere khwaabon ki jannat ho
mohabbat hi mohabbat ho
mere khwaabon ki jannat ho
mohabbat hi mohabbat ho
is hasrat mein aen aen aen
is hasrat mein dil
dhadkaa
is hasrat mein dil
dhadkaa
mujhe ik ladkaa chaahiye
mujhe ik ladkaa
haan haan
mujhe ik ladkaa chaahiye
mujhe ik ladkaa

dhhalkaa aanchal
ho aanchal
udtaa baadal
ho baadal
ho teekhaa kaajal
ho kaajal
phool si komal
ho komal
dhhalkaa aanchal
udtaa baadal
teekhaa kaajal
phool si komal

jab wo chhat pe
baal sukhaaye
nikle naa sooraj ghar se
chhaa jaaye
ghanghor ghataayein
jhoom ke barkhaa barse ae
jab wo chhat pe
baal sukhaaye
nikle naa sooraj ghar se
chhaa jaaye
ghanghor ghataayein
jhoom ke barkhaa barse
barse
khiltaa gulshan
ho gulshan
hanstaa darpan
ho darpan
ho koraa daaman
ho daaman
nikhraa kundan
ho kundan
khiltaa gulshan
hanstaa darpan
koraa daaman
nikhraa kundan

saas susar naa hoye koyi
naa hon saalaa saali
phaakaa masti mein manaayein
eid aur deewaali
saas susar naa hoye koyi
naa hon saalaa saali
phaakaa masti mein manaayein
eid aur deewaali
meri jaageer
meri jaageer
hai kadki
mujhe ik ladki chaahiye
mujhe ik ladki
aa haa
mujhe ik ladki chaahiye
mujhe ik ladki

——————————–
(Part-2)
——————————–

chaudaa seenaa aa
ho seenaa
aankh nageenaa aa
nageenaa
jaam o meena
meena
shokh kareena
kareenaa
chaudaa seenaa aa
aankh nageenaa aa
jaam o meena
shokh kareenaa

paan chabaaye
itr lagaaye
shaan se jab wo guzre
sundar mukhdaa
choomne uskaa
chaand gagan se utrey
paan chabaaye
itr lagaaye
shaan se jab wo guzre
sundar mukhdaa
choomne uskaa
chaand gagan se utrey
utrey
chiknaa koraa
ho koraa
baanka chhoraa
ho chhoraa
goraa goraa
ho goraa
rasiyaa moraa
ho moraa
chiknaa koraa
baanka chhoraa
goraa goraa
rasiyaa moraa
aankhon aankhon mein
keh daale
saanson ka afsaanaa
jo shamaa ki aag bujhaa de
aisaa ho parwaanaa
aankhon aankhon mein
keh daale
saanson ka afsaanaa
jo shamaa ki aag bujhaa de
aisaa ho parwaanaa
isi hasrat mein ae ae aen aen
isi hasrat mein
dil dhadkaa
isi hasrat mein
dil dhadkaa
mujhe ik ladkaa chaahiye
mujhe ik ladkaa
ahaa
mujhe ik ladkaa chaahiye
mujhe ik ladkaa

naaz o adaa ho
ho ho ho ho
ho
sharm o hayaa ho
ho ho ho
jaan e wafaa ho
ho ho ho
ho
mujhpe fidaa ho
ho ho ho
rang ho goraa
ho goraa
ang bharaa ho
ho ho ho
ang bharaa ho
ho ho ho
umr ho solah
solah baras ki
sonaa kharaa ho
ho ho ho
sonaa kharaa ho
ho ho ho
chhail chhabili
aise chaley ae
chhail chhabili
aankh shakeeli
chaal nasheeli ee
chhail chhabili
aise chaley ae ae
jaise jhooley daali ee ee
pag pag phool khilaaye
khilaaye ae
pag pag phool khilaaye
khilaaye
jhoome patjhad mein
hariyaali
meri jaagir ir ir
meri jaagir
meri jaagir
hai kadki
meri jaagir
hai kadki
mujhe ik ladki chaahiye
mujhe ik ladki
ahaa
mujhe ik ladki chaahiye
mujhe ik ladki ee

sheer e zabaan ho
ho ho ho
ahaa
jaadu bayaan ho
ho ho ho
ho
rooh e rawaan ho
ho ho ho
ahaa
jaan e jahaan ho
ho ho ho
roop ka rajaa
ho raaja
dil kaa badaa ho
ho ho ho
dil kaa badaa ho
ho ho ho
dil mein uske
sainyya ke dil mein
sajnaa ke dil mein
balmaa ke dil mein
pyaar jadaa ho
ho ho ho
pyaar jadaa ho
ho ho ho
heere jaisaa uskaa badan ho
mehkaa chaman ho
ahaa
behkaa pawan ho
ahaa
mast magan ho
ho heere jaisaa
uskaa badan ho
paaras jaisi chhaayaa aa
aisaa saajan miley miley to o
aisaa saajan miley miley to
samjhoon maine
sab kuchh paayaa
ho o o o o o
isi hasrat mein
dil dhadkaa
isi hasrat mein
dil dhadkaa
mujhe ik ladkaa chaahiye
mujhe ik ladkaa
ahaa
mujhe ik ladkaa chaahiye
mujhe ik ladkaa

shaan e mehmil hain tu
shaan e mehmil hai tu
jaan e mehfil hai tu
jaan e mehfil hai tu
raah e manzil hai tu
raah e manzil hai tu
mauj e saahil hai tu
mauj e saahil hai tu
jalwaa e naaz hai tu
jalwaa e naaz hai tu
aainaa taaj hai tu
aainaa taaj hain tu
husn ka raag hai tu
ishq jaanbaaz hai tu
husn ka raag hai tu
ishq jaanbaaz hai tu

saanwali soorat
mohini moorat
pyaar ki maalaa
phool ki rangat
aankh mein pancham
baat mein sargam
naachti hirni
chaal chhamaa chham
hoye
chashm e makhmoor hai tu
jannat ki hoor hai tu
chashm e makhmoor hai tu
jannat ki hoor hai tu
sholaa ae toor hain tu
noor hi noor hain tu
sholaa ae toor hai tu
noor hi noor hai tu

josh e mohabbat
husn ki zeenat
pyaar ki daulat
dard ki lazzat
baat e sharaafat
raaz e haqeeqat
daur e ??
daur e qayaamat
haaye
aashiq e zaar hai tu
raunaq e daar hai tu
aashiq e zaar hai tu oo
raunaq e daar hai tu
ek shaahkaar hain tu
pyaar hi pyaar hain tu oo
ek shaahkaar hai tu
pyaar hi pyaar hai tu

meri jaagir ir ir
meri jaagir
hai kadki
meri jaagir
hai kadki
mujhe ik ladki chaahiye
mujhe ik ladki
ahaa
mujhe ik ladki chaahiye
mujhe ik ladki ee

This article is written by Arunkumar Deshmukh, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today’s song is a duet from the film ‘Duniya Jhukti Hai’ (1960).

It was a social film made by the legendary Wadia Movietone. It was directed by the elder of the two brothers- JBH.Wadia. The MD was Hemant Kumar and the songs were written by Rajendra Krishna. The cast of the film was Sunil Dutt, Shyama, Daisy Irani, Kumkum, Agha, BM Vyas, Damuanna Malavankar, Madhu Apte, Dalpat, Neelambai and many others. There are two actors from Marathi cinema. Let us know more about them as not much is known about them in the Hindi cinema world.

In the early era of the cinema there was a trend to make films in 2 languages – Local and Hindi. Therefore most films made by Marathi filmmakers at Bombay, Poona and Kolhapur were made in Marathi and Hindi. The consideration was only commercial. Local language for local audience and Hindi for All India market. Similarly, in the South too Bilinguals were made. However, here the languages were Tamil and Telugu. The other two Language films Malayalam and Kannada started a bit late. Some films, however, were made even in 3 languages or sometimes dubbed in other languages. Hindi films from the south started quite late, in 1948, with ‘Chandralekha’ made by SS Vasan. After its success, for the next 8 to 10 years southern bilinguals were made in Local and Hindi languages.

Even in Calcutta, films were made in Bangla and Hindi, with the same commercial angle. In Calcutta, some Hindi films too were made by film companies other than New Theatres. This trend of bilinguals from Calcutta was a regular feature since 1935 for about 15 years – longer than south or Marathi films.

One feature of these bilinguals was that Local language actors appeared in the Hindi version. For Marathi actors, speaking dialogues in Hindi was not much of a problem, so many such local actors worked in Hindi versions. Comparatively, southern and Bangla actors found it difficult to speak Hindi, so less number of local artistes appeared in bilinguals. Many times their dialogues had to be dubbed by some other artiste.

From Marathi, one such local popular artiste was Damuanna Malvankar. His full name was Damodar Rajaram Malvankar. He was born in a poor Bramhin family at Nippani (near Kolhapur) on 8-3-1893. He had only the basic education. In those days, there were no films, but stage dramas were very popular. Getting a job as an actor was easy. Damu had a natural squint and he skillfully used it as his best weapon.

At the age of 15 or so, he joined Keshav Rao Datey’s theatrical company ‘Maharashtra Natak mandali’. He used to get only comedy roles. After a few years, he joined Deenanath Mangeshkar’s ‘Balwant Sangeet Mandali’. When talkie films started, he joined cinema along with director Vishram Bedekar. He did films with Master Vinayak and Acharya Atre. His major films were with Vinayak and Atre, playing the caricature of a Marathi gentleman (‘Brandichi Batli/Brandy Ki Botal’, ‘Brahmachari’). His image became identified with the part of Chimanrao, the middle-aged householder of CV Joshi’s political satires, partnered by Vishnupant Jog’s Gundyabhau (‘Lagna Pahave Karun’, ‘Sarkari Pahune’). They remained partners for many years. Other directors filmed Joshi stories with them (e.g. Raja Thakur’s ‘Gharcha Jhala Thoda’) but never with Vinayak’s incisiveness. Malvankar went on to play many stereotyped character parts, usually as the foil to the lead actor, and one major ‘serious’ role, the lead character of ‘Gajabhau’.

Damuanna was a very popular comedy actor in Marathi films. He worked in over 50 Marathi films. At one time he used to get more than double of what the hero of the film used to get for his role. His most famous film role was that of ‘Chimanrao’, a fictional character in Marathi literature. His companion used to be ‘Gundyabhau’ acted by VS Jog. This comedy pair was a household name during their peak time.

Like all others, he too worked in the Hindi versions of successful Marathi films. In all, he acted in 12 Hindi films. They were ‘Krishnarjun Yuddh’ (1934), ‘Andheri Duniya’ (1936), ‘Bramhachari’ (1938), ‘Mera Haque’ (1939), ‘Ghar Ki Rani’ (1940), ‘Amrit’ (1941), ‘Sangam’ (1941), ‘Badi Maa’ (1945), ‘Jeevan Yatra’ (1946), ‘Subhadra’ (1946), ‘Main Tera Hoon’ (1947) and ‘Duniya Jhukti Hai’ (1960).

Damuanna was a good friend of Sunil Dutt and the latter wanted Damuanna, though retired, to work in at least one of his films. It took about a month to convince Damuanna to work in this film – ‘Duniya Jhukti Hai’, but finally he agreed. Along with him another old Marathi artiste Madhu Apte also was invited to be in this film. Thus these two old timers of Marathi/Hindi films appeared in this film.

His only daughter Bharati Malavankar was a heroine in Marathi films. Damuanna had very cordial family relations with the Mangeshkar family, from the days he had worked for Deenanath Mangeshkar’s drama company, when all these children were too young. This culminated in Hridaynath Mangeshkar marrying Bharathi Malvankar. Damuanna Malavankar died on 14-5-1975.
[Based on information from http://www.marathifilmdata.com, with thanks.]

The other Marathi actor was Madhu Apte. Madhu Apte’s full name was Madhukar Shankar Apte. He was born at Poona on 1-3-1919. He was a Marathi stage and film actor predominantly, who successfully used his handicap of stammering to advantage, in delivering dialogues and creating humor by mistiming the dialogues.

He acted in many Hindi films for about 40 years. His first film was ‘Ramshastri’ in 1944. He used his stammering as a means to create comedy. He worked in 33 Hindi films. For this he had to travel from Poona to Bombay frequently. This affected his health and he said goodbye to acting somewhere in 1985. His last Hindi film was ‘Aasha’ (1980).

Madhu Apte died on 25-2-1993 at Pune.

The film ‘Duniya Jhukti Hai’ was quite entertaining. The music was good and the story had a happy ending. The story of the film is. . .

After his lover ditches him by marrying a rich person, Mohan (Sunil Dutt) changes his name as Bankelal and becomes a criminal in a gang run by The Boss (BM Vyas), whom no one has seen. One day Bankelal saves a child, Munna from drowning and these two develop a close bonding. However, initially, Munna’s widowed mother Lakshmi (Shyama) does not like this bonding. But when Munna falls ill, she realizes that Banke has a real love for the child and she starts getting attracted to him. During Munna’s illness, Banke promises him that he will leave the criminal’s profession and go straight hereafter. When Munna is well, Banke surrenders to the police, who request him to help them get The Boss. When The Boss comes to know all this, he kidnaps Munna.

While searching for Munna, there is a gunfight. As Banke is about to shoot The Boss, Lakshmi shouts that he is the father of Munna. In this commotion The Boss escapes, but the police shoot him dead. All is well now. Bankelal marries Lakshmi and they live happily thereafter with Munna.

Today’s song is a typical musical melody you find in the cinemas of the 50’s decade. Later on this disappeared in songs, with more of orchestration and less of melody (Check S-J’s music, for example) became prevalent. For now, enjoy this duet sung By Mohd. Rafi and Asha Bhonsle.

Song- Pyaar mein joker ban gaye hum (Duniya Jhukti Hai)(1960) Singers-Rafi, Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Hemant Kumar
Unidentified Male Voice
Rafi + Asha Bhonsle
Chorus

Lyrics

pyaar mein joker ban gaye hum
tim taara rim taara rum
pyaar mein jokar ban gaye hum
tim taara rim taara rum
ab laakh hanse hum par ye zamaana
ab laakh hanse hum par ye zamaana
pyaar mein joker ban gaye hum
tim taara rim taara rum
ab laakh hanse hum par ye zamaana
ab laakh hanse hum par ye zamaana

taara rim taara rim taara rum
taara rum
taara rim taara rim taara rum
aa haa haa
taara rum
taara rim taara rim taara rum

na bane hum jogi
na bane hum saadhu
banaake dhobhi laaya
dhobaniya ka jaadu
na bane hum jogi
na bane hum saadhu
banaake dhobhi laaya
dhobaniya ka jaadu
dil hai apna naram naram
bhatti garam garam
ab laakh hanse hum par ye zamaana
ab laakh hanse hum par ye zamaana
pyaar mein joker ban gaye hum
tim taara rim taara rum
ab laakh hanse hum par ye zamaana
ab laakh hanse hum par ye zamaana

taara rim taara rim taara
rum pum pum
taara rim taara rim taara
rum pum pum
taara rim taara rim taara rum pum pum
taara rim taara rim taara rum

safaai se to achcha nahin hai koi dhandha
isiliye main bhi bana hoon tera banda
safaai se to achcha nahin hai koi dhandha
arre isiliye main bhi bana hoon tera banda
chhua chhu ki ye sargam
chhed to baithhe hum
ab laakh hanse hum par ye zamaana
ab laakh hanse hum par ye zamaana
pyaar mein joker ban gaye hum
tim taara rim taara rum
ab laakh hanse hum par ye zamaana
ab laakh hanse hum par ye zamaana

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

प्यार में जोकर बन गए हम
टिम तारा रिम तारा रम
प्यार में जोकर बन गए हम
टिम तारा रिम तारा रम
अब लाख हँसे हम पर ये ज़माना
अब लाख हँसे हम पर ये ज़माना
प्यार में जोकर बन गए हम
अब लाख हँसे हम पर ये ज़माना
अब लाख हँसे हम पर ये ज़माना

तारा रिम तारा रिम तारा रम
तारा रम
तारा रिम तारा रिम तारा रम
आ हा हा
तारा रम
तारा रिम तारा रिम तारा रम

ना बने हम जोगी
ना बने हम साधु
बनाके धोबी लाया
धोबनिया का जादू
ना बने हम जोगी
ना बने हम साधु
बनाके धोबी लाया
धोबनिया का जादू
दिल है अपना नरम नरम
भट्टी गरम गरम
अब लाख हँसे हम पर ये ज़माना
अब लाख हँसे हम पर ये ज़माना
प्यार में जोकर बन गए हम
टिम तारा रिम तारा रम
अब लाख हँसे हम पर ये ज़माना
अब लाख हँसे हम पर ये ज़माना

तारा रिम तारा रिम तारा
रम पम पम
तारा रिम तारा रिम तारा
रम पम पम
तारा रिम तारा रिम तारा रम पम पम
तारा रिम तारा रिम तारा रम

सफाई से तो अच्छा नहीं है कोई धंधा
इसीलिए मैं भी बना हूँ तेरा बंदा
सफाई से तो अच्छा नहीं है कोई धंधा
इसीलिए मैं भी बना हूँ तेरा बंदा
छूआ छू की ये सरगम
छेड़ तो बैठे हम
अब लाख हँसे हम पर ये ज़माना
अब लाख हँसे हम पर ये ज़माना
प्यार में जोकर बन गए हम
तिम तारा रिम तारा रम
अब लाख हँसे हम पर ये ज़माना
अब लाख हँसे हम पर ये ज़माना

This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

———————————————–—————————————
Blog 10-Year Challenge (2013-2023) – Song No.108
————————————————————————————–

On this date ten years ago (2 May 2013), four songs from four different movies (plus one non film song) were covered in the blog. Here are the details:-

We observe that one movie (out of four) whose songs were covered in the blog on this date ten years ago (on 2 May 2013) has since been YIPPEED in the blog. That leaves us with three unYIPPEED movies that are eligible for Blog Ten Year Challenge today (2 May 2023).

“Rangeela”(1953) was produced and directed by Bhagwan for Bhagwan Art Productions, Bombay. This movie had Bhagwan, Purnima, Vivek, Badri Prasad, Baburao, Naziraa, Bimlaa Devi, Heera Sawant, Indira,Rambha, Kammo, Cuckkoo, Usha Shukla, Afghan Sandow, Inamdaar, Madhav Kale, Sukumar, Radhey Shyam, Ramlal, Deepak, BalaRam, Harish,Hanuman, Swami, Swastha, Sitaaraa, shera etc, with Maruti in guest appearance.

“Rangeela”(1953) had 11 songs in it. 8 songs have been covered so far.

Here is the ninth song from the movie to appear in the blog. The song is sung by Rafi and Asha Bhonsle. S H Bihari is the lyricist. Music is composed by Jamal Sen.

Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song. My guess is that it was picturised on Bhagwan and Poornima.

Lyrics of the song were sent to me by Prakashchandra.

Song-Matwaale nainon waale kaahe hum par jaadu daaley (Rangeela)(1953) Singers-Asha Bhonsle, Rafi, Lyrics-S H Bihari, MD-Jamal Sen
Both

Lyrics(Provided by Prakashchandra)

matwaaley nainon waaley
ho o
matwaaley nainon waaley
kaahey hum par jaadu daaley
kaahey hum par jaadu daaley
jaadu daaley ae
matwaaley nainon waaley
ho o matwaaley nainon waaley ae

teri adaayein aen aen aen aen
dil ko jalaayein aey ae ae
kaisey aag bujhaayen
ho o ho o
aankh zaraa tu milaa ley ae
milaa ley
matwaaley nainon waaley
ho o matwaaley nainon waaley

khel nahin hai aey ae aey ae
dil ka lagaanaa..aa…aa..aan
karke pyaar nibhaanaa
ho o o kaun rog ye paaley
matwaaley nainon waaley
ho o matwaaley nainon waaley ae

raat suhaanee..ee…eee..ee..eee
hai ye puraanee..eee..ee..ee
tooney haayye na jaanee
ho o
sab hain dekhey bhaaley ae
matwaaley nainon waaley
ho o matwaaley nainon waaley
kaahey hum par jaadu daaley
kaa..aahey hum par jaadu daaley
jaa..aadu daaley ae
matwaaley nainon waaley
ho o matwaaley nainon waaley ae

This article is written by Arunkumar Deshmukh, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

The decade of the 1950s was a time when, having got our independence in 1947, the whole nation was now busy reconstructing our country to our choice. This was the time when family values, importance of joint families, religion, law and order, Nehru’s socialistic pattern etc. were being reestablished. With all this, the turmoil in the society could not be isolated. It had its effects on the social atmosphere, markets, businesses, housing and of course the films.

It is said that whatever happens to the society is reflected in the films made. If you take a look at the films made in the period of 1950 to 1960, you will find that the films were made on the issues mentioned in the para above i.e. family values, joint families, girl’s education, socialism, religion, law and order etc. Most of the film industry was influenced by Nehru’s socialism. Some of the big names like Mehboob, Kardar, Bimal Roy, V. Shantaram and the band of the Bangla Directors in Hindi films were sold to the Nehruvian values and they made films around these themes.

There is a true and documented story about Mehboob. When the Partition took place, studios of some Muslims like Nazir Ahmed Khan- Hind Studio at Dadar in Bombay, were burnt in his presence, during the communal riots. There were also different rumours circulating in the industry. Frightened by these incidents some major stars like Dilip Kumar and Mehboob khan were thinking of migrating to Pakistan. Dilip first sent his brother- Nasir Khan to assess the prospects. Mehboob Khan went to Pakistan himself to plan his settlement there.

Following partition in 1947, AR Kardar and his co-brother Mehboob Khan both left for Pakistan. However, according to Bunny Reuben, as quoted by Mihir Bose, they returned to India, but no reason was given for their return.

Journalist and author of several books, Ambarish Mishra writes, “when I asked Kardar about his Pakistan visit, he told me that after the Partition, Mehboob immediately went to Pakistan. He was disturbed with the news of Hindu-Muslim conflicts in Bombay Film Industry. It was said that Hindus will not allow Muslims in the film industry – which was totally wrong and only a rumour. He wanted to get an idea about his future in this new country. He was keen on settling there. After a month or so, I went there. Being from Lahore, I understood that the film conditions were not conducive for our growth there, as nothing was in order. Everything was in a mess there. I convinced Mehboob somehow and we both came back for good. I told him, as long as Nehru and the Congress were there, Muslims had no problems in India.”

By coincidence, Nehru died (in 1964) and the next day Mehboob also died .

The point is, films in the 1950s were made with some thoughts and the titles of such films indicate this. For example – ‘Aadmi’, ‘Aai Phir Se Bahaar’, ‘Anand Bhavan’, ‘Andolan’, ‘Asha’, ‘Astik’, ‘Awaaz’, ‘Azaad’, ‘Aazadi Ke Baad’, ‘Ab Dilli Door Nahin’, ‘Adhikar’, ‘Amar Shaheed’, ‘Baap Bete’, Baap Beti’, ‘Bade Bhaiyya’, ‘Bhabhi’, ‘Bhai Behan’, ‘Bhai Bhai’, ‘School Master’, ‘Farishta’, ‘Mother India’, ‘Naya Daur’, ‘Insan Jaag Utha’ etc. – the list would be a very long one. I hope you got the point by now.

This decade was also known for two things – music and religious films.

Today’s film ‘Kal Hamara Hai’ (1959) was also one such film, trying to stress that the future is bright, irrespective of whast was happening then. “Aaj Apna Ho Na Ho, Kal Hamara Hai” was a favourite phrase in those days. Unfortunately the poor is still where he was then and films like ‘Kal Hamara Hai’ were being made not only in 1959, but also in 1981 and 2016 ! God knows when that ‘Kal’ will come !

The film was made by producer K Amarnath under his own banner K Amarnath Productions, Bombay. It was directed by a faceless name SK Prabhakar, for whom it was the first and last film as a director. The cast was Madhubala, Bharat Bhushan, Jayant, Leela Chitnis, Hari Shivdasani, WM Khan etc. The story of the film was….

Bharat, a young man, works as a puppet for greedy and wealthy Seth Hiralal. Hiralal once asks him to kill an old man who knows the truth of Hiralal’s black marketing and show this as an accident, to which Bharat refuses. However, Hiralal himself knocks the old man down with his car and blames Bharat for this. Bharat is imprisoned but soon runs away from the jail with a thought of revenge. When he is about to murder Hiralal for destroying his life, Bharat meets a girl who is also hidden behind a pillar in order to steal something from Hiralal’s house. She introduces herself as Madhu, and tells him that the purpose for stealing is she does not have money to buy medicines for her father, who met with a fatal accident just few days ago.

Bharat decides to help Madhu and buys her medicine for her father. To his shock, her father is no one other than the old man whom Hiralal had asked to kill. Madhu’s father is somehow not able to recognise Bharat.

Madhu has a sister named Bela, who looks just like her and is sent to study in Delhi. One day, she sends a letter to Madhu telling her that she left the college as she was not able to pay the fees, and moreover, she is not interested in studies anymore. She began working as a dancer in a club to earn money. Hiralal notices Bela while she is dancing and tries to buy her. However, Bela is beauty-with-brains; she backs off Hiralal’s plan, which infuriates him.

On the other hand, in spite of no relation, Bharat begins helping Madhu financially and they fall in love. Madhu asks him to bring Bela back home and he promises her the same.

Bharat goes to Delhi at once and tries to make Bela understand and succeeds. Bela, too like her sister, is impressed by his personality and falls for him. When Bela learns that Madhu also loves him, she leaves her sister’s house; on her way is murdered by an infuriated Hiralal.

Bharat is framed by Hiralal for murdering Bela. During the courtroom drama when Bharat is tried, it is revealed that he is the son of none other than Hiralal; his jealous relative had kidnapped him when he was an infant.

As Bharat is imprisoned, Hiralal reveals to the court that Bela was killed by him. He also tells the court that throughout his life he earned money by wrong ways. He framed Bharat several times; he is regretting now.

In the end, Bharat reunites with his family, marries Madhu and Hiralal is jailed.

The film was not successful at the Box Office. It seems Manoj Kumar was a regular visitor on the sets of this film. Later on he admitted that his film Upkar was inspired by this film and he had taken his screen name as Bharat from this film only !

All the 7 songs of this film are good. 5 songs were composed by the Melody Maker Chitragupt and 2 were composed by Gajanan. Now who was this Gajanan ?

This Gajanan was Gajanan Karnad, one of India’s premiere violin player. While searching for information on this Gajanan, I came across an article on him, written by his daughter Sudnya Patkar and published on site ‘Swar Aalaap’ on 25-3-2021. It also confirms that he was Gajanan Karnad, who was Music Director for two films in Hindi. Here is the adapted article for you….

Pandit Gajanan Madhav Karnad was born in a middle-class Chitrapur Saraswat Brahmin family on 28th April 1923. A distant relative visiting the Karnad family noticed the child would just not let go of the harmonium photo. He managed to get such a tiny instrument, which had a keyboard with just one octave. Family and friends were spellbound at this child prodigy who knew the musical notes so well without any formal training. Little Gajanan was God-blessed and music ran in his blood.

Gajananrao’s talent bloomed with the passing years.

As a child, he would attend music concerts and listen to great composers like Govind Rao Tembe. Buying tickets for such concerts was out of the question for this boy who came from a middle-class family, but he managed to squeeze into the auditorium and listen to the concert, sometimes by standing in the wings or sitting on the steps.

In one such program, there was a competition of young artists, but Gajanan failed to qualify as he was just seven. But his enthusiasm to participate was so much that he waited in the wings, and when one of the competitors finished his performance and the next one was to take the stage, Gajanan rushed onto the stage and started playing whatever little he knew about music. The confused organizers rushed to the stage and tried to take the child away, but he would not budge. When the judges saw the child’s determination, they asked the organizers to allow the child to play. This was the first public appearance of Gajananrao Karnad at the age of seven. He was lauded by the judges and the audience and was even given a consolation prize, as he was not a registered participant.

Thereafter, at the age of 10, Gajananrao participated in the first music conference held in Mumbai. His debut was sensational that left the audience and the press spellbound. The Maharaja of Dharampur awarded him a special prize in appreciation of his talent.

Unlike some child prodigies, Gajananrao did not fade away. On the contrary, as he grew up, and switched from harmonium to violin when the All India Radio brought out a rule that harmonium will not be allowed as an accompaniment to vocalists. He mastered several other instruments like the flute. But he never had a ‘guru’. He had mastered music and all these instruments all by himself.

Despite being a matriculate, Gajananrao took up a job with HMV (His Master’s Voice) and thereafter with AIR (All India Radio). At 21, he was already a master of Hindustani classical music and specialized in khayals, thumris, and light folk music. He gave performances on AIR for several years and had several concerts to his credit. His forte was raagdari and he even composed his own ‘raagas’.

Pt. Gajananrao was married to Vijaya, who was an artist in her own right – she was a painter. Gajananrao himself was extremely good at sketching and enjoyed his time on the drawing board on and off. They had two daughters Sudnya and Anjali, but unfortunately, neither of the daughters inherited the musical legacy of their father.

Panditji felt that while Hindustani classical music was extremely precious to him, he could not make a good living by merely giving concerts on and off. He, therefore, made headway into film music. He played the violin for almost all the music directors of his time including Madan Mohan, C Ramchandra, OP Nayyar, Shanker Jaikishan, Naushad, Laxmikant Pyarelal, Kalyanji Anandji, etc.

He had the honor of giving accompaniment to the legends like Lata Mangeshkar, Asha Bhosle, Mohammed Rafi, Kishore Kumar, Manna Dey, Mahendra Kapoor, Mukesh, etc. Those days, when songs were recorded in single takes, Gajananrao’s violin (song violin) rendered support to these singers to give their best shot in each take.

When V Shantaram was producing the film ‘Do Ankhen Barah Haath’ in 1957, he wanted his actress Sandhya, who sells toys to little children, to play a ‘tuntuna’, (तुणतुणे) a crude instrument with a single string. He and his music director Vasant Desai were clueless about searching for a musician who could play something like this. They called Pandit Gajananrao and asked him whether he could play this on his violin, but without it sounding like a violin. Without hesitation, Panditji assured them that needful will be done. When the film was screened at the Cannes Festival, viewers were curious about the instrument played in this song. V Shantaram revealed that this was played by a great violinist in India on his violin, but he had made it sound like a ‘tuntuna’. He did not add, however, that Gajananrao had done this by merely running down the strings of his violin so that it did not sound like a violin. Some of his solo violin pieces are heard in songs from films like ‘Sargam’ (1950), ‘Musafir’ (1957), and ‘Ujaala’ (1959).

One of the founder members of the Cine Musician Association, Pt. Gajananrao was a man of few words and a noble heart. Besides music, he was a fan of Hollywood movies, some favorites being movies made by Charlie Chaplin, Alfred Hitchcock, William Wyler, and Billy Wilder, and musicals produced by Metro Goldwyn Mayer, among others. On the days there was no recording and he had free time, he would rush to theatres like Regal, Metro, Eros, or Strand and watch films back-to-back, without getting tired or bored.

After dedicating his life to music and the film industry, Pt. Gajanan Karnad passed away on October 28, 1996, at the age of 73, after a brief illness. The unfortunate part is that he has not left behind the recordings of the innumerable performances he gave on the radio or in concerts.

His name appears as MD in 2 films. The first is ‘Shadi Se Pehle’ (1947), in which he composed along with Paingankar (a pseudonym of C Ramchandra) as Karnad. It is, however, not known which songs were composed by whom. The second film was ‘Kal Hamara Hai’ (1959), in which he composed 2 songs as Gajanan.
[This is an adaptation of the article written by his daughter Sudnya Patkar. It appeared on the site Swar Alaap, on 25-3-2021].

Today’s song is a lovely duet of Rafi and Asha. In those days it was very popular. I am surprised how we missed this song so far. Surely it deserves the category of “How did I forget to post this song earlier ?”

Song- Jhuke hain baadal Baalon ke (Kal Hamaara Hai)(1959) Singers- Asha Bhonsle, Rafi, Lyrics-Majrooh Sultanpuri, MD-Chitragupta

Lyrics

jhuke hain baadal
baalon ke
khile hain gulshan
gaalon ke
yahi to mausam
aankhon se peene ka hai
suno ji kehna
kyun maanen
sambhal ke chalna
kya jaane
yahi to mausam
masti mein jeene ka hai

phero nazar aati hai mujhe angdaaiyaan
qismat se milti hai pyaar ki tanhaiyaan
chaahat ka ye din suhaana suhaana
bhool na jaana jee bana ke deewaana
jhuke hain baadal
baalon ke
khile hain gulshan
gaalon ke
yahi to mausam
aankhon se peene ka hai
suno ji kehna
kyun maanen
sambhal ke chalna
kya jaanen
yahi to mausam
masti mein jeene ka hai

ghaayal si hoon koi teer mat maarna
haaye mar jaaunga na yun pyaar se pukaarna
aise mein dekho humen na sataana
bhool na jaana jee bana ke deewaana
jhuke hain baadal
baalon ke
khile hain gulshan
gaalon ke
yahi to mausam
aankhon se peene ka hai
suno ji kehna
kyun maanen
arre sambhal ke chalna
kya jaanen
yahi to mausam
masti mein jeene ka hai

main to chali dekho pyaar ki ada liye
loot ke hum ko na aur daaka daaliye
dil ko churaaya nazar na churaana
bhool na jaana jee bana ke deewaana
jhuke hain badal
baalon ke
khile hai gulshan
gaalon ke
yahi to mausam
aankhon se peene ka hai
suno ji kehna
kyun maanen
sambhal ke chalna
kya jaanen
yahi to mausam
masti mein jeene ka hai ae ae

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

झुके हैं बादल
बालों के
खिले हैं गुलशन
गालों के
यही तो मौसम
आँखों से पीने का है
सुनो जी कहना
क्यों मानें
संभल के चलना
क्या जानें
यही तो मौसम
मस्ती में जीने का है

फेरो नज़र आती हैं मुझे अगड़ाइयाँ
किस्मत से मिलती हैं प्यार की तनहाइयाँ
चाहत का ये दिन सुहाना सुहाना
भूल ना जाना जी बना के दीवाना
झुके हैं बादल
बालों के
खिले हैं गुलशन
गालों के
यही तो मौसम
आँखों से पीने का है
सुनो जी कहना
क्यों मानें
संभल के चलना
क्या जानें
यही तो मौसम
मस्ती में जीने का है

घायल सी हूँ कोई तीर मत मारना
हाय मर जाऊंगा ना यूं प्यार से पुकारना
ऐसे में देखो हमें ना सताना
भूल ना जाना जी बना के दीवाना
झुके हैं बादल
बालों के
खिले हैं गुलशन
गालों के
यही तो मौसम
आँखों से पीने का है
सुनो जी कहना
क्यों मानें
संभल के चलना
क्या जानें
यही तो मौसम
मस्ती में जीने का है

मैं तो चली देखो प्यार की अदा लिए
लूट के हमको ना और डाका डालिए
दिल को चुराया नज़र ना चुराना
भूल ना जाना जी बना के दीवाना
झुके हैं बादल
बालों के
खिले हैं गुलशन
गालों के
यही तो मौसम
आँखों से पीने का है
सुनो जी कहना
क्यों मानें
संभाल के चलना
क्या जानें
यही तो मौसम
मस्ती में जीने का है

This article is written by nahm, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Rafi Sahab’s Legendary Associations – 13
—————————————————–
15^th August, 2023 – Independence Day

“2023 15 August

As we know, India is going to celebrate 77^th Independence Day on 15^th August 2023 and this day marks the memory of the end of 200 Year British Rule. On this day, all the religious leaders, political leaders, prominent personalities and Students deliver Independence Day Speech 2023 and pay tribute to freedom fighters.”

This is the result Google showed on searching 15^th August, 2023. Fair enough. I thought it to be this way and the sitting diety of the World Wide Web is also correct and succinct. This diety has almost run its course and is in the final leg of its life circle “as a diety”. We have relied on it long enough and it served us best as it could.

So we commemorate India’s 77^th Independence Day and pay tribute to freedom fighters, with this song from the film “Minister” (1959). As the title suggests, the movie must have been on politicians.

Mohammed Rafi and Asha Bhosle are singing this song alongwith various choruses. It is written by Rajendra krishan and composed by Madam Mohan. These are two legendary associates of Rafi Sahab, who had a huge role is his career and successes.

Asha Bhosle and Rafi Sahab are singing this song in tandem mostly and with choruses also. This song is more than 8 minutes long, and writing down the lyrics was enjoyable, even though I was not familiar with the song. But the song did touch a core inside, with the glimpses of Mahatma Gandhi’s bhajan and the folk associated with Bhagat singh. Not to mention the ‘shair” of Bismil. It is a showcase of Rafi Sahab’s repertoire. Rafi Sahab runs away with the song, with Asha Bhosle close at his heel, struggling to catch up. And he does it without trying and without meaning to outrun Asha.

These songs of the film are already posted in the blog:

This song talks of many things, starts with the ‘Gadar” of 1957, pays tribute to the martyr’s, to the leaders, the stalwarts of the nation building, post-independence. It ends with the final stanza, talking of poverty and eradication of it here:

iss desh mein jab tak
ke hai koyi bhi bhikaari
mit jaaye na iss dharti
se jab tak ye bekaari
samjho ke saraa-sar
hai yeh tauheen hamaari ee
samjho ke saraa-sar
hai yeh tauheen hamaari ee

This takes me to an essay I had written 2 years ago, as indicated in the title.

Independent India @ 75: Self Reliance with Integrity

The topic for today’s essay is a mouthful. The title itself needs careful dissection. As is my wont, I will start this dissection with the last word, i.e. Integrity.

The simple one-liner meanings of “Integrity” thrown up by google are:

1. the quality of being honest and having strong moral principles

2. the state of being united or undivided

of being united or undivided

Leaving aside the second meaning, we will concentrate on the first. Again, I am tempted to trouble the google guru to find what it says is the meaning in urdu. Hmmmm…. this is interesting. In urdu first meaning of integrity popping up is ‘saalmiyat’ and second in ‘dayaanatdari’.

‘dayaanatdaari’, honesty, strong moral principles, integration, integral, being united are all beautiful words. Do these concepts consist even a small part of modern day india’s psyche? I dont think so.

The meaning of integrity when one thinks of it, the mind draws nice pictures of a neat clean green landscape of natural beauty, with a frothing waterfall in between. This picture is fantastically beautiful.

But the reality of the picture is the opposite of it. Opposite of integrity is ‘hypocrisy”, which is all pretence, and no substance of integrity is part of the make up here. And we are all living in denial of the international democracy index and hunger index and poverty index. Even the happiness quotient of the nation is in the pits.

The people world over, have suffered the economic and psychological fall out of the pandemic and they are trying to deal with them. We in this country are in denial of the problems faced by the common person. Un-employment, poverty, inflation, denial of justice, persecution of marginalized sections, mental health issues, climate change, pollution, corruption, dehumanization of the people, division of people in them and us, polarization in society, deep gashes in the social fabric of the society, etc. you name it, and we have it. The issues, I mean.

When we salaried people go out somewhere, shopping or hotelling or whatever, and a poor person accosts us and asks for help. He is having some small item to sell, and it is night, he still must go home and feed his family, without much income by his own admission. We give him fifty rupees and silence our conscience, saying to ourselves that we have done our bit. Is this integrity? Why shall a poor person be poorer, and the rich become richer every second? Is this not happening with the active and passive connivance of the so called enlightened middle class of this country? These are some of the questions and more, we need to ask ourselves, before we talk of integrity and self- reliance also for that matter. Self- reliance of the privileged class to be celebrated by the whole country as a festival ! they include the people living below poverty line, for decades, with no hope of coming up the lower middle class levels and more and more such people are pushed below poverty line, which is the lowest in the world as it is.

(Nazm writer – Adil Tanveer Adil)

Jab ham pe zarurat aan padi
Aur khatre mein thhi jaan padi
Tab ham ne kya ye sochaa thha
Aur khud se kya yeh poochha thha
Ambulance mein le jaane waala
Doctor se milwaane waala
Oxygen dilwaane waala
Plasma chadhaane waala
Aur khaana bhijwaane waala
Laashon ko dafnanen waala
Aur laashen jalaane waala
Kitna hi zyada nek thha woh
Ham mein se koyi ek thha woh
Koyi naam hamen maaloom na thha
D’costa singh ya shaikh thha woh
Ham saare jab pareshan thhe na
Uss waqt to ham insaan thhe na

Ham saare jab pareshan thhe na
Uss waqt to ham insaan thhe na
Ek doosre ke saathh thhe ham
Ham mil kar hindustaan thhe naa
Ab netaaon ke ladwaane se
Media ke bhadkaane se
Jhooti mooti afwaahon ke
Chakkar mein aa jaane se
Ham kyun batwaara karte hain
Mera ya tumhara karte hain
Bewajah aapas mein lad kar
Galti yeh dubaara karte hain
Ham sab ab ye tthaanna hai
Ab sab ko hi apnaa manna hai
Hindu muslim eesaayi sikh
Sab ek hi hai yeh jaanna hai
Ek dusre ki jaan banen
Iss mulk ki ham sab shaan banen
Arey bahot hua hindu muslim
Sab mil kar hindustan banen

***************************************************************

Come to think of it, I wrote this 2 years ago. That is not a long time, but the matters have not changed. The issues are there, however much we try to brush them under the carpet. Climate change is not going anywhere, so is the case with other matters. Unless the collective will is there to change, to reverse the folly, to come out of the false bonhomie and see the real picture.

The world’s history is right front of us to see, as the Mayans believed. They believed the past is in front of us and we are walking backwards towards the future. Their logic was that, as the future cannot be seen so it is behind us. There is lot, that the wise can read here.

No society has ever flourished without peace. No prosperity without complete peace. And the only way to achieve “Peace” is complete justice. The cycle thus completes “A just society.”

Audio:

Video:

Song-Lo aaj suno apne shaheedon kee kahaanee (Minister)(1959) Singers-Mohammed Rafi, Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Madan Mohan
Both
Chorus

Lyrics

aa aa
aa aa aa aa

Lo aaj suno
apne shaheedon ki kahaani
lo aaj suno…..

………

…….

………liya apne shaheedon ne saveraa
roke se nahin rukti hai dariya ki rawaani
lo aaj suno
aaa aaaaa
aaaaaaaa

kitonon ka bahaa khoon
sataawan ke gadar mein
mar mitne ka armaan thhaa
parwaanon ke sar mein
mar mitne ka armaan thhaa
parwaanon ke sar mein
ladte raho azaadi ki
sub-ha hai nazar mein
lalkaar uthhi jhaansi se
yoon laxmi raani
Lo aaj suno

is des ki woh devi
kamar baandh ke aayi
maata ke liye beti ne
talwar uthhaayi
dene lage angrez bhi
ghabra ke duhaayi ee ee
aa aa aa
gaddar magar chal hi gaye
chaal puraani
lo aaj suno

raani ka balidaan magar
log na bhoole
katte hi rahe taake
chaman desh ka phoole
sindoor lute maang se
soone huey jhoole
hans hans ke lutaa daali
jawaanon ne jawaani ee
lo aaj suno…..
lo aaj suno
apne shaheedon ki kahaani
badhhte huye chadhhte huye
bhaarat ki zabaani
lo aaj suno

phir desh mein goonj uthha
Tilak ji ka ye naaraa
azaadi Janam se hai
adhikaar hamaara aa
azaadi Janam se hai
adhikaar hamaara aa
iss naare ne doobi hui
naiyya ko ubhaaraa
ghatne laga hatne lagaa
majdhaar ka paani ee
lo aaj suno…

Raghupati Raghav Raja Raam
patit paawan Seeta Raam
Raghupati Raghav Raja Raam
patit paawan Seeta Raam
Eeshwar Allah tere naam
sab ko sanmati de bhagwaan
Raghupati Raghav Raja Raam
patit paawan Seeta Raam

phir aa gaya wo sant
jise kehte hain Gandhi
kaaya thhi ahinsa ki
magar josh mein aandhi
bikhri hui yeh qaum jo
ik taar mein baandhi ee
bhaarat pe naye rang se
phir aayi jawaani ee
lo aaj suno
lo aaj suno
apne shaheedon ki kahaani
badhhte huye chaddte huye
bhaarat ki zabaani
lo aaj suno

phir maata ka ik aur
bhagat aaya Bhagat Singh
saath apne pahaadon ka
jigar laaya Bhagat Singh
sooli pe bhi chadhte huye
yoon gaaya Bhagat Singh
yoon gaaya Bhagat Singh
mera rang de basanti chola maa
mera rang de basanti cholaa
mera rang de basanti chola maa
mera rang de basanti cholaa
mera rang de basanti chola
basanti cholaa basanti chola
Basanti cholaa
mera rang de basanti chola maa
mera rang de basanti cholaa

sooli pe bhi chadhte huey
yoon gaaya Bhagat Singh
yoon gaaya Bhagat Singh
hogi na kabhi yaad
Bhagat Singh ki puraani ee
lo aaj suno

Kakori ka ek sher thha
par naam thha Bismil
wo Raam ka Parshad
ghulaami ka thhaa qaatil
yeh kehte huye aur
shaheedon se gaya mil
shaheedon se gaya mil
paas jo kuchh bhi hai
maata ki nazar karte hain
khush raho ehl-e-watan
ham to safar karte hain
khush raho ehl-e-watan
ham to safar karte hain
yeh kehte huye aur
shaheedon se gaya mil
shaheedon se gaya mil
bhoolenge nahin Hindi kabhi
uss sher ki baani ee
lo aaj suno
lo aaj suno
apne shaheedon ki kahaani
badhhte huye chaddte huye
bhaarat ki zabaani
lo aaj suno

bapu ke dikhaaye huye
raste pe chala des
Subhash ki aur Das ki
godon mein pala des
Subhash ki aur Das ki
godon mein pala desh
Lajpat ki aur Azad ki
Sewa se phala desh
Lajpat ki aur Azad ki
Sewa se phala desh
aur aaj hai sab se badhkar
ye bhala desh
dekhe koyi iss desh
mein Ganga ki rawaani ee
lo aaj suno

Vallabh ne sanwaara
to Jawaahar ne nikhaara
aao zara ab sochen
hai kya farz hamaara
aao zara ab sochen
hai kya farz hamaara
hai laal qile se yeh
Jawahar ka ishaara
manjdhaar se nikle hain
mila to hai kinaara aa
par yeh na samajhna
ke hui khatam kahaani ee
lo aaj suno

aaa aaaaaaa
aaaaaa aaaaaaaa
aaa aaaaaaa
aaaaaa aaaaaaaa
iss desh mein jab tak
ke hai koyi bhi bhikaari
mit jaaye na iss dharti
se jab tak ke bekaari
samjho ke saraa-sar
hai yeh tauheen hamaari ee
samjho ke saraa-sar
hai yeh tauheen hamaari ee
badhte raho
aaa aaa aaa
badhte raho oo oo
aaa aaa aaa
badhte raho
badhte raho
badhte raho ooo
badhte raho
manzil ki taraf
hindustaani ee
badhte raho
badhte raho
badhte raho ooo
badhte raho
manzil ki taraf
hindustaani ee
badhte raho
badhte raho
badhte raho ooo
badhte raho
manzil ki taraf
hindustaani ee
badhte raho
badhte raho badhte raho
badhte raho o o
badhte raho badhte raho badhte raho
badhte raho o o
badhte raho badhte raho badhte raho

This article is written by Arunkumar Deshmukh, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, 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 a C grade Costume film Shahi Mehman (1955).

The film was produced by J.P.Saini and T.N.Dhar. It was directed by an expert of such films, namely Balwant Bhatt. The 9 songs from this film were written by Raja Mehdi Ali Khan, Anjum Jaipuri and Hasrat Jaipuri. The music was provided by Bipin-Babul. The singers were Mohd. Rafi, Shamshad Begum and Asha Bhosle. The cast of this film included Shyama, Ranjan, Johnny Walker, Shammi, Rajni and others.

In the days when C grade action/ Costume films were made in large numbers, few actors featured prominently as the ” Hero” of such films. Master Bhagwan, Baburao Pehelwan, Kamran, Daljit and Ranjan were some names that come to mind offhand.

Ranjan was one actor who was very different from other action heroes. While there were very few highly educated heroes in social films in that period, Ranjan became a highly educated, versatile and multifaceted actor for Action films. He was not only an actor, but also an editor of a magazine, a Dancer, writer, Fencing expert of the Olympic standard, a Fellow of New York University, a public speaker and much much more. His Biodate is very inspiring. let us take a look at it……RANJAN – An artiste of countless arts ! In the early times of the Film Industry, very few educated people used to join here. That is why Graduates or Postgraduates used to flaunt their degrees with pride- like Moti, B.A.-the lyricist ( though he was actually M.A.), or Kavi Pradeep’s pseudo name- Miss Kamal B.A. or even singer actor Surendra as B.A., LL.B. etc.etc.
After reading about this artiste, you will wonder if any such multi-talented person ever lived here ?

A highly qualified person and that too in an unrelated subject joining films was a wonder then. Thus, a young man with an unlikely name for a Hero, like RAMNARAYAN VENKATRAMAN SARMA Alias actor RANJAN was a novelty. Ranjan was born in Madras on 2-3-1918 in an orthodox Brahmin family.

He was an expert in playing Violin. He was a qualified dancer in Kathak,Kathakali and Bharat Natyam. He was an expert driver, swimmer and a swordsman of Olympic standards. He graduated in physics.After M.Sc. He did his Doctorate too. Ranjan knew 12 Indian and 4 foreign languages. He edited a Dance and Drama Magazine and wrote several books on it. He earned a Fellowship of New York University.

Ranjan learnt and became an A grade flyer. He was the first to buy a Rolls Royce car and a Tiger Moth Aircraft, in the Indian film industry ( later Motilal also owned an aircraft). He was a good painter and a Trained magician. He became Magician’s Association president for Bombay. P C Sorcar was All India president then. He was often invited by European and American Universities for lectures. Ranjan owned two big Hotels also. Ranjan was a good shooter. He played Cricket and Soccer frequently. Ranjan was a regular singer on Madras A.I.R..

In his first Tamil film, his Heroine was Vasundhara Devi- mother of Vyjayanthimala. Ranjan entered Hindi films through his blockbuster film ” Chandralekha-48 “. He did 58 Hindi films in the 50s and 60s. He was a script writer also.He wrote the story and screenplay of the film Munimji-55. He was a choreographer also. In the 50s decade the quartet of Raj, Dev, Dilip and Ashok kumar was ruling Hindi industry. Ranjan was not given any importance here. He was not even invited for the Golden jubilee of Talkie film celebrations in Bombay. He lived in his bungalow in Chembur Union park.
He was spotted by a Tamil Producer, when he was standing in a Bus queue and he made his Debut in the film ” Ashok Kumar “-1941. After a few films in Tamil and Telugu, he got the role of SHASHANK in the Magnum Opus film Chandralekha in 1948. The Drum dance and his fencing were the two attractions in the film. The final sword fighting is considered the Longest ever Fencing fight in films till today ! The film was a Hit and Ranjan became typecast in Action films. Ranjan was a very poor actor, but his Fencing skills were marvellous.

In 1949, came ” NISHAN “, based on the Hollywood film ” The Corsican brothers’-one good and one bad. It was a story of twins. The audience liked a scene from the film which showed that there were marks on one brother’s back if the other one was whipped ! The film, in Hindi, Tamil and Telugu, was a hit everywhere mainly for its fencing scenes. In ‘Mangala’ opposite Bhanumathi, he was the villain and the Hero too.

He was invited by New York University for a Fellowship, but Vasan did not leave him, so after Mangala-1950, as soon as the contract was over, Ranjan came to Bombay.

‘Shin shinaki Boobla Boo’-1952 saw him with Rehana but as a Romantic Hero, he was worse than Bharat Bhushan or Pradeep Kumar !

He acted in Sindbad the sailor, Baghi, Shahenshah, Kafila, Baghdad, Baap Beti, Nishan Danka and a host of B and C grade films, many of them dubbed or remakes of southern films. He was known for only Fencing. But he never became famous like Stewart Granger in ” Scaramouche” for his fencing. In the 50s he acted in 23 films, in 60s he did 18 films and in the 70s his tally was 17 films. A total of 58 films in Hindi.

After Sword fighting became obsolete he shifted to writing. The story of the film MUNIMJI-55 was written by him. After a few years in the south he was seen again in ‘Chor chor’-74 and ‘Chaitali’-76. Ram Balram – 80 was his last film.

He married a Muslim girl and she converted to Hinduism taking the name of Laxmi. Ranjan wrote 12 books on Dancing and music.

He shifted to the USA to live with his son, but died on 12-9-1983,in New Jersey-USA,due to Heart attack. He was so much forgotten that even the news of his death was not published in India.

Film Shahi mehman-(1955) was a Costume film. The story of this film was…..

Alamgir, the Emperor of the Kingdom of Aayyaz, was a lover of beauty. He was mad after beautiful girls. He married a beautiful girl Rukhsana. She knew that when a new girl would come, she would be killed. In a short time Alamgir wanted to marry Hasina, daughter of the Amir of Mehran. Rukhsana plans to kill her, with the help of her brother Hasan.

Hasan attacks Haseena, who is coming to the Capital in a procession., Same time, a gang of dacoits led by Jaanbaz, attacks the procession, looting everything and runs away with Haseena. Hasan is terrified and goes back and reports that he killed Hasina. When Jaanbaz learns that Haseena is the bride of Alamgir, he takes her to the king . The king thanks him and makes him a state guest (Shahi Mehman). Seeing her there, Rukhsana and Hasan again plan to kill her but everytime Jaanbaz saves her. Finally, they fall in love, sing songs and do all that the director tells them to do.

Rukhsana shows their romance to Alamgir. Enraged, the king arrests Jaanbaz and Haseena to kill them. Meanwhile Rukhsana falls from her palace terrace and dies accidentally. her brother Hasan revolts against Alamgir. With the help of Jaanbaz and his gang, they attack the castle. There is a sword fight in which Alamgir and Hasan die. Jaanbaz becomes the King and marries Haseena. All, including the audience in the theatre, are happy and return to their respective houses !

One of the cast of this film is Shammi -who was known popularly as Shammi Aunty in later years. Nargis Rabadi (24 April 1929 – 6 March 2018), better known by her stage name Shammi, was an actress who appeared in over two hundred Hindi films. Shammi remained a sought-after actress with filmmakers when it came to goofy and comic roles, especially in the period 1949–1969 and later from 1980–2002. Her famous films as supporting actress included Dil Apna Aur Preet Parai, Half Ticket, Halaku, Samaj Ko Badal Dalo, Khuda Gawah, Coolie No. 1, Gopi Kishan and Hum Saath Saath Hain and films with Rajesh Khanna like The Train, Aanchal, Kudrat, Red Rose, Awara Baap and Swarg. She had been a leading actress playing main female lead or second female lead in Hindi films between 1949–1955 as well. Later, from 1986 till 1998, she appeared in many popular television serials such as Dekh Bhai Dekh, Zabaan Sambhal Ke, Shriman Shrimati, Kabhi Yeh Kabhi Woh and Filmi Chakkar. Shammi was married to film producer and director Sultan Ahmed for seven years, before they were divorced. Shammi is the younger sister of fashion designer Mani Rabadi.

Nargis was born on 26-4-1929 in Bombay. Her father was a priest in an agyari (Parsi fire temple) and died when she was around three years old. After her father’s death, her mother used to cook food at all the religious functions organized by the Parsi community to earn money. Nargis had an elder sister Mani Rabadi, who was a fashion designer and worked extensively with many actresses as their dress designer in Hindi films between 1967 and 1994. Her mother’s younger sister lived with her. They stayed in Tata Blocks in Parel, South Mumbai in 1930–47 period. Her sister joined Johnson and Johnson as a secretary after completing her secondary school education.

In 1942, Johnson and Johnson manufactured tablets and Nargis was employed in the packing department. Her job was to collect the tablets that were not sealed in the tablet case, and had fallen off from the machine. She had to put them into big bottles which would go to hospitals for free distribution to patients. She was paid Rs 100 per month for doing this job.

Nargis got into films by chance. A family friend Chinuu Mama was working with filmmaker Mehboob Khan. Chinuu was very friendly with actor and producer Sheikh Mukhtar. At that time, Mukhtar was looking for an actress for the second lead, in a film he was to start with Begum Para as the main female lead. Chinnu Mama asked Nargis whether she would like to join films and asked her to meet Sheikh Mukhtar in the studios the next day. Mukhtar was concerned about her Hindi-speaking skills as she was a Parsi. Nargis immediately told a worried Sheikh that she would be talking with him in Hindi itself, and that he should point out any flaw if he was able to find any. Sheikh Mukhtar was quite shocked, but was impressed. The next day, she was called to Mahalaxmi studios for her screen test for a film. She was advised by director Tara Harish to change her name to “Shammi” as there was another actress named Nargis in the industry. Her monthly salary was Rs 500. She was asked to sign a three-year contract with a condition that she couldn’t work outside without their permission. She was just 18 when she signed her first film, Ustad Pedro, in January 1949. Ustad Pedro had Sheikh Mukhtar opposite Begum Para and Mukri as the comedian and it was directed by Tara Harish and this Begum Para-Sheikh Mukhtar starrer was a hit film at the box office in 1949.

She had to attend the studio every day and practice acting even when she had no shoot. Shammi had to read dialogues of other films and Harish, the film’s director, taught her a lot of things since he was an actor himself. Harish was directing another film, called Malhar. Shammi was given the main lead in that film. Since the director was the same, Shammi was allowed to work outside the Sheikh Mukthar banner. She got good reviews for Malhar. Malhar’s music was a super-hit and Malhar made Shammi a famous star. Shammi was financially stable now, so they shifted to Bandra. During the shooting of Malhar, she met Nargis Dutt through Jaddan bai, who was the mother of Nargis Dutt. They became good friends. After that meeting, Dutt would frequently call Shammi to her house in Marine Drive. Dutt was her best friend and later, because of their friendship she got a supporting role in the film Miss India. She quoted in an interview “Nargis was the first actor to be paid Rs 1 lakh; even Dilip Kumar did not get that kind of money then. It was the talk of the industry. Actors like me who did supporting roles would get anything around Rs 10,000 to Rs 15,000.”

Her third film was with Dilip Kumar and Madhubala, called Sangdil; it was released late in 1952 and was only a moderate success. Since Sangdil was unpopular with the audience, she did not get work for seven months. Shammi used to play the main lead or second lead in films from 1949 to 1952, but after Sangdil, she started taking whatever work came to her and took a few films with vamp roles. She quoted in an interview: “Many people scolded me when I did that but I was clear in my mind that I had to work. Sitting at home would not help me since I was the breadwinner of the family.” She got roles as the leading heroine opposite heroes such as Mahipal, Manhar Desai and Karan Dewan. After the release of K. Asif’s hit film Musafirkhana, she was flooded with similar roles. Her role opposite comedian Johnny Walker was appreciated in this film.

Some of her successful movies as supporting actress in this period were Ilzam (1954), Pehli Jhalak (1955), Bandish (1955), Azaad (1955), Halaku (1956), Son of Sinbad (1955), Raj Tilak (1958), Khazanchi (1958), Ghar Sansar (1958), Aakhri Dao (1958), Kangan (1959), Bhai-Bahen (1959) and Dil Apna Aur Preet Parai (1960). The rest of her films released from 1952 to 1960 were deemed as commercial failures. In the period 1962 to 1970, her comedy and vamp roles made an impact in successful films such as Half Ticket, Ishaara, Jab Jab Phool Khile, Preet Na Jane Reet, Aamne – Saamne, Upkar, Ittefaq, Sajan, Doli, Raja Saab and The Train.

Shammi became pregnant two times, but both times she miscarried, and therefore she and Sultan Ahmed did not have any children. This had an adverse effect on their marriage, which lasted for seven years. During that period, the couple had bought a house and her husband wanted to put the house in her name, but Shammi was of the opinion that since her sister-in-law was not doing anything, Ahmed should put the house in his sister’s name. Ahmed’s brother in law’s family resided with them. Sultan’s brother’s wife was uneducated, so Shammi took care of the child. Shammi admitted the child to a school in Shimla. Due to some differences, she broke up with her husband in 1980. She walked out of the house without any cash in hand, and left without her car too. She had the old house where she stayed with her mother in Bandra, so she shifted there. Nargis Dutt was upset when Shammi separated from her husband. Dutt helped Shammi get a role in The Burning Train within 8 days after Shammi had left her house. Her friend Rajesh Khanna helped her get small roles in films with him in the lead from 1980 such as Red Rose (film), Aanchal, Kudrat, Awara Baap and Swarg. These films again got her noticed as a supporting actress and hence revived her career.

To help her recover from the losses, Rajesh Khanna, who was producing television series then, helped Shammi get a few shows to produce on Doordarshan. She was getting paid well for her roles in the films and in television serials and she started saving money. From her very first movie, she never went asking for work—the work came to her through some close friend. Her performances in serials such as Dekh Bhai Dekh, Zabaan Sambhal Ke, Shriman Shrimati, Kabhi Yeh Kabhi Woh and Filmi Chakkar were appreciated. She was very much in demand from 1990 to 2000, appearing in many successful films such as Coolie No 1, Hum, Mardon Wali Baat, Gurudev, Gopi Kishan, Hum Saath-Saath Hain and Imtihaan. Her portrayal of the role of a drug addict in Mahesh Bhatt’s Lahu Ke Do Rang had stunned the audience. Movie offers, however, stopped coming to her after 2002 since she was aging. She was rarely approached for roles from 2008 to 2011. In all, Shammi acted in 222 films, directed 1 film (Pighalta Aasman-87) and sang 2 songs in 2 films.

She made a comeback with Shirin Farhad Ki Toh Nikal Padi in 2013; as Bela Sehgal, the director, wanted her to do it because it was the role of a Parsi woman. She died in her sleep on 6 March 2018, from natural causes at the age of 88. ( Thanks for some information from Wikipedia, bollywood news.com, Chand Raat- book by Babu Moshai,muVyz and my notes.)

Today’s song is a duet sung by Asha Bhosle and Mohd. Rafi. This is the 3^rd song of this film on this Blog.

Audio (good quality but shorter)

Audio (poor quality but longer)

Song- Teer chala ke zaalim jaana naa(Shaahi Mehmaan)(1955) Singers-Asha Bhonsle, Rafi, Lyrics-Anjum Jaipuri, MD-Bipin Babul

Lyrics(Provided by Prakashchandra)

teer chalaake zaalim jaanaa naa aa
o zaalim jaanaa naa aa
teer chalaake zaalim jaanaa naa aa
aisaa khayaal dil mein ae
laanaa naa laanaa naa aa
hho laanaa naaa aaa aa aaa
ho zaalim jaanaa naa aa
teer chalaake zaalim jaanaa naaa aaan aa

chaand sitaarey ae
jhooom rahey hain
chaand sitaarey ae
jhooom rahey hain ae
raat ka daaman choom rahey hain aen
raat ka daaman choom rahey hain
pyaar ki nazren kehtee hain aey aen ae
pyar ki nazren ae kehtee hain
is mehfil se jaanaa naa
teer chalaa ke zaalim jaanaa naa
ho zaalim jaanaa naa
aisaa khayaal dil mein laanaa naa aan
laanaa naa aaaa
hho laanaaa naaaa
ho zaalim jaanaa naa aan
teer chalaa ke zaalim jaanaa naaa aaa

zulfein zanjeer teree
dil mein tasveer teree
zulfein zanjeer teree
dil mein tasveer teree
itnaa na ??? zaalim
ithnaa naa ??? zaalim
tu hai taqdeer meree
tu..oo hai taqdeer meree
dar pe kisee ke jaanaa naa aaaa
hho jaanaa naa aaa
teer chalaake zaalim jaanaa naa aaa
hho zaalim jaanaa naa aaa
aisaa khayaal dil mein laanaa naa aaa
laanaa naa aaaa
hho laanaaa na aa
o zaalim jaanaa naa aa
teer chalaake zaalim jaanaa naaa aaa aa

phool saa chehraa aankh(?) gulaabeee ee
phool saa chehraa aankh(?) gulaabeee ee
ho jaaye ae duniyaa na sharaabee ee ee
ho jaaye ae duniyaa na sharaabee ee
tujhko qasam hai ae meree wafaa kee ee
tujhko qasam hai ae meree wafaa kee
dil pe gham barsaanaa naa
teer chalaake zaalim jaanaa naa aa
o zaalim jaanaa naa aaa
aisaa khayaal dil mein laanaa naa aa
laanaa naa aaaa
hho laanaaa naaaa
ho zaalim jaanaa naa aan
teer chalaake zaalim jaanaa naaa aa aa

This article is written by Sadanand Kamath, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

I had heard the name of Ved Rahi for the first time in one of the Doordarshan’s television serials. It took me some more years to know that his canvas was much bigger than the TV serials. He is a well-known poet and writer in Dogri, Hindi and Urdu, a journalist, editor, translator, screenplay, dialogue writer, producer and director in Hindi films and television serials. He is the recipient of many awards and honours for his contributions to the literature in Dogri, Hindi and Urdu.

Ved Rahi (b. 22/05/1933) was born in Jammu in a well-respected family. His father, Mulkraj Saraf was a freedom fighter and a well-known journalist and publisher of an Urdu newspaper, ‘Ranbeer’. Under the influence of his father, Ved Rahi got interested in journalism and literature. At the age of 12, he started writing in Urdu.

After the completion of his Matriculation, Ved Rahi told his father that he was not interested in further studies. His father was shocked as he was a crusader of literacy in his region. He took his son to an educationist for advice. The man spoke to Ved Rahi at length and in the end suggested to his father that his son should learn Hindi. He was put under the tutelage of an eminent Hindi teacher. He joined Radio Kashmir, Jammu as script writer. In 1958, he became the editor of a monthly magazine, ‘Yojana’ which was published under the Information Division of the Govt of Jammu & Kashmir. Simultaneously, he started writing short stories and novels in Dogri language followed by Hindi and Urdu.

Ved Rahi felt that staying in Jammu will not expand his literary horizon. He was already influenced by writers like Krishna Chandra and Ramanand Sagar who were doing well in Mumbai. Sometime in 1961-62, Ved Rahi left his Government job and moved to Mumbai with his wife and two children with the intention of pursuing his literary pursuit. In Mumbai, he soon realised that income from writing short stories and novels will not be sufficient to sustain his family.

With a recommendation from his father, Ved Rahi approached Ramanand Sagar to start his filmy career as a screenplay and dialogue writer to supplement his income. Since Ramanand Sagar was aware of his calibre as a writer, he took him as his assistant in screenplay, dialogue writing and direction for his films. His name appeared as Assistant Director for the films, ‘Aarzoo’ (1965) and ‘Aankhen’ (1968). He started getting offers from other producers also to write screenplay and dialogues for films such as ‘Ye Raat Phir Na Aayegi’ (1966), “Pavitra Paapi’ (1970), ‘Beimaan’ (1971),’Aap Aaye Bahaar Aaye’ (1971), Kathputli (1971), ‘Paraaya Dhan’ (1971, ‘Beimaan’ (1972) ‘Sanyaasi’ (1975), ’Charas’ (1976), etc which became box office hit films.

Ved Rahi felt that he did not have much freedom as a writer in Hindi films. He decided to turn director with ‘Daraar’ (1972) followed by ‘Prem Parbat’ (1973). But as a director, he had to compromise with producers and distributors. So, he become producer-director with ‘Kali Ghata’ (1980). None of his films performed well at the box office. His last released film as a director was ‘Veer Savarkar’ (2001) which did well in Maharashtra and Goa region. During his association with film industry, he realised that writing for the films is a different art than writing the literary stories and novels where the writer has full freedom to express his thoughts. While he appreciated the point of views of producers and distributors for whom it is a commercial venture, as a writer, Ved Rahi felt restricted in showing his best in the film industry. He turned to TV serials where he felt that he had more freedom than in the film industry. Ved Rahi directed his first TV serial for Doordarshan, ‘Gul-Gulshan-Gulfaam’ (1987) which became a hit with the audience. He also directed ‘Meera Bai’ (1997).

During his film career, Ved Rahi was a member of Censor Board of Film Certification and Film Writers Association.

Even after shifting to Mumbai, he was well connected with the developments in Dogri literature. He continued to write short stories in Dogri and Hindi which were published in magazines. He used to say in his interviews that his main passion was literature and his association with films and television was to enable him to sustain in Mumbai with his family. One can note that he has received honour and awards mainly for his literary works.

Ved Rahi got Sahitya Akademi Award for ‘Aale’ (1982), the collection of his short stories in Dogri in 1983. He also received Maharashtra Gaurav Award (2000) for his contribution to literature, Maha Pandit Rahul Sankritayan Puruskar (2011) for his outstanding works in Hindi and the Best Book Award for his Dogri novel ‘Lal Ded’. He got his second award from the Sahitya Akademy in 2015 for his Urdu translation of the novel ‘Lal Ded’. He received Kusumagraj National Award for literature in 2019.

[Note: Ved Rahi’s profile is mainly based on a TV documentary in Dogri on him, his TV interviews in Dogri and Hindi, and his interview published in ‘Daily Excelsior’, April 24, 2016, apart from some online information available on him].

Sometime in 1960s, Ved Rahi wrote a short story, ‘Daraar’ based on 1965 Indo-Pak war, which was published in one of the reputed Hindi magazines. The story became the talk of the town among the Hindi readers. Encouraged by this, Ved Rahi decided that one day he would make a Hindi film on this story. Sometime in 1971, Shanti Sagar, the elder son of Ramanand Sagar decided to make a film on this short story and the name of the film was kept the same as the title of the story, i.e., ‘Daraar’ (1972). By this time, there was second Indo-Pak war of 1971. Therefore, the context of Indo-Pak war in the film was changed from 1965 to 1971. Since Ved Rahi has been assisting Ramanand Sagar in the direction, Shanti Sagar gave the responsibility of direction of the film to him. The cast included Baldev Khosa and Rohini (probably her only film) in the lead roles supported by Lata Arora, Ashavali, Manju Sharma, Birbal, Meenal Mehta, Radheshyam, Kamalakar Date, Usha Bakshi, Radharani, Satyarani etc. It was a low budget film. Hence most of the actors for minor roles were taken from Jammu who were associated with radio plays and local theatres.

The story of ‘Daraar’ (1972) is based on 1971 Indo-Pak war and the resultant chaos in the family life of those staying in a village close to the border. Unfortunately, the film is neither available for viewing on any of the video sharing platforms nor on OTT. Even I could not get the synopsis of the film online. I am sure that the original short story may be there in Ved Rahi’s one of the published books containing his collection of Hindi short stories. However, none of his old, published books are available online for reading or even for buying. The silver lining in my efforts was that I got my hand an audio clip available online, discussing the broad story of the film interspersed with a few dialogues from the film.

I have attempted to weave the story of the film based on the audio clip and the lyrics of the film’s songs which is as under:

In a village close to Pakistani border, Baldev Khosa and Rohini fall in love. After a brief courtship, their love blossoms into a marriage. They happily live their married life. Rohini gets pregnant and a mood of celebrations starts in the family. When Rohini is in advanced stage of her pregnancy, the Indo-Pak border skirmishes starts which turns into a full-pledged war. The villagers can hear the sound of mortar firings some of which lands in the village. There is an exodus of the villagers to move away to far off places from the border as they hear the sound of tanks coming from Pakistani side.

Rohini starts getting labour pain. Due to exodus, Baldev Khosa is not able to get a Dai to attend to the delivery of Rohini. She cannot withstand her increasing labour pain as the cross-border firings increase. Baldev Khosa is caught between saving his life and Rohini’s life. He tells Rohini that he would leave the village carrying her on his back. But she is in so much pain that she decides to stay in the house and leave her fate to the Almighty. She tells her husband to leave her alone and save his life by leaving the village. But he is still in two minds – to leave Rohini alone in such a situation or not.

The increased mortar shelling and the sound of tanks coming from Pakistani side forces Baldev Khosa to leave the house and run away along with other villagers to a safer place leaving Rohini alone. After few days, when the shelling stops, Baldev Khosa walks back to his village and hears infant’s crying inside his house. Baldev goes inside the house to find Rohini in good shape with the infant. He comes to know that the Indian Army had pushed back the intruding Pakistani army. But the situation in the border is still tense. Baldev Khosa and his wife with the infant, leave the village. But their married life is not as was before. The film ends with a narrator telling that there is a ‘daraar’ (crack) in their relationship.

I find quite an unusual ending in the film as the director who is also the writer of the original story has left to the audience as to what kind of ‘daraar’ has developed in the relationship of Baldev Khosa and Rohini. Going by the theme of most of his short stories in Hindi as well as his TV serial, Gul-Gulshan-Gulfaam’ (1987), Ved Rahi may be hinting at the psychological ‘daraar’ that develops between the close relatives and friends due to the impact of war-like situations in their hitherto peaceful and relaxed life. My own guess is that though Baldev Khosa and Rohini may continue to live in their married life happily, somewhere in the back of her mind, Rohini would occasionally remember that her husband left her alone to fend for herself in her difficult period even though she had also suggested him to do so.

The film has 4 songs written by Kulwant Jani (2) and Mahendra Dehlvi which were set to music by Sudhir Phadke. All the songs are good to listen. I am presenting the third song from the film to appear on the Blog. The song is ‘kyun chamke bol kuchh bol ras ghol goriye’. The song is rendered by Mohammed Rafi and Asha Bhosle on the words of Mahendra Dehlvi. Only the audio clip of the song is available. My guess is that the song was picturised on Baldev Khosa and Rohini who was expecting a baby.

There is an interesting trivia which was revealed by Ved Rahi in one of his interviews. He visited Sudhir Phadke’s house to request him to compose the music for ‘Daraar’ (1972). A surprised Sudhir Phadke asked him ‘Why me’? He had not given music for any Hindi film after 1962. Those days, Sudhir Phadke was busy with Marathi films. Ved Rahi said that he was so mesmerised by his composition, jyoti kalash chalke in ‘Bhaabhi Ki Choodiyaan’ (1961) that he had decided that whenever he makes his first film, he would take Sudhir Phadke as the music director. How can Sudhir Phadke say ‘no’ to his fan? He agreed.

After about 20 years later, Sudhir Phadke who was producing ‘Veer Savarkar (2001) in early 1990s, financed by the public contributions, approached Ved Rahi to write screenplay for one of the segments of the film and direct it. (The film had many directors who directed different segments of the film). Ved Rahi asked the same question. ‘Why me’? He had not directed any Hindi film after 1984. Of course, Ved Rahi agreed.

The song under discussion was very popular on Vividh Bharati in 1970s and I had heard this song many times. After many decades, I heard this song recently which made me to know about the film under discussion.

Audio Clip:

Song-Kyun chamke Bol kuchh bol ras ghol goriye (Daraar)(1972) Singers-Mohammed Rafi, Asha Bhosle, Lyrics-Mahendra Dehalvi, MD-Sudhir Phadke

Lyrics

kyun chamke
kyun chamke
bol kuchh bol ras ghol goriye
tere maathhe ki bindiya
kyun chamke
kyun chamke
kaise bataaun mere dhol sajna
mere maathhe ki bindiya

mamta ke baadlon ki
thhandi thhandi chhaav mein
kisko bulaaye tu
sapnon ke gaaon mein
tera hi nazaara mujhko rijhaaye
dekhoon jab tujhko
wo jhalak dikhaai
bhed hai ye kaisa
kuchh bol goriye
bol kuchh bol ras ghol goriye
tere maathhe ki bindiya

bol kab aane waali
nanhi si bahaar hai
dekh mere kheton ko bhi
yahi intzaar hai
jaldi hi dekhega
wo nanhi si bahaar tu
dam to le sainyyan aise
ho na bekaraar tu
aayenge wo din anmol sajna
kaise bataaun mere dhol sajna
mere maathhe ki bindiya

chaand hai badariya mein
(haan aan aan)
phir bhi ujaala hai
(aan aan)
tujh mein samaaya kaise
roop ye niraala hai
o… jaise mera pyaar channa
tujh mein samaaya hai
roop tera aise hi to
mujh mein samaaya hai
motiyon se doonga tujhe tol goriye
bol kuch bol ras ghol goriye
tere maathhe ki bindiya