This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
He had this unique technique perfected, for which his contemporaries would envy him. There was nothing like it before him, nor now after he is gone. For the want of any better terminology, he would simply call it the “switching on, switching off” technique. On the sets, his was the fastest transition from the self to the role, when the cameras started to roll, and also the fastest pull back to the self from the role, when the director called ‘cut’. I have read this comment by, or heard it in interviews of more than one of his contemporaries, may it be the male or the female artists. They used to marvel at his ability to switch on into the character and the mood in a snap, and then withdraw himself from the character in an instant. Many others would comment that they would take many minutes to get to the right depth of mood and emotions, and after the scene is done, they need time to withdraw from the emotion and return to the normal self.
Remembering Harihar Jethalal Zariwaala aka Sanjeev Kumar aka Hari Bhai, on the anniversary of his untimely and unexpected passage from this world (6th November). Utterly unbelievable that it has been 29 years now that breathed his last. Many an artists have passed away young, at time even younger than what he was when his time came. But just 47 – one misses with regret. But then, it remains an inconsequential exercise of the questions of the type – “What if”?
It seems like just the other day that I saw him on the big screen, pursuing Leena Chandawarkar around the trees, with “O Manchali Kahaan Chali . . .” . That was 1973. And suddenly I realize – he was very successfully doing a rolled in romp of Elvis + Jeetendra, just a year after he had appeared in a senior role – as a father of Jaya Bhaduri in ‘Parichay’ (1972).
Coming on to the silver screen in mid 1960s, he was already heads and shoulders above his contemporaries and his seniors within just a short span of five years. By the close of the decade, he was already averaging 6 to 8 films a year. And, by the close of that decade, in that five short years, he already had memorable performances under his belt – ‘Anokhi Raat’ (1968), ‘Raja Aur Runk’ (1968), of course ‘Sunghursh’ (1968), ‘Dharti Kahe Pukar Ke’ (1969), ‘Gustakhi Maaf’ (1969), ‘Dastak’ (1970), ‘Khilona’ (1970) and more. His success and his popularity stemmed from his refusal to be typecast, taking on roles of every ilk and every color. And by this cognizant and very visible display of lack of concern for an image, he was able to conjure up an image and a following for what he really was – an exceptional artist and performer. God sends one of his kind down to the mortal world, once in may be a couple of centuries.
His timing, his mastery of tiny inflexions and movements that spoke volumes, the sequencing of the body language, the pace of expressions, the depth of emotions – everything was always perfect with him for the character he would be playing. Nothing, absolutely nothing was overdone or exaggerated, unless of course the situation demanded it, and then that exaggeration even was perfectly executed. And with such effortless ease. The one actor who would easily make you forget you are watching a performance – such was the effortless naturalness of his presentation. What a wonder of depth of understanding he carried in his mind, of the psyche of the characters, of the human element, and the awareness of how that character would behave in a situation – a twitch of a muscle, a sharpening or lowering of the voice, what expressions tiny movements of the fingers could do – no use contemplating it. One simply has to savor the pleasure of watch him be another character. No role, no character was out of bounds for him or his image. Or rather his image was – to be the master of characterization. Yes, that is what he was.
This song, its lyrics, and the nudge, was sent to me by Peevesie’s Mom. Apologies for the delay, getting it online here. The film is ‘Uljhan’ from 1975. The film is directed by R Jhalaani, for the banner of Vijyashri Pictures, Bombay. The songs of this film are from the pen of MG Hashmat and the music is by Kalyanji Anandji. The singing voices are of Rafi Sb and Asha Bhosle, with one line interjection in the voice of Sudesh Kumar. On screen, this interjection is inserted by Asrani, as Sanjeev Kumar takes the lead in this song. One can see a very decked up Sulakshana Pandit, being very coy, and showing signs of apprehension. Is this an engagement party? Others, we can see in the video clip are Farida Jalal, who performs the lines sung by Asha ji. Also standing amongst guests is Aruna Irani.
Listen, watch and enjoy – the master craftsman, not letting you feel he is acting. Wonderful memories always, Hari Bhai. Regale audiences wherever you are.
Song-Mujhko to qaatil ki itni pehchaan hai (Uljhan)(1975) Singers-Rafi, Asha Bhonsle, Lyrics-M G Hashmat, MD-Kalyanji Anandji
Sudesh Kumar
Lyrics(Provided by Peevesie’s mom)
mujhko to qaatil ki
itni pehchaan hai
bhola bhaala chehra hai
dil beimaan hai
bhola bhaala chehra hai
dil beimaan hai
mujhko to qaatil ki itni pehchaan hai
bhola bhaala chehra hai
dil beiman hai
nazren jhuka ke bane kaise anjaan hai
bhola bhaala chehra hai
dil beimaan hai
bhola bhaala chehra hai
dil beimaan hai
aise mehfil se uthh ke na jaao
aise mehfil se uthh ke na jaao
paas baitho zara muskuraao
aaj khushiyon ki mehfil saji hai
kal hua jo usey bhool jaao
arre bhai kal ki kya baat hai
husn ki baat hai ye
ishq ka raaz hai ye
zulf thi mehki mehki
har nazar behki behki
bahut bezaar tha dil
shola thha aag tha dil
koi aagosh me tha
magar betaab tha dil
fizaa khamoshiyon ki
dawaa behoshiyon ki
kiye jaati thi paagal
laga thha dil se qaatil
laga thha dil se qaatil
chehre se parda hataa ke rahoonga
chehre se parda hataa ke rahoonga
huaa qatl kaise bataa ke rahoonga
bataa ke rahoonga
jaan lene waale ki
mushkil mein jaan hai
bhola bhaala chehra hai
dil beimaan hai
bhola bhaala chehra hai
dil beimaan hai
aise ilzaam yoon na lagaao
aise ilzaam yoon na lagaao
bhed khul jaayega baaz aao
aaj khushiyon ki mehfil saji hai
kal hua jo usey bhool jaao
wo ghadi yaad karo
chhup ke milte thhe kabhi
aankh ka milna tauba
na kabhi aankh lagi
dinon se lambi raaten
wo khud se khud ki baaten
wo kya majbooriyaan thhin
wo kaisi dooriyaan thhin
dil o jaan haare haare
phirte the maare maare
kahin dum ghut na jaaye
tamanna lut na jaaye
haan
tamanna lut na jaaye
isiliye hum ne sahaara diya thha
kashti e dil ko kinaara diya thha
isiliye husn ko itna guroor hai
isiliye husn ko itna guroor hai
andhi jawaani ka aankhon mein suroor hai
aankhon mein suroor hai
dekho kaise ban thhan ke baithhe janaab hain
ek nahin inko to saat khoon maaf hain
ek nahin inko to saat khoon maaf hain
kaazi aur kaanoon in pe meharbaan hain
bhola bhala chehra hai
dil beimaan hai
bhola bhala chehra hai
dil beimaan hai
——————————————
Hindi Script lyrics (Provided by Sudhir)
——————————————
मुझको तो क़ातिल की
इतनी पहचान है
भोला भाला चेहरा है
दिल बेईमान है
भोला भाला चेहरा है
दिल बेईमान है
मुझको तो क़ातिल की इतनी पहचान है
भोला भाला चेहरा है
दिल बेईमान है
नज़रें झुका के बने कैसे अंजान है
भोला भाला चेहरा है
दिल बेईमान है
भोला भाला चेहरा है
दिल बेईमान है
ऐसे महफिल से उठ के ना जाओ
ऐसे महफिल से उठ के ना जाओ
पास बैठो ज़रा मुस्कुराओ
आज खुशियों की महफिल सजी है
कल हुआ जो उसे भूल जाओ
अरे भाई कल की क्या बात है
हुस्न की बात है ये
इश्क़ का राज़ है ये
जुल्फ थी महकी महकी
हर नज़र बहकी बहकी
बहुत बेज़ार था दिल
शोला था आग था दिल
कोई आगोश में था
मगर बेताब था दिल
फिजा खामोशीयों की
दवा बेहोशीयों की
किए जाती थी पागल
लगा था दिल से क़ातिल
लगा था दिल से क़ातिल
चेहरे से पर्दा हटा के रहूँगा
चेहरे से पर्दा हटा के रहूँगा
हुआ कत्ल कैसे बता के रहूँगा
बता के रहूँगा
जान लेने वाले की मुश्किल में जान है
भोला भाला चेहरा है
दिल बेईमान है
भोला भाला चेहरा है
दिल बेईमान है
ऐसे इल्ज़ाम यूं ना लगाओ
ऐसे इल्ज़ाम यूं ना लगाओ
भेद खुल जाएगा बाज़ आओ
आज खुशियों की महफिल सजी है
कल हुआ जो उसे भूल जाओ
वो घड़ी याद करो
छुपके मिलते थे कभी
आँख का मिलना तौबा
ना कभी आँख लगी
दिनों से लंबी रातें
वो खुद से खुद की बातें
वो क्या मजबूरीयाँ थी
वो कैसी दूरियाँ थी
दिल ओ जाँ हारे हारे
फिरते थे मारे मारे
कहीं दम घुट ना जाये
तमन्ना लुट ना जाये
तमन्ना लुट ना जाये
इसलिए हमने सहारा दिया था
कश्ती ए दिल को किनारा दिया था
इसलिए हुस्न को इतना गुरूर है
इसलिए हुस्न को इतना गुरूर है
अंधी जवानी की आँखों में सुरूर है
आँखों में सुरूर है
देखो कैसे बन ठन के बैठे जनाब हैं
एक नहीं इनको तो सात खून माफ हैं
एक नहीं इनको तो सात खून माफ हैं
काज़ी और कानून इन पे महरबान हैं
भोला भाला चेहरा है
दिल बेईमान है
भोला भाला चेहरा है
दिल बेईमान है
