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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.

aaye bhi wo
gaye bhi wo
khatm fasaana ho gayaa

Aisi kuchh baat hai ki, at the mention of Meena Kumari’s name, come to mind these lines written by DN Madhok (‘Namaste’, 1943). Born as Maahjabeen Bano in 1932, on screen in 1939, leading lady by 1950, won the first ever Filmfare award in 1952 (‘Baiju Baawra’), established tragedienne in 1953 (‘Daaera’), married to Kamaal Amarohi in 1952, separated from him in 1960, divorced in 1964, reunited in 1968, and then gone from this world in 1972. Just 40 years on this earth, and a career of thirty three years, ninety films, four Filmfare awards as best actress, and memorable string of powerful roles that made her a legend at an age and time in life when most of us are still finding our feet.

The tragedy queen of the screen, was probably playing the emotions that she experienced in real life. A very discerning, intelligent and sensitive person, by all accounts – that from her own diaries and from writings of others, she was totally devoted to her husband and his family. He was 15 years older to her; she was his second wife; she did not belong to the Syed clan, her husband insisted on not having any children with her. She even accepted that and brought up her stepson as her own. But the professional and personal conflicts grew and the strong personalities that they were, the marital relationship deteriorated.

In 1953, Kamaal Amarohi produced and directed ‘Daaera’, the story of a very young woman married to a man much older than her. The age difference is such that, when they move to a new place, the neighbors not knowing any details of the family, presume them to father and daughter. To the extent that one of the neighboring families come to the old gentleman with a proposal for an alliance for the young woman whom they think is her daughter. It was a film that shook the sensibilities of the society (much as ‘Duniya Na Maane’ had done in 1937). Some speculations have been raised – whether the idea for the film came about from their relationship, or the idea of the relationship came about because he had to make this film.

In 1956, ‘Pakeezah’ was launched. A poignant story of a dancing girl, whose life comes about and is punctuated with disturbances, on account of a high class aristocratic family. Once again, one has a feeling of hidden concepts of the mind from real life, surreptitiously trickling into reel life. The film was sixteen years in the making, mostly because the primary drivers of this project were estranged for almost a decade.

An estrangement that led to separation, and then divorce. The sorrow continues at this loss of what she considered to be the bulwark in her life. Her writings show that she was utterly afraid of loneliness. August of 1961, she was hospitalized for an extended period of time. A diary entry by her during this period says – “Continuously lying on this hospital bed all alone, I feel like a dead body that people have forgotten to bury.”

All her life she was afraid of loneliness. And when the marital discord stepped into her life, so did the wine. And as has been witnessed in many other cases, it does not help; just worsens the situation. It led to deteriorating health, and further fragmentations in life. Company of younger men became the grist of rumor mills and tabloids. Her beauty and appearance seemed to fade. By mid 1960s she started to appear in senior roles – likes of ‘Bahu Begum’ (1967), ‘Bahaaron Ki Manzil’ (1968).

Maybe at this time she realized she did not have much time left. ‘Pakeezah’ was still in the shelves. The rapprochement happened, and the film came back on the studio floor. The beauty regained, it was final glory of a dying sun. And as the day neared its end, so did the sun fade away. Within three weeks of the release of ‘Pakeezah’ (in 1972), she passed away. Her epitaph, that she once wrote herself in one of her ghazals,

jalti bujhti si roshni ke parey
simtaa simtaa sa ek makaan tanhaa
raah dekha karega sadiyon tak
chhod jaayenge ye jahaan tanhaa

Away from the blinking lights
Away from the beating heart
There is a lonely deserted house
That cringes and cowers alone
I will go
Alone
And leave this world, alone
It will wait for me
Watching my homecoming paths
For centuries to come
For ages to come

Reticent and inwardly agonized much as she would have been, it all got expressed in her poetry. Her verses and ghazals tell of a very lonely and sad soul, so much wanting love, but only ending up with neglected desires and an abandoned solitude. So much like lost in a desert, with no one to hear your cries for help.

In 1970, this LP titled ‘I Write, I Recite’ was published. Composed to some very light but very engaging tunes by Khaiyyaam Sb, Maahjabeen sings a selection from her own poetry. For this post, I present this beautiful ghazal, that is part of this wonderfully compiled LP.

The sounds of her voice bring in the images of the Chhoti Bahu of ‘Sahib, Bibi Aur Ghulam’ (1962) agonized by her own desires, the tormented Parineeta of ‘Parineeta’ (1953), the dejected and helpless Karuna of ‘Dil Apna Aur Preet Paraayi’ (1960), the silent incarceration of Sheetal in ‘Daaera’ (1953), the tragic fatalism of Benazir in ‘Benazir’ (1964), and the beleaguered Sahib Jaan of ‘Pakeezah’, forever running from her past – like the whistling train passing by in the night, far, far away.

And the words. It is a poetry that displays the both the beauty and the sorrow, poetry that displays both the depth of intellect and the intensity of agonies of the mind. But most of all, it displays the eternal sadness of a lonely and scared soul, searching for succor in a world where rarely can someone live a life for someone else. The sadness is so well submitted in the lines of this ghazal.

yun teri rehguzar se dewaana-waar guzre
kaandhe pa apne rakh ke apna mazaar guzre

In a senseless fancy
I treaded the paths
The paths that you traverse often
Carrying the my own crypt
On my shoulders
(Maybe you would notice
This strange funeral pageant)

baithe hain raaste mein dil ka khandar sajaa kar
shaayad isi taraf se ik din bahaar guzre

Naively sitting by the pathways
Fussying the embellishments
Of the ruins of my heart
Maybe one day
The spring will venture this way
Naively I sit and wait

behti hui ye nadiya, ghulte huye kinaare
koi to paar utre, koi to paar guzre

Ah, the flowing waters of time
Slowly wearing down
The embankments of life
Alone I sit on this side, waiting
Oh wish, someone would cross over
Ah, or someone
May just pass by on the opposite bank

[Note: To me, this couplet is an epitome of an expression of loneliness. “The river of time is incessantly flowing. The life is eroding by the minute, the physical form is creepily dissolving as the flow of time passes. I am sitting on this bank. No one crosses this river, no one is even visible on the other side.” Gosh, what a compelling description of loneliness.]

tu ne bhi hum ko dekha, hum ne bhi tujhko dekha
tu dil hi haar guzraa, hum jaan haar guzre

We met, we saw, we judged one another
And sallied together into this game of love
You wagered your heart
And lost it
I wagered my life
. . .
And lost it

There is a haunting song by Don Maclean titled ‘Vincent’. (Folks may also remember it by another name – “Starry Starry Nights”). A couplet comes to mind as I am thinking and writing about her.

This world was never meant for
One as beautiful as you

Yes, Maahjabeen, this world is not for souls like you.


Song-Yoon teri rehguzar se deewaanawaar guzre (Meena Kumari NFS)(1970) Singer-Meena Kumari, Lyrics-Meena Kumari, MD-Khayyam

Lyrics

yoon teri rehguzar se ae
dewaana-waar guzre
yoon teri rehguzar se ae
dewaana-waar guzre
yoon teri rehguzar se ae
dewaana-waar guzre ae
kaandhe pa apne rakh ke ae
apna mazaar guzre
kaandhe pa apne rakh ke ae
apna mazaar guzre
yun teri rehguzar se ae
dewaana-waar guzre

baithe hain raaste mein ae
dil ka khandhar sajaa kar ar
baithe hain raaste mein ae
dil ka khandhar sajaa kar ar
shaayad isi taraf se ae
ek din bahaar guzre
shaayad isi taraf se ae
ek din bahaar guzre

behti hui ye nadiya
ghulte huye kinaare ae
behti hui ye nadiya
ghulte huye kinaare ae
koi to paar utre ae
koi to paar guzre
koi to paar utre
koi to paar guzre

tu ne bhi hum ko dekha aa
hum ne bhi tujhko dekha aa
tu ne bhi hum ko dekha aa
hum ne bhi tujhko dekha aa
tu dil hi haar guzraa
hum jaan haar guzre
tu dil hi haar guzraa
hum jaan haar guzre
yun teri rehguzar se ae
dewaana-waar guzre

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

यूं तेरी रहगुज़र से
दीवानावार गुज़रे

यूं तेरी रहगुज़र से
दीवानावार गुज़रे
यूं तेरी रहगुज़र से
दीवानावार गुज़रे
कांधे पे अपने रख के
अपना मज़ार गुज़रे
कांधे पे अपने रख के
अपना मज़ार गुज़रे

बैठे हैं रास्ते में
दिल का खंडर सजा कर
बैठे हैं रास्ते में
दिल का खंडर सजा कर
शायद इसी तरफ से
इक दिन बहार गुज़रे
शायद इसी तरफ से
इक दिन बहार गुज़रे

बहती हुयी ये नदिया
घुलते हुये किनारे
बहती हुयी ये नदिया
घुलते हुये किनारे
कोई तो पार उतरे
कोई तो पार गुज़रे
कोई तो पार उतरे
कोई तो पार गुज़रे

तूने भी हमको देखा
हमने भी तुझको देखा
तूनेभी हमको देखा
हमने भी तुझको देखा
तू दिल ही हार गुज़रा
हम जान हार गुज़रे
तू दिल ही हार गुज़रा
हम जान हार गुज़रे

यूं तेरी रहगुज़र से
दीवानावार गुज़रे

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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 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.

GEMS FROM THE MIGRATORS….Song No. 6
—————————————-

After Partition, the film industry in Pakistan was at its lowest ebb. Main reason was that most of the film activities were taking place only in one place-Lahore. During the riots, most studios were either burnt or damaged and there was a shortage of Financers, Distributors and technical staff. Composers who migrated from here to there had got accustomed to working in an organised sector and in Pakistan almost everything was in a mess. It is to the credit of few dedicated people in Lahore that by 1948 the first film, entirely made in Pakistan, with the entire crew from within the country, rolled out successfully. Despite lack of facilities, talented composers created inspired music and most composers succeeded there.

India, having a huge industry base spread over several locations throughout the country was not much disturbed in film making. Here are the statistics for films made in India during this period.

Year Number of films produced
1945 74
1946 153
1947 181
1948 149
1949 157
1950 113

One will observe that during the period 45 to 50, maximum films of films were made in 1947. This may be because all the ‘ would be’ migrators hurriedly completed their pending films, prior to their departure. This also indicates that the damage done to Indian film industry due to partition or the en bloc migration of artistes to Pakistan was on a limited scale.

Today we will talk about a Giant among the Pakistan film industry, post Partition- KHAWAJA KHURSHID ANWAR ji. He is probably the only composer on whom plenty of information is available here and in Pakistan. One of the major source of his information is Dr.Surjit Singh ji’s site and the other is Cineplot. Additionally, there are many Pakistani sites and Blogs where information is available on him.

Khwaja Khurshid Anwar (21 March 1912 – 30 October 1984) was a filmmaker, writer, director and music composer who gained extreme popularity both in India and Pakistan. He is widely credited as being one of the most original and inventive music directors of his generation.

Khwaja Khurshid Anwar was born into a Kashmiri family on 21 March 1912 in Mianwali (now in Pakistan) where his maternal grandfather Khan Bahadur Dr.Sheikh Atta Mohammad (who’s daughter married philosopher-poet Muhammad Iqbal, to whom he was thus a nephew) held the post of civil surgeon. His father Khawaja Ferozuddin Ahmad was a well-known Barrister settled in Lahore. The ace jurist had a love for music so much so that he had a huge collection of gramophone records of Indian classical and neo-classical music and his precocious son had an unhindered access to them all. Moreover, in the weekly soirees of music which were held in the lawyer’s house, renowned masters used to perform, and it was here that the young Khurshid Anwar developed a taste for classical music. Viewing Khrshid Anwar’s keen interest Khansahib Tawakkal Hussain took him under his tutleage in 1934.

Khurshid Anwar was also a brilliant student at Government College, Lahore, the renowned seat of learning. Having topped in the Masters in Philosophy (1935), he appeared in the examination for Indian Civil Service (ICS) but due to his political and anti-Raj activities, the colonial masters would not let him share power. Interestingly, he had also absented himself from the prize-distribution ceremony of the Punjab University held to honour the students with distinctions. When his name was called to receive the Gold Medal in Philosophy, nobody turned up. The British Chancellor of the University who was awarding medals remarked that the student having forgotten to receive the medal is a true philosopher. Actually,he was busy listening to music in his home.

In 1939 Khurshid Anwar joined All-India Radio, Delhi as Programme Producer/Music. It was from here that he acceded to the requests of A.R. Kardar, the renowned film producer, to join Bombay filmdom as Music director. He made his debut as a music director in Kardar’s Punjabi venture “Kudmai” (1941]. His first Hindi film was “Ishara”(1943]. The film gained much popularity from its songs which included “Panghat pe muraliya baje” by Suraiya, “Shabnam kyon neer bahaye” by Gauhar Sultana, and “Dil deke dagha nahin dena” by Vatsala Kumathekar. Some of his other Hindi films were Parakh (1944, with Saraswati Devi), Yateem (1945, with K. Dutta), Aaj Aur Kal (1947), Pagdandi(1947), and Parwaana(1947) which was the last movie in which K. L. Saigal acted and sang. For “Singaar” (1949) he got the Clare Award for Best Music Director. His later films “Nishaana” (1950) and “Neelam Pari” (1952) added new feathers to his cap. He remained an inspiration to many later day music directors in both India and Pakistan. For many years, Roshan was a disciple of his, as was Shankar of Shankar Jaikishan. He was regularly praised by his contemporary Naushad Ali, who considered him to be one of the finest composers in the subcontinent.In one of the interviews,however,he said that Naushad’s knowledge of Classical music was not good,but he manged to churn out melodious songs.

Khurshid Anwar migrated to Pakistan in 1952. It was in fact his arrival in a newly independent land where the nation was in search of its expressions in arts especially in music. And it was here in 1956 that Khurshid Anwar gave Pakistani film music its identity through his magnum opus “Intezar”. The film also gave a new lease of life to Noor Jehan, his lead singer for the years to come. After, “Intezar”, Khurshid Anwar continued with his stylistic creations in films such as, Mirza Sahiban (1956), Zehre Ishq (1958), Jhoomer (1959), Koel(1959), Ayyaz (1961), Ghunghat (1962), Haveli (1964) Chingari (1964), Sarhad (1966), Hamraz (1967), Guddo (1970),Heer Ranjha (1970), Salam E Mohabat (1971), Parai Aag(1971), Shireen Farhad (1975), Haider Ali (1979) and Mirza Jat (1982).
Khurshid Anwar died on 30 October 1984 in Lahore after a protracted illness. In recognition of his contribution in enrichment film music, the Bombay film industry awarded him the coveted Mortal-Men-Immortal-melodies Award (1982). Great Urdu poet of 20th century, Faiz Ahmad Faiz was a lifelong friend of Khurshid Anwar. During an interview, in reply to a query of Anwar Maqsood, Faiz acknowledged that he was inspired by Khurshid Anwar.
He has also been praised for his efforts to keep alive Classical music not only through his compositions but also through his unique collection of classical Music performances recorded by EMI Pakistan, known as Aahang-e-Khusrav in two parts(1978). Raag Mala has ten volumes includes 90 Raags in ten Thaths. Each Raag has a short introduction in the voice of Khurshid Anwar explaining the characteristics of the Raag followed by its audio performance by renowned Classical singers of Pakistan. The second part of Aahang-e-Khusravi is Gharaon Ki Gaiyki in 20 volumes which consists of audio recording of representatives of the main Gharanas of Classical singers in Pakistan. In recognition of his services for the cause of music, he was awarded the coveted ‘Sitara-e-Imtiaz’ by the Government of Pakistan in 1980.

He got Nigar awards 3 times. He also got President’s award for Best Music and Best story for film Intezar-56. Film Intezaar-56 was released on 12-5-1956 at Lahore.It was produced by Sultan Jilani and directed by Masood Parvaiz.The cast consisted of Noorjehan,Santosh kumar ( real name Syed Moosa Raza ),Asha Posley and others. Film Intezar was so famous and a Hit film that in India,Dilip kumar,K.Asif and financer seth Palan ji wanted to release the film in India. The south Giant producer S S Wasan of Gemini studios contacted him and asked for the rights of the film and enquired how much will be his fees. Khursheed Anwar replied that his works are open for all those who will join him in the crusade against vulgar music. he said there will be no fees and the film was remade in Tamil subsequently.

He had great respect for S.D.Burman, followed by Salil Chaudhari for their musical genius in India.

He made 1 Punjabi and 9 Hindi films in India and 18 films in Pakistan. As a producer and also writer he made 6 films and directed 3 films in Pakistan.

In India, he has composed 72 songs, but not even 1 song is there by Lata mangeshkar. He used Geeta, Asha etc, but not Lata. There was a story circulating that Lata was called for rehearsals for a song composed for film Neelampari-52. She came but did not wait for the composer to come after hearing that the composer can neither sing nor play a single instrument ! In an interview, on asking about this, his brother Khawaja Sultan Ahmed ji said that it was not true. She was tied up with HMV for consecutive 5 days for recording and so could not come for rehearsals. He also said that Khurshid Anwar ji could sing well and played instruments too.

Today’s song is from film Ishara-1943. The film was produced by D.R.D.Productions and was directed by J.K.Nanda. The Lyricist was D.N.Madhok and the cast was Prithviraj Kapoor, Swarnalata, Suraiya, Vatsala Kumthekar, K N Singh etc.

Swarnalata was already an established heroine in Hindi cinema before she opted to migrate to Pakistan with husband Nazir, a prominent actor-producer-director, following the partition of India. Swarnalata enjoyed a successful career in Pakistan as well proving to be a popular leading lady in both Urdu and Punjabi films across the border.

Swarnalata was born on 20-12-24 in a Siyal Jat Sikh family in Rawalpindi. She came to Delhi to complete her education and then joined The Academy of music and Arts,at Lucknow. She lost her parents early and lived with her elder brother. She was spotted at a hostel in Lucknow when she got an offer to act in films. Her initial reaction was to refuse outright but the director, who had spotted her, convinced her brother who in turn convinced her and soon Swarnalata found herself in Bombay.

Swarnalata made her film debut in 1942 with Awaaz (1942). Followed films like Tasveer (1943) and Raunaq (1944) opposite Motilal and Ishara (1943) with Prithviraj Kapoor before she hit the big time with Rattan (1944). Old timers still fondly recall the image of her running after Karan Dewan, who is seated on the tonga, ‘singing’ the most popular song of her career in India and imploring him – Ankhiyan Mika ke Jiya Bharma ke Chale Nahin Jana. Rattan was a huge success launching the career of music director Naushad. Ironically, this tale of two young lovers separated when the woman is married off elsewhere was thought to be a commercially risky venture and the original distributors re-sold the film rather cheaply fearing the worst. The rest as they (always) say is history as Rattan became the biggest hit of the year. Another extremely popular song of the film was Sawan ke Badalon.

Swarnalata played leading lady to Dilip Kumar in only his second film, Pratima (1945), made at Bombay Talkies. The same year saw the release of Preet and Laila Majnu where Swarnalata was cast opposite Nazir in both films. The two fell in love and Swarnalata got married to Nazir and converted to Islam taking on the name Sayeeda Bano. However, she continued to retain her screen name for her films as an actress though she did give her Islamic name as producer. Following her last film Ghar Baar (1948) in India, Nazir and Swarnalata migrated to Pakistan. Recalling the shift, Swarnalata said it was no big deal. Nazir decided they should go to Pakistan so they did! The first film they produced there, Heer Ranjha, ended in tragedy as whatever they shot was out of focus and so, the film had to be shelved. ( This Nazir was an actor,producer and director. He was the maternal uncle of K.Asif, maker of Mughal-e Azam. In his struggling days, Asif stayed with his mama. That time Nazir’s wife was Sitara Devi-who eloped with K.Asif to Delhi. Nazir gave her divorce and then married Swarnalata).

Swarnalata then officially made her debut in Pakistani cinema with Sachai in Urdu and Pherayin Punjabi, both the films releasing in 1949 with her cast opposite husband Nazir in both.Sachai, which unfortunately flopped, also saw Swarnalata become Pakistan’s first ever woman producer. However, Pheray, also directed by Nazir and based on Noor Jehan’s Village Girl (1945) that incidentally saw Nazir star opposite the legendary singing star, became Pakistan’s first ever silver jubilee hit film! Pheray’s music by the great GA Chisti proved extremely popular especially Mainu Rab di Sohn Tere Naal Pyaar and Ki Kitta Taqdeer. The team of Nazir-Swarnalata-GA Chisti followed Pheray with Laarey the following year but unfortunately the film did not have quite the same impact even though it was a musically strong film.

After a somewhat lean period with flops like Anokhi Dastan (1950) and Bheegi Palken (1952),Shehri Babu (1953), a Punjabi film, produced and directed by Nazir, proved to be a huge blockbuster with the reigning top star of Pakistani cinema, Santosh Kumar, cast opposite Swarnalata. The film boasted of a superb musical score by Rashid Attre bringing to the fore singer Inayat Hussain Bhatti as an actor besides also featuring Zubeida Khanum’s early hit songs and remains one of the most popular films ever to come out of Pakistan. Swarnalata was now at the peak of her career in Pakistan.

Though not a conventional good-looker, Swarnalata was a more then capable actress besides being a graceful enough dancer as well. In one of her last interviews given on television in Pakistan, she emphatically stressed,
“Swarnalata ka apna style tha. Koi Swarnalata ko koi copy nahin kar saka. (Swarnalata had her own style. No one could copy her).”

Heer (1955) was undoubtedly Swarnalata’s best known and most popular film in Pakistan. Returning to the Heer-Ranjha legend, this Punjabi film, was a huge success at the box office with Inayat Hussain Bhatti and Swarnalata playing the doomed lovers. But it was also to be the last high point of a glorious career.
Post Heer, saw the decline in Swarnalata’s career as films like Sauteli Maa (1956), Sabira (1956) and Noor-e-Islam (1957) flopped at the box office. Singing star Noor Jehan was still around and younger heroines like Sabiha Khanum, Shamim Ara and Mussarat Nazir had begun to rule the roost in Pakistani cinema. The Swarnalata – Nazir combine still came out with the odd film like Shama (1959) and Billo Jee (1962) but by now, their glory days were clearly behind them.

Swarnalata’s last roles saw her supporting Sabiha and Saloni in Sawaal (1966) and Zeba inDuniya Na Mane (1971) after which she retired gracefully from the silver screen.

Some other films of Swarnalata include Inkar (1943), Us Paar (1944), Shyam Savera (1946),Maa Baap ki Laaj (1946) and Abidah (1947) in India besidesBNauker (1955) – a remake of the Indian film Aulad (1954) and Khatoon (1955) in Pakistan.

Swarnalata passed away in Lahore in Pakistan on February 8, 2008.

When Swarnalata acted in film Ishara-43, she was cast opposite Prithviraj Kapoor-who was almost 45 years old at that time. Suraiya played the role of the ‘other’ woman. At this time she was just about 13-14 year old. Thus Suraiyya acted with Prithviraj Kapoor and later on was the heroine of his sons Raj Kapoor and Shammi Kapoor as well.

A singer from Lucknow was brought to Bombay to record songs for this film-Gauhar Sultana, who gave playback to Swarnalata in the film. Suraiya sang for herself. For 9 songs of the films, 6 singers were used The Lyricist was D N Madhok. Both Khurshid Anwar and his brother Sultan Ahmed did not have good opinion of Madhok. They thought that Madhok sold his tunes to other composers. Khurshid ji had good relations with the director J K Nanda.

Let us now enjoy this Gem from film Ishara-43,sung by Gauhar Sultana of Lucknow…

(Note: My thanks to Harish Raghuvanshi ji,Dr, Surjit singh ji,Cineplot,Mazhar site, upperstall and saadat hasan manto)


Song-Shabnam kyun neer bahaaye (Ishaara)(1943) Singer-Gauhar Sultana, Lyrics- D N Madhok, MD- Khursheed Anwar

Lyrics

Shabnam kyun neer bahaaye
shabnam kyun neer bahaaye
duniyaa soye ae ae
aur ye roye jaaye
shabnam kyun neer bahaaye

jaise nirdhan ke rone par
jaise nirdhan ke rone par
hansae hai dhanvaan
waise shabnam ke rone par
waise shabnam ke rone par
kaliyon ki muskaan
shabnam roye ae ae
kaliyon kaa munh dhoye

apni jaan ganvaa kar pagli
jag mein phool khilaaye ae
apni jaan ganvaa kar pagli
jag mein phool khilaaye
shabnam kyun neer bahaaye
shabnam kyun neer bahaaye

moorakh hain jo chaar ghadi ke
moorakh hain jo chaar ghadi ke
jeevan par itraate hain
hanste phoolon ko dekho jo
hanste phoolon ko dekho jo
khilte hi murjhaate hain
shabanam roye ae ae
moorakh gaafil soye

ro-ro ke shabnam is jhoothe
jag kaa bhed bataaye
ro-ro ke shabnam is jhoothe
jag kaa bhed bataaye
shabnam kyun neer bahaaye
shabnam kyun neer bahaaye


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 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.

I had heard the name of the film ‘Rangeen Raaten’ (1956) for the first time in my friend’s house some time in 1971 where some of us used to assemble for listening to his collections of some rare Hindi film songs. My friend would stack a few 78 RPM gramophone records of rare songs on his Gerrad Record Changer and we would listen to those songs one by one with some discussion on the songs and the films. One of the songs through which I came to know about the film was bahut aasaan hai chilman se lagakar muskuraana.

Four decades later, I watched this movie on YT. The film was produced under the banner of Ambitious Pictures and was directed by Kidar Sharma. The cast included Shammi Kapoor, Geeta Bali, Mala Sinha, Chand Usmani, Rohit Tony, Pesi Patel, Nazira, Tuntun etc. The sloppy screen play marred the otherwise very interesting story revolving around human trafficking. The surprising element in this film was that for the first time in Hindi film, a full length male character was performed by a female actor and the honour went to Geeta Bali in the role of Gulu, brother of Mala (Mala Sinha). However, it was not a novelty for the Indian Cinema as M S Subbulakshmi had earlier performed the role of Narad in a Tamil film ‘Savithri’ (1941).

I watched the VCD of the film in 2-3 instalments as it was difficult to watch this slow moving film in one go. At some places there were breaks in the continuity of the story, probably due to the reckless editing of the film while converting it into a VCD. The film was extensively shot in and around Ranikhet, a hill station in Kumaon region of Uttarakhand. A couple of local folk songs find place in the film which have been used in place of background music. Ranikhet is one of my favourite hill stations and watching this film gave me an opportunity to see as to how it looked in the 50s.

Despite some excellent folk tune based songs composed by Roshan, the film failed at the box office and with that the songs were forgotten. Apart from the poor screen play and perhaps editing, I guess the other important factor for the film’s failure could be the inability of the audience to appreciate the male role performed by Geeta Bali. I have not understood as to why Kidar Sharma took Geeta Bali for a male role. In some places, it is mentioned that Geeta Bali was keen to work with Shammi Kapoor when Kidar Sharma had already signed a contract with Mala Sinha as lead actress. So in order to accommodate her in the film he offered her the role of Gulu, brother of Mala (Mala Sinha). If it is true, this is a ridiculous decision for accommodating an actress of the caliber of Geeta Bali. Anyway, though the film failed, there was a positive development. During the shooting of the film in Ranikhet, Shammi Kapoor fell in love with Geeta Bali and after about four months, they got married in a small temple in Banganga on August 24, 1955 in South Bombay (Mumbai).

So far, 5 songs (out of 8) from the film ‘Rangeen Raaten’ (1956) have been discussed in the Blog. Here is the 6th song ‘sakhi hamro atal suhaag Shyam sapne mein aaye’ sung by Lata Mangeshkar on the lyrics of Kidar Sharma. The highlight of this song is the imagery of Meerabai-Krishna devotion being used in the lyrics for a similar situation in the life of Mala’s (Mala Sinha). The song is picturised on Chand Usmani. Note a verse in the song ‘Meera ki ankhiyon mein do aansoo sharmaaye’. Generally, the downward glance of eyes is taken as the symbol of shyness. But here Kidar Sharma taking a poetic liberty makes two drops of tears from the eyes of Meera to signify the feeling of shyness.

The melodious rendition by Lata Mangeshkar on a harmonious music composition of Roshan adds lustre to the beautiful lyrics.


Song-Sakhi hamro atal suhaag (Rangeen Raaten)(1956) Singer-Lata, Lyrics-Kidar Sharma, MD-Roshan

Lyrics

sakhi hamro atal suhaag
Shyam sapne mein aaye
dekho hamre jaage bhaag
sakhi hum un sang byaahe

na to baaja dhol
na hi shehnaai baaji
na to baaja dhol
na hi shehnaai baaji
Mohan ki baansuriya pe main aap hi naachi
main naachi
wo dekh dekh ankhiyaan bhar laaye
main naachi
wo dekh dekh akhiyaan bhar laaye
bhakton ke bhagwaan ne uthh kar pair dabaaye ae
Shyaam sapne mein aaye
sakhi hamro atal suhaag
Shyam sapne mein aaye
dekho hamre jaage bhaag
sakhi hum un sang byaahe

mand mand muskaayin sakhi kaliyaan madhuban ki
mand mand muskaayin sakhi kaliyaan madhuban ki
laaj se jhuk gaye nain
umangen naachi man ki
Giridharlal ka byaah rachaa
taare muskaaye
Giridharlal ka byaah rachaa
taare muskaaye
Meera ki ankhiyon mein do aansoo sharmaaye ae
Shyam sapne mein aaye
sakhi hamro atal suhaag
Shyam sapne mein aaye
dekho hamre jaage bhaag
sakhi hum un sang byaahe


This article is written by Ava Suri, 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.

In 1980, I was in Delhi, fresh out of college, working for a firm that manufactured car parts. I stayed with my Aunt in Delhi, the rest of my family being elsewhere. My cousins were BIG music afficionados. They could sing beautifully and had an excellent taste in music.

I already loved the film music of 50s and 60s, so I was also well grounded in my musical tastes. My cousins helped me break out of my Lata/Asha/Rafi/
Kishore mould and develop a taste for singers like Talat, Manna Dey, Begam Akhtar, Kumar Gandharva, Bhimsen Joshi and of course, Jagmohan.

Music Cassettes were just getting popular and I would love to browse in music shops for them. It was a low paying job (Sigh – Story of my Life) and I could not afford to buy a stack of cassettes. But even buying one or two gave me great happiness. I would bring home the cassette and my cousins and I would listen to the tape after dinner, in the silence of the night. There was no television in my Aunt’s house then, hence no distraction.

I had a couple of Talat tapes with me, one was called In a Blue Mood, and the other was called Ghazals to Remember . I was totally under the spell of his silken voice and nothing soothed me as much as an evening spent listening to Talat songs. This Cassette had a song ‘Ae andalib-e-zar’ which I liked particularly.

Andaleeb means Nightingale and Zaar means a Garden and also tears. The poet is asking the Nightingale of the Garden (or Tears) why she is restless. Is it because the Spring is on the wane?

As is the case with all of us music lovers, life overtakes us. I got married and got busy minding my children. For a long long long time, I had no time for anything but my job, my home and my children. I forgot to read, to listen to music, to watch movies. Now that the children are grown up and I am no longer constrained by the ghar-griahasti, being single again, I have time to pursue my interests.

I hunted out this song when its memory hit me all of a sudden one day. YouTube is useful for people of all tastes, and yes, some good souls had uploaded this song as well. I found the song as magical as ever.

During the Anniversary celebrations of this blog, when all the members were being so delightfully introduced (or re-introduced), I read about Khyatiben’s husband being very fond of Talat NFS. This song sprang immediately to my mind and I decided it was time to write it up.

Here is the song. Sung by Talat Mahmood, Music is by Girin Chakrabarty and the lyrics by Raj Meerti. The lyrics are really beautiful, the tune is simple and soulful, Talat spreads the silken web of his voice all over the song.


Song-Ae andleeb e zaar jaane ko hai bahaar (Talat Mehmood NFS)(1950) Singer-Talat Mehmood, Lyrics-Raj Meerty, MD-Girin Chakraborty

Lyrics

Ae andleeb-e-zaar
jaane ko hai bahaar
ae andaleeb-e-zaar
jaane ko hai bahaar
tu kyun hai bekaraar
bata kyun hai bekaraar
tu kyun hai bekaraar
bata kyun hai bekaraar
ae andleeb-e-zaar

is gulsitaan ko dekh
us baaghbaan ko dekh
is gulsitaan ko dekh
tu mujh ko dekh
aur gham-e-do-jahaan ko dekh
tu mujh ko dekh
aur gham-e-do-jahaan ko dekh
main bhi hoon ashqbaar
jo tu hai jigar figaar
jaane ko hai bahaar

ye teri aarzoo
ye teri aarzoo
kitni hai khoobroo
ye teri aarzoo
khwaabon mein bhi jise
hai usi gul ki justajoo
khwaabon mein bhi jise
hai usi gul ki justajoo
aankhon mein jiski baad-e-ulfat ka ho khumaar
jaane ko hai bahaar
ae andaleeb-e-zaar
jaane ko hai bahaar


This article is written by Bharat Upadhyay, 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.

============
Genius of Jaidev
============
Gaman (1979) was produced and directed by Muzaffar Ali and had star cast consisting Farooq Shaikh, Jalal Agha, Nana Patekar, Smita Patil, Gita Siddharth, Satish Shah etc., with lyrics by Shahryar and music by Jaidev. In his unique style Jaidev used new voices, not usually used by other MDs. Chhaya Ganguli got her first break as a film playback singer with her award winning song ‘Aap Ki Yaad Aati Rahi Raat Bhar’ in film ‘Gaman’. Other voices used in the film ware Classical Singer Hiradevi Mishra, Hariharan, Suresh Wadkar etc.

‘Shahryar’ with the pen-name of Akhlaq Mohammad Khan (16 June 1936 – 13 February 2012), was born at Aonla, Bareilly to a Muslim Rajput family. In 1987,he was awarded the Sahitya Akademi Award in Urdu, and in 2008 he won the Jnanpith Award, the highest literary award and only the fourth Urdu poet to win the award. He has been widely acknowledged as the finest exponent of modern Urdu poetry. He retired as the head of Urdu Department at the Aligarh Muslim University, and thereafter he remained sought after name in ,mushaira, or poetic gatherings. Shahryar wrote lyrics for select films. Muzaffar Ali and Shahryar were friends from their student days and when Ali made his directorial debut with ‘Gaman’ he invited Shahryar to write songs for the film. He also wrote for Yash Chopra’s film ‘Faasle’, and it is said that thereafter Chopra offered him three more films to write for, but he refused as he did not want to become a “song shop”. It was a different case though, with friend Muzaffar Ali, and he wrote for all of his films, ‘Umrao Jaan’, ‘Anjuman’ and unfinished ‘Zooni’and ‘Daaman’. His last film lyrics ware for Mira Nair’s ‘The Namesake’.

I do not know much about Hira Devi Mishra. She was a classical singer from Banaras and had settled in Mumbai in her later years, with her daughter who was a katthak dancer. It will be a great pleasure for me, if some knowledgeable ‘Atulite’ may throw some light on the life of this superb singer of yesteryears.

The song based on Raga Bhairavi, is a title song for this classic film and am sure will please the listeners immensely. Shahryar modified this traditional ‘bandish’ to suit the situation in the film.


Song-Ras ke bhare tore nain (Gaman)(1979) Singer-Hiradevi Mishra, Lyrics- Shahryar, MD-Jaidev

Lyrics

arre pathik giridhari tu itni kahiyo ter
drig jhar laayee raadhika aa
ab brij bhoolat pher

aa ja sanvariya
tohe garwa laga loon
aa aa ja sanvariya aa
tohe garwa laga loon
ras ke bhare tore nain
sanvariya
ras ke bhare tore nain

ras ke bhare tore nain
ras ke bhare tore nain sanvariya
ras ke bhare tore nain
sanvariya
ras ke bhare tore nain

ras ke bhare tore nain sanvariya
ras ke bhare tore nain sanvariya
ras ke bhare tore nain sanvariya
ras ke bhare tore nain sanvariya
ras ke bhare tore nain
sanvariya
ras ke bhare tore nain

jehi chitavat tehi bas karee raakhat
jehi chitavat tehi bas karee raakhat
bas karee raakhat
bas karee raakhat
naaheen pade maika chain sanvariya
naaheen pade maika chain sanvariya
naaheen pade maika chain sanvariya
naaheen pade maika chain sanvariya
ras ke bhare tore nain
sanvariya
ras ke bhare tore nain

aa ja sanvariya aa aa
tohe ae garwa laga loon
aa aa ja sanvariya
tohe
tohe garwa laga loon
ras ke bhare tore nain
sanvariya
ras ke bhare tore nain
sanvariya
ras ke bhare tore nain


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.

It occurs to me today that. . we are today reaching that point in time when this world has been bereft of Rafi Sb’s physical presence now, for almost that duration of time that this world was blessed and more complete with his presence as a singer known to the listeners. For an active career that lasted about three and a half decades, it is now about the same amount of time that he has not been with us. And his legacy grows stronger.

Remembering Rafi Sb on the anniversary of his passing away today (31st July).

Starting with mid 1940s, the formlessness of his voice provided the substance and the life breath to many generations of artists and actors till the fateful day in 1980 when he passed from this world, quiet unexpectedly and very much in the prime of his art. Barely fifty five years of age, it was not be that he would spend more time on this earth with us. A duration of life in which he bequeathed approximately five thousand gems of his voice that are a treasure that is peerless in ways more than one.

Rafi Sb is so well known for his art. But in the industry, and in society, he is equally well known for his heart. And probably more so. A person for whom human values were paramount, a person whose kindness and empathy is now a legend. And not just in his line of work – there are so many people, especially music directors of the lower rungs in the industry, who narrate incidents wherein Rafi Sb recorded songs for their music, free or for very very nominal amounts. It is true for his life, across all spheres of interaction. This day, 34 years ago, it was about 9 am when he felt uneasiness and slight pain in his chest. It was decided to take him to the hospital. His children have stated – one of the last things he communicated to his wife was, please make sure that no one ever leaves empty handed from the door of the Rafi household. A short communication that summarizes the life and personality of this great artist and even a greater human being.

In our belief system, it is said that the sound is forever. It never dies; just dissipates into the wider space and exists. The voice of Rafi Sb is a beacon that will shine for generations to come. My intuition is, as the waves rise and they fall, as the seasons change and cycle back, the music from the golden era of Hindi films will regain its old glory and new popularity.

It has to. Gold never goes out of fashion.

In memory, I present today a very lovely and endearing non film song sung by Rafi Sb. As I tried to check for the details of this song, the only one place I found some details is the giant excel file that has been compiled by Muveen Bhai. As per this source, this song is both written and composed by Shyam Sharma, a name I am not too familiar with. I checked our blog and find his name mentioned as the music director for another NFS song by Suman Kalyanpur – “Nand Nandan Bilmaai, Badraa Ne Gheri Maai Maai Ri” (http://atulsongaday.me/2013/01/28/nand-nandan-bilmaai/).

Although it does not contain any direct references, this song is also in the Radha-Krsna tradition. It is the time after He has left for Mathura, and Radha ji is waiting and pining, for he has promised that he will be back in ‘two days’. The words are exquisite;

vyaakul jiyaraa, jaise diyaraa

my restless, impatient heart
is like the burning lamp

nainon ke panghat par palchhin
ansuwan haar piroti birhan

at the wellspring of these eyes
sitting and waiting in sadness
stringing garlands
from the pearls of my tears

As I listened again today, to this wonderful memory of radio days, for the first time the meaning of the phrase ‘ansuwan haar’ literally ‘a garland of tears’, struck me like lightning. As she waits, her eyes are flowing so much that the neck and chest are all moist with tears. And that is where a garland rests, in the neck and on the chest. I am so taken in by the analogy. I had heard this in many other songs also earlier, but never caught on to this significant connect.

A lovely song, that is so lovingly rendered by Rafi Sb. A song that continues to play softly in the mind even after it is over. We know that the travelers of hereafter do never return. But still, “. . .teri baat nihaaren”.


Song-Paagal naina sagri raina teri baat nihaare (Rafi NFS)(1960) Singer-Rafi, Lyrics-Shyam Sharma, MD-Shyam Sharma

Lyrics

aaaa aaaaa aaaaa
paagal nainaa. . .
paagal nainaa
sagri rainaa
teri baat nihaare
nihaare ae
paagal nainaa
sagri rainaa
aa ja re nirmohi ab to
soone mann ke dwaare. . ae ae ae
paagal nainaa
sagri rainaa

sharad suhaavan
agan lagaaye
pran papihaa
ratan lagaaye
vyaakul jiyaraa
jaise diyaraa
jal kar aap jalaa re
jal kar aap jalaa re ae ae
paagal nainaa
sagri rainaa

nainon ke panghat par palchhin
ansuwan haar piroti birhan
tujh bin tarse
manwaa tadpe
nis din saanjh sakhaare
nis din saanjh sakhaare . . ae ae
paagal nainaa
sagri rainaa
teri baat nihaare
nihaare ae
paagal nainaa
sagri rainaa

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

आss आsss आs आs
पागल नैना
पागल नैना
सगरी रैना
तेरी बाट निहारे
निहारे ए
पागल नैना
सगरी रैना
आ जा रे निर्मोही अब तो
सूने मन के द्वारे ॰ ॰ ए ए
पागल नैना
सगरी रैना

शरद सुहावन
अगन लगाए
प्राण पपीहा
रटन लगाए
व्याकुल जियरा
जैसे दियरा
जल कर आप जला रे
जल कर आप जला रे॰ ॰ ए ए
पागल नैना
सगरी रैना

नैनों के पनघट पर पल छि्न
अंसुवन हार पिरोती बिरहन
तुझ बिन तरसे
मनवा तड़पे
निस दिन साँझ सकारे
निस दिन साँझ सकारे ॰ ॰ ए ए
पागल नैना
सगरी रैना
तेरी बाट निहारे
निहारे ए
पागल नैना
सगरी रैना


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.

A voice that knew no boundaries, knows no boundaries. A voice that spans the entire spectrum of octave range that the music directors dream of. A voice that displays limitless possibilities of emotions and colors. A voice that is alive and true to the very essence of the on screen scenario every moment. A voice such as his can only be explained in terms of a Divine intervention. The voice that is the voice of every performer he sang for. The voice that is Mohammed Rafi – matchless and inimitable.

Remembering Rafi Sb on the anniversary of his passing away today -31st July.

When the young man from Punjab, whose voice was fascinating music directors, came to Bombay, he did have his initial foray into the world of on screen appearances. Brief cameos happened in films ‘Laila Majnu’ (1945) and then in ‘Jugnu’ and ‘Samaaj Ko Badal Daalo’, both in 1947. But when the songs of ‘Jugnu’ and ‘Shaheed’ (1948) and ‘Mela’ (1948) hit the screens, and gained popularity, it was a judicious choice that Rafi Sb made, to continue in the industry as a singer. Judicious I say, because the other examples we see in the industry; artists with singing as their core strength, continued to try their hand at being leading men on screen, did not quite fare so well in their careers as singing stars.

In 1946, Rafi, relatively a novice in the industry as yet, got the famous and fortunate opportunity to sing along with Saigal Sb in the song “Roohi Roohi Roohi Mere Sapnon Ki Rani” in the film ‘Shahjehan’. However, this was not the first time he had met the great singer. His first meeting with Saigal Sb was actually about a decade earlier. He was all of just 12 or 13 years of age then. Since childhood, he was known to be an excellent singer in his family. Sometimes when he used to accompany his elder brother Hamid, to their family shop, he would sit there and sing, much to the delight of the customers and passersby. Hamid was well aware of the talent his younger brother displayed. He would encourage him and made many efforts to get him trained under renowned masters – names like Bade Ghulam Ali Khan, Feroze Nizami (then associated with the All India Radio station at Delhi), and Jeevan Lal Matoo. Whenever there used to be any music program of renowned artists arranged in Lahore and nearby towns, Hamid Bhai would take his younger brother along to listen and learn.

A musical evening was organized in Lahore. The main attraction of the program was Saigal Sb. The crowds had gathered in advance – it was not a program in a hall, but arranged in an open ground. Just a little while before Saigal Sb was to arrive, the sound system arranged for the program, broke down. The crowds got restive when they realized that the loudspeakers were not working. And the organizers, including Hamid Bhai, were at their wits ends on how to manage the ire of the audience. The loudspeaker system would take at least half hour to repair. In the midst of all the clamor of the audience and the confusion back stage, Hamid Bhai got Rafi on stage, and simply asked him to sing. The sight of this sprightly barely-teenager at first seemed to add fire to the irate crowd. But when his voice came down slicing through the din, it captured the attention of every set of ears on the ground that evening, and the din slowly subsided. People slowly fell silent as they were caught unaware by this engaging voice of a child barely in his teens, singing to a crowd in an open ground, sans any mike and loudspeakers. By the time the sound systems was repaired and it was time for the regular program to start, Saigal Sb had already arrived, and had listened to the singing of young Rafi. After the program, he specially called for the child, hugged him, and gave him his blessings – to be a great singer when he grows up. The magic of that evening and the blessings of the great one, himself gifted with Divine endowment was to ring in true in the life of this gifted child.

The song I present today is a gem of melancholia, one of the many genres that Rafi Sb has rendered with impeccable involvement. The film is ‘Namaste ji’ from 1965. The lyrics for this peerless creation are by Anand Bakshi, and the music composition is by GS Kohli. And the voice – that is a wonder unto itself, and an everlasting succor for the listeners.

Listen and enjoy.


Song-Hamen kya jo har su ujaale huye hain (Namaste Ji)(1965) singer-Rafi, Lyrics-Anand Bakshi, MD-G S Kohli

Lyrics

hamen kya jo har su
hamen kya jo har su
ujaale huye hain aen
hamen kya jo har su
ujaale huye hain aen
ke hum to andheron ke
paale huye hain aen
ke hum to andheron ke
hamen kya jo har su
ujaale huye hain aen
ke hum to andheron ke
paale huye hain aen
ke hum to andheron ke

bahaaron ne jaane
kahaan phool baante
hamaare chaman mein
khile sirf kaante
hamaare chaman mein
khile sirf kaante ae
ye insaaf bhi kya
niraale huye hain aen
ke hum to andheron ke
paale huye hain aen
ke hum to andheron ke

kisi aur ka dil
jo yoon toot jaata
to shaayad khuda se bhi
wo roothh jaata
to shaayad khuda se bhi
wo roothh jaata
hamin hain jo ye gham
sambhaale huye hain aen
ke hum to andheron ke
paale huye hain aen
ke hum to andheron ke

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

हमें क्या जो हर सु
हमें क्या जो हर सु
उजाले हुये हैं
हमें क्या जो हर सु
उजाले हुये हैं
के हम तो अँधेरों के
पाले हुये हैं
के हम तो अँधेरों के
हमें क्या जो हर सु
उजाले हुये हैं
के हम तो अँधेरों के
पाले हुये हैं
के हम तो अँधेरों के

बहारों ने जाने कहाँ फूल बांटे
हमारे चमन में
खिले सिर्फ कांटे
हमारे चमन में
खिले सिर्फ कांटे
ये इंसाफ भी क्या
निराले हुये हैं
के हम तो अँधेरों के
पाले हुये हैं
के हम तो अँधेरों के

किसी और का दिल
जो यूं टूट जाता
तो शायद खुदा से भी
वो रूठ जाता
तो शायद खुदा से भी
वो रूठ जाता
हमीं हैं जो ये ग़म
संभाले हुये हैं
के हम तो अँधेरों के
पाले हुये हैं
के हम तो अँधेरों के


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today we remember Mohd Rafi Saab – the ‘divine and soulful voice’, on his anniversary!!
My tributes to this great great great voice, a gentleman, and a humble human being, as he is known to all- Shri.Mohd Rafi Saab !

While I was working on finding the songs of ‘Pancham-Rafi Jodi’ since last nine/ten months so far and reading various posts/articles on our blog, I read some posts which mention about the so called ‘lean period’ (1971 to 1976 (or 1974?) of Rafi Saab where the quantity of Songs sung by him is said to be decreased.
For anyone of us it is hard to believe that something of this sort was possible!

Now this so called ‘weak period’ of Rafi Saab’s is cited from 1971 to 1976 so far. And it is said that he made a comeback in 1976 with Laila Majnu. (Whereas some people think he had already made a comeback with ‘teri galiyon mein na rakhenge kadam’ for Hawas in 1974)

What was going through my mind was when did it would have been actually started from? – The decline! Or the weak period for Rafi Saab!

Does the decline started with Rafi Saab singing one song for some movies and that too with the Music Directors whom he already had some great work done earlier and with whom he had a longer association so far?

Some songs easily come to my mind e.g. 1971 Haathi Mere Saathi – he got that ‘nafrat ki duniya ko chhodkar’ (which left everybody watching the movie with tears in their eyes) (HMS ranked at the TOP at the BO that year).
Music for Haathi Mere Saathi was by Laxmikant Pyarelal who has been so far given many hit numbers of Rafi Saab.
Then ‘Abhimaan’ in 1973 where Sachin Da composed the music and Rafi Saab had only one duet with Lata in that film.(Abhimaan ranked 18th at BO)

This is just my estimation and we cannot really judge what would be the circumstances then.
Similar thing must have been happened with other Singers also (and some of these types of songs must have been posted on our blog too).

Take this example of ‘Mehboob Ki Mehendi’ in 1971 where Rafi Saab had 03 solos and one duet, while Kishore Kumar the voice in demand had only one solo. (This movie wasranked 24th at the Box Office)
This was the peak time for Kishore Kumar in those years.

What I can conclude is that Rafi Saab was very much there and he also had sung a good number of songs then, only the films he sung with either performed badly or were in non-Rajesh Khanna movie.

May be, but Rafi Saab continued to give us memorable song till he was there. And I have come across some very good songs from this period up to 1980 which I have noted and which I will share in future.

While this was going through my mind, there was this song in the program ‘Rangoli’ on Doordarshan.

‘Zamaane ki aankhon ne dekha hain yaaron’ …

As I go through this meaningful song the lines repeatedly came back to me and symbolically I start to relate this song with Rafi Saab’s going through that phase at that time ….

This is from the 1972 film ‘Ek Baar Muskura Do’.
Songs sung by Kishore Kumar from this movie were very popular and we are aware of them. Now what about other songs from the movie?

The film had total 07 songs, out which Kishore Kumar had four songs – 03 solos and one duet with Asha Bhonsle. Mukesh had two songs – 01 solo and 01 duet with Asha Bhonsle.

Rafi Saab had one song!!

With O.P.Nayyar being the music director and Rafi Saab singing just one song!
How many such songs are there?
Many of them, I think, have already been posted and we shall be discussing the balance in the days to come;

Till then let us enjoy this composition of O.P.Nayyar Saab, where the beautiful verses are penned by S.H.Bihari and soulfully rendered by Rafi Saab.

Incidentally in the film this song transforms the hero Deb Mukerji to a rich and famous ‘kalaakar/sangeetkar (as he is referred to in the film) – Kumar Saab from a ‘mamooli’ aadmi and gaanewaala Dilip.

Atul’s note: This is the eighth and final song from “Ek Baar Muskura Do” (1972) to appear in the blog. With this song, this movie joins the list of movies that have all their songs covered in the blog.


Song-Zamaane ki aankhon ne dekha hai yaaron (Ek Baar Muskura Do)(1972) Singer-Rafi, Lyrics-S H Bihari, MD-O P Nayyar
chorus

Lyrics

Nafrat se jinhe tum dekhte ho
tum maarte ho jinko thokar
kya un pe guzarti hai dekho
ek baar kabhi ghaayal ho kar

zamaane ki aankhon ne dekha hai yaaron
zamaane ki aankhon ne dekha hai yaaron
sadaa apni duniya mein aisa nazaaraa
kabhi unko phoolon se pooja hai sabne
kabhi unko phoolon se pooja hai sabne
kabhi jinko logon ne
patthar se maara
zamaane ki aankhon ne dekha hain yaaron

pise na jahaan tak patthar pe mehendi
kisi bhi tarah rang laati nahin hain
hazaaron jagah thokaren kha na le jab tak
koyee zindagi muskuraati nahin hai
bina khud mare kisko jannat mili hai
bina khud mare kisko jannat mili hai
bina dukh sahe kisne
jeewan sanwaaraa
zamaane ki aankhon ne dekha hai yaaron

bhanwar se jo ghabra ke peechhe hate hain
dubo di hai maujon ne unki hi naiyaa
dubo di hai maujon ne unki hi naiyaa
jo toofaan se takra ke aage badhe hain
jo toofaan se takra ke aage badhe hain
bina koyee maanjhi bina hi khivaiyya
kabhi na kabhi to kahin na kahin par
kabhi na kabhi to kahin na kahin par
hamesha hi unko
milaa hai kinaaraa
zamaane ki aankhon ne dekha hain yaaron

yahaan aadmi ko sabak dosti ka
sikhaate huye jo lahu me nahaaya
maseehaa banaa aur Gaandhi banaa wo
hazaaron dilon mein yahaan ghar banaaya
unhi ki bani hai yahaan yaadgaarein
unhi ki bani hai yahaan yaadgaarein
unhi ka jahaan mein
chamka sitaaraa
zamaane ki aankhon ne dekha hai yaaron

————————————————————
Devnagari Script Lyrics (Provided by Avinash Scrapwala)
———————————-
नफरत से जिन्हें तुम देखते हो
तुम मारते हो जिनको ठोकर
क्या उन पे गुज़रती हैं देखो
एक बार कभी घायल हो कर

ज़माने क़ी आँखों ने देखा हैं यारों
ज़माने क़ी आँखों ने देखा हैं यारों
सदा अपनी दुनिया में ऐसा नज़ारा
कभी उनको फूलों से पूजा है सबने
कभी उनको फूलों से पूजा है सबने
कभी जिनको लोगों ने
पत्थर से मारा
ज़माने क़ी आँखों ने देखा हैं यारों

पिसे न जहां तक पत्थर पे मेहँदी
किसी भी तरह रंग लाती नहीं हैं
हज़ारों जगह ठोकरें खा न ले जब
कोई जिंदगी मुस्कुराती नहीं हैं
बिना खुद मरे किसको जन्नत मिली हैं
बिना खुद मरे किसको जन्नत मिली हैं
बिना खुद सहे किसने
जीवन सँवारा
ज़माने क़ी आँखों ने देखा हैं यारों

भंवर से जो घबरा के पीछे हटे हैं
डुबो दी हैं मौजों ने उनकी ही नैय्या
डुबो दी हैं मौजों ने उनकी ही नैय्या
जो तूफ़ान से टकरा के आगे बढे हैं
जो तूफ़ान से टकरा के आगे बढे हैं
बिना कोई मांझी बिना ही खिवैय्या
कभी न कभी तो कहीं न कहीं पर
कभी न कभी तो कहीं न कहीं पर
हमेशा ही उनको
मिला है किनारा
ज़माने क़ी आँखों ने देखा हैं यारों

यहाँ आदमी कों सबक दोस्ती का
सिखाते हुए जो लहू में नहाया
मसीहा बना और गांधी बना वो
हज़ारों दिलों में यहाँ घर बनाया
उन्ही क़ी बनी हैं यहाँ यादगारें
उन्ही क़ी बनी हैं यहाँ यादगारें
उन्ही का जहाँ में
चमका सितारा
ज़माने क़ी आँखों ने देखा हैं यारों


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 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.

GEMS FROM THE MIGRATORS…song no. 5
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So far, I have done 16 series here. This is the 17th series. Writing for a series is not an easy job.It not only requires lot of spade work,but also requires a continuous flow,avoiding a long gap between 2 posts,lest the tempo is lost. When I start a series,I am always in lot of tension till it is completed successfully. Every series is a new beginning for me. In spite of all this (and the ensuing allegations of ” neglect ” from the family ) I enjoy doing this work. There are many Blogs on internet which do posts on theme like ” Cycle songs”, Motor songs” or Sawan songs etc. I have always felt that Atul ji’s Blog is not an ordinary one and it must have real specially made exclusive topics for series I could do these posts,because Atul ji has always helped me with the Lyrics and has encouraged me always. Thanks Atul ji.

Talking about Partition and Migration of composers, many MDs left some films half complete and later on other composers had to do the balance songs. Some of the films they did here remained unreleased and few were released much later,after they migrated. However most composers were diligent and completed their work before migrating..

Today we will talk about ” Babaji ” or GUHLAM AHMED CHISTI aka G.A.Chisti. he was known as babaji in the industry because of his simple and good nature.However,at the end of his life,he lived a life of a Fakir.

Born in 1905 in a village Gana Chor, near Jallundhar, Punjab, he was music oriented from childhood. He met Agha Hashr Kashmiri, who employed him as assistant at Rs.50 p.m. Chisti learnt music and writing from him ( he is believed to have written 12 film songs, later in his life). After Agha’s death, Chisti joined H.M.V. and recorded many NFS of Jaddan bai and Amirbai Karnataki. As a composer, his first 2 films were Punjabi-Deena duniya-36 and Sohni Mahiwal-38. His first hindi film was Raavi Talkies’,Punjab’s ” Paap ki duniya’-39. Then he went to Calcutta and worked as assistant to R.C.Boral for some time.

Famous producer/Director R C Talwar had good relations with Chisti and Chisti had composed music fro most of his films. After ‘Pardesi Dhola’-41(Punjabi), Talwar’s first hindi film was ” Khamoshi’-42. Then came Talwar’s Manchali-43,Shukriya-44 and Albeli-45. he also composed music for Kidar Sharma’s ‘Kaliyan’-44
One of the songs of film ‘Shukriya’-44,” Nainon ke teer” sung by Sunder was banned by Govt.,due to its vulgar lyrics.(This song is posted on this Blog). His other films were Zid,Yeh hai zindagi and jhoothi kasme. Chisti decided to migrate to Pakistan and left in 1949. films like ‘Do Baten’-49 (completed by K P Sen),Nai Bhabhi-50 and Jawani ki aag-51 (completed by Harbux singh) were released after his departure.

When Chishti went to Pakistan, he was welcomed there with open arms. He got many films. He became one of the topmost composers of independent Pakistan, becoming the First to cross the mark of 100 films-he composed music for 157 films, about 50 Urdu and the rest Punjabi among them. He was known as Babaji. After retirement,he lived a life of a Fakir. He died on 25-12-1995 at Lahore.

One of his films,” Sassi”- 40s ,remained incomplete in India, but he used the tune and song ” Na yeh chand hoga,na taare rahenge” in a film in Pakistan -named ‘Sassi’-in 1954. At the same time Hemant kumar too used this song/tune in his film Shart-54. We do not know who copied whom. Babaji was also credited with introducing a 9 year old Baby Noorjehan in a stage show in Lahore. he gave singing opportunities to many new singers of Pakistan and many of them became famous singers. When Pakistan won the Cricket World Cup in 1992, Babaji composed one song in honour of the team. ( Thanks to Shri Harish Raghuvanshi ji.)

Today’s song is from the film,” Khamoshi”-42 made by Talwar Production. R.C. or Raghbeer chand Talwar was born in Telgang in western Punjab(now in Pakistan),on 27-4-1910. He established Talwar productions in 1941 and made films like Khamoshi,Manchali,Albeli,Khiladi,Sangdil,Ilzam,Rukhsana.Mem sahib,Ek dil sau afsane and Naya kanoon-65.

The cast of film Khamoshi was Ramola, Gyani, Shyamsundar, Ramdulari, Sunder Singh, Amarnath etc.

Actress Ramola (real name- Rachel Cohen) was born in a Jew family in 1917. Her father Hayam Cohem was a school Teacher. later they shifted to Calcutta where she completed her matriculation and joined films. her first film was ‘ Graher fer’-38,a Bangla film. She did few small roles and then came ‘Khazanchi’-41 from Pancholi of Lahore. This changed her career and she became a popular actress. She did films like Masoom,Khamoshi manchali..almost 30 films.Initially,Ramola was a small actress.It was Jagdish Sethi who introduced her to director/lyricist/dialogue writer Kidar Sharma.

According to Kidar Sharma,
“She was smart and a charming young lady. Her only drawback was her height. She was not tall, but she had lofty ambitions. One day she came to see me and I promised I would personally take her to the director of her choice. She said, “I would like to be introduced to Mr. Nitin Bose, and no one else.” I took her to Mr. Bose, and was sure that her charm and talent would impress him.

Mr. Bose scanned her, from top to toe, while I praised her talent and her choice of a director, like Nitin Bose. After a long silence, Mr. Bose addressed me and said, “When you brought her to me, why did you forget to bring some bricks for her to stand on?” Poor Romola was hurt and heart-broken by this great director’s caustic remark. She quietly said, “Goodbye” and walked away from his office.

I followed her and found that she was in tears. ‘I was moved by the plight of a struggling youngster having high hopes, being ridiculed for something which nature was responsible for. I knew what it felt like to be ridiculed. I had experienced it often enough. I escorted her to the tram junction and there she bid me goodbye. To encourage her, I said, “Please, Romola, don’t be heart-broken. One day, when I become a director, you will be my first heroine, and we will prove to Mr. Bose and the world, what a great star you are.” Romola laughed and said,- “Poor Mr. Kidarnath, the dialogue-writer will never be a director and I will never be a heroine.” So saying, she jumped into the tram.”

However, Kidar Sharma kept his promise and cast her in his first film as director Aulad / Dil Hi Tou Hai (1939). Aulad/Dil Hi To hai was a down-to-earth story of a middle-class father, who had sacrificed all his life to educate his son and is darling daughter, hoping that they would be worthy children to the society and to the family. Little did the old man know that the generation gap would present a different, horrifying reality, which would destroy him completely. The modern college Miss, who destroys the dreams of her old father, the aged struggling middleclass man, was played by Ramola.

After the success of the film, Ramola got romantically involved with R.C. Talwar, Kidar Sharma’s assistant who later became a director in his own right. According to Kidar Sharma, “R.C. Talwar was a classmate and friend so I ignored his relationship with Ramola.”

Later Ramola appeared in many films including Qaidi, Khazanchi, Khamoshi, Swan Aya Re, Rim Jhim etc. After the arrival of new heroines including Madhubala, Nargis, Meena Kumari etc, Ramola’s career got eclipsed and she bid farewell to her film career. Her last 3 films Actor, Jawani Ki Aag and Stage were released in 1951.” (Thanks to Cineplot).

The lyricist of Khamoshi was Himmatrai Sharma who was Kidar Sharma’s youger brother. he was one of the 3 surviving siblings out of 10. They had a sister called Guro. Though Himmatrai wrote lyrics for few films,likeKhamoshi,Jogan,Shokhiyan,Chhora Chhori,Jaldeep etc,he was a famous Urdu Poet in his own right. His 2 books, “Mian Azad filmi duniya mein” and “Mian Azad Siyasat ke maidan mein” were very famous. These were written as a sequel to original book “Mian Azad” by Pt.Ratan nath Sarashar.

Today’s song is sung by Ramola and Sunder Singh. he is the same comedian Sunder, who was a leading man in many early films. Born in Sialkot in Punjab (now in Pakistan), his first film was Veer kesari-1938. After the film Shukriya-44 he shifted to comedy roles and was popular in several films in the 50s. He stopped singing after 1947.

Let us now enjoy this light hearted comedy song from “Khaamoshi” which is composed by Babaji G.A.Chisti.


Song-Chaandni hai mausam e barsaat hai (Khaamoshi)(1942) Singers-Ramola, Sundar, Lyrics-Himmatrai Sharma, MD-G A Chishti

Lyrics

chaandni hai
chaandni hai
mausam e barsaat hai
chaandni hai
mausam e barsaat hai
aao dear
aao dear
kyaa suhaani raat hai
aao dear
kyaa suhaani raat hai

tujhse milne ke liye
tujhse milne ke liye
hoon
beqaraar
aao seene se laga lo ek baar
aao seene se laga lo ek baar

mujhko seene se lagaate kyun nahin
mujhko seene se lagaate kyun nahin
haal e dil apna sunaate kyun nahin
haal e dil apna sunaate kyun nahin

kal to kehte thhe milenge raat ko
kal to kehte thhe milenge raat ko
ab hua kya hai tere jazbaat ko
ab hua kya hai tere jazbaat ko

haal e dil mujhse kaha jaata nahin
haal e dil mujhse kaha jaata nahin
bin kahe
mujhse raha jaata nahin
jaaneman ab lut chuki hai dil ki ship
jaaneman ab lut chuki hai dil ki ship
bhasm kar baithha hoon main
college ki fees
is museebat se chhuda sakti ho tum
is museebat se chhuda sakti ho tum
mujhko aafat se bacha sakti ho tum
mujhko aafat se bacha sakti ho tum

bhool jaao
chhod do is baat ko
bhool jaao
chhod do is baat ko
cheerio
phir kal milenge raat ko o


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

Amongst various phases that we go through in life, childhood, though the earliest of our conscious phases, usually manages to imprint some memories in our brain that seem to be indelible right through our life. We might forget what we had for lunch earlier today but we remember a seemingly inconsequential event that occurred when we were ten!

For many people, these childhood memories include films and music that they were exposed to at that time. Years later, they recall (usually) fondly these films and this music – often associating them with childhood events. Success or otherwise of these films or music is immaterial – what matters is that they were part of the person’s growing up years.

For me, those years would be, say, from 1969 – 1981.

In 1981, things changed in my life – and probably changed me too a bit. I remember Love Story, Rocky and Ek Duuje Ke Liye being released in 1981. All of these films turned out to be huge hits – and their songs were a rage on radio every day. I listened to them – but could not muster any interest in the films themselves. A bunch of new actors for the Hindi film industry – all heavily promoted – and here I was, totally indifferent. Yes, for me, personally, 1981 marked the end of an era.

The start of the era was probably 1969. I have a few memories of pre-1969 but they are rather hazy , so I will not set the marker for before this year. I do remember 1969 though – Aradhana’s popularity is a clear memory though at that time I did not know it was 1969. Another clear memory is the death of President Zakir Hussain and it being declared a school holiday. Later I realized it was 1969.

I remember seeing an issue of Madhuri magazine in 1970. In our family we did not subscribe to film magazines but our neighbour did. I happened to be at their place and chanced on the magazine. The main story was about the top three heroines of the time, with their pictures.

They were Sharmila Tagore, Asha Parekh and Waheeda Rehman.

I remember this as if it were yesterday.

Of course these were the big names at that particular moment, especially after Aradhana and Kati Patang for Sharmila and Asha respectively. I’d guess Waheeda would have in the top 3 for much of the 60s, and even in 1970, she produced an outstanding performance in Khamoshi.

But I reckon, if a similar top-3 had been produced 2-3 years later, a different name might have made it to the list.

Mumtaz.

Today is Mumtaz’s birthday (or birth anniversary as some prefer to refer to the day).

So this post is dedicated to her, as we, in this blog, wish her a very happy birthday.

Personally, I’d like to thank Mumtaz (or Mumu as she is fondly called by her fans) for many of my fond childhood film memories.

“Dekho dekho dekho, bioscope dekho…Dilli ka Qutub Minar dekho, Bambai sheher ki bahaar dekho, ye Agre ka hai Taj Mahal, ghar baithe saara sansaar dekho”.

This was Mumu in Dushman (1971). Even as she was singing this song on screen (Lata’s playback), a little boy was enthralled. That was me. ? This song got stuck in my head.

“Sun champa sun taara, koi jeeta koi haara”.

Mumu in Apna Desh (1972). Another song that enthralled me at the time and got stuck in my head.

During that period (1970-1975), I saw a number of Mumtaz movies. She was at the top of her career at the time and was extremely popular amongst the masses.
It is well-known that she and Rajesh Khanna enjoyed a terrific chemistry on screen. Many of their films became hits, many of them had songs featuring both of them, which are popular to this day. Songs like “chhup gaye saare nazaare” and “ye reshmi zulfein” (Do Raaste), “yunh hi tum mujh se baat karti ho” (Sacha Jhootha), “maine dekha tune dekha…dushman dushman jo doston se pyara hai” (Dushman), “kajra lagaa ke” and “duniya mein logon ko” (Apna Desh), “gore rang pe na itna gumaan kar” (Roti), “karvatein badalte rahen” and “jai jai Shiv Shankar” (Aap Ki Kasam) and “prem kahani mein” (Prem Kahani).

I saw all these movies during that 1970-75 period. And loved the Rajesh-Mumu pairing. But apart from these films, I also saw other Mumu films like Pardesi, Ek Nari Ek Brahmachari, Apradh, Hare Rama Hare Krishna, Tere Mere Sapne, Tangewala, Mela, Loafer and many more.

Yes, during that period, with the possible exception of Hema Malini, I don’t think I saw as many movies of any heroine as I saw of Mumtaz.

So to me, just like Rajesh Khanna was very much part of my early growing up years, so was Mumtaz.

Only later I got to know that it had not always been like this for Mumtaz.

I’d first known her when she’d already stepped into the big league. But well before that, she’d had many years of working her way up the ladder. She started when very young – for example, she can be seen in the famous “pankh hoti to ud aati re” sequence (Sehra-1963). Already by this time, she’d been acting for a few years. And this, for somebody, born in 1947.

Through the 1960s, Mumtaz worked as a heroine in B-movies (notably with Dara Singh, who was one of her favourite co-stars at the time and encouraged her a lot during that period).

When she wasn’t playing B-movie heroine, she was playing the secondary actress role in A movies – often wanting the hero, but not getting him, as in Aadmi Aur Insaan and Patthar Ke Sanam. Through the sixties, she could be seen in well-known films but not as the main heroine – films like Khandan, Sawan Ki Ghata, Humraaz, Brahmachari and Mere Sanam come to mind.

With V. Shantaram’s Boond Jo Ban Gaye Moti (1967) opposite Jeetendra and Ram Aur Shyam (1967) opposite Dilip Kumar, she made the transition to a different league – that of a lead actress in a non-B film.

Ram Aur Shyam (1967) became a huge hit. It had Dilip Kumar in a double role – one was paired opposite Waheeda Rehman, the other opposite Mumtaz. And though Waheeda Rehman had more screen time, Mumtaz had her moments too, with the popular “o baalam tere pyar ki thandi aag mein jalte jalte” picturised on her and Dilip Kumar.

From then on, things began looking up for her. Do Raaste (1969) was again a big hit. And for Khilona (1970) she even won a Filmfare award. After that, the lead roles began coming her way fairly comfortably. Once you are seen as a saleable star, producers line up at your doorstep.

So it was indeed quite a journey for Mumtaz. From being a starlet to becoming a star. It is to her credit that she persevered all the way. Some people (like Rajesh Khanna) achieve stardom very early in their careers – others have to work for years for it.

Mumtaz enjoyed her stardom years in the early 70s. But then, just when she was still very much on top, she got married and left the film industry in the mid-70s. She wrapped up her remaining assignments and settled abroad with her businessman husband. It was a Hindi film industry version of a Bjorn Borg retirement. ?

Anyway, now onto today’s song.

The song for today is from Khandan (1965).

The film was one of the biggest grossers of the year and its music became very popular. Ravi won a Filmfare Award for it, as did Sunil Dutt for his acting. While the heroine is Nutan, Mumtaz stars in the film as second lead opposite Sudesh Kumar, who plays Sunil Dutt’s brother.

The role Mumtaz plays is actually a negative one, where she and her brother, Pran, try to win over Sudesh Kumar and break his family, with the help of Lalita Pawar, who is the matriarch of the family.

It is a fun song that allows us to see Mumtaz dancing in her typical 1960s “western” style, reminiscent of her in “O meri maina” from Pyar Kiye Jaa. That Sudesh Kumar doesn’t seem to quite match up to Mumtaz in the dance, doesn’t detract from the fun of the song.

I hope you enjoy this song too – ao dance karein.
And once again, we wish Mumtaz a very happy birthday.


Song-Aa dance karein (Khaandaan)(1965) Singers-Asha Bhonsle, Rafi, Lyrics-Rajinder Krishan, MD-Ravi
Both

Lyrics

Aa dance karein
aa dance karein
thhoda romance karein
nazar nazar mein hua hai sauda
tere mere dil ka
O aa dance karein
thhoda romance karein
nazar nazar mein hua hai sauda
tere mere dil ka

aa aa
aa dance karein

pheeki hai zindagaani
dum bhar mein ho suhaani
thhodi si meherbaani
kar do honey
pheeki hai zindagani
dum bhar mein ho suhaani
thhodi si meherbaani
kar do honey
raahi hoon door ka main
banda huzoor ka main
zulfon ki chaahta hoon
chhaaon ghani

dil hai mera bhi
O sanam tera pyaasa
a haa ha ha
aa dance karein
aa dance karein
thhoda romance karein
nazar nazar mein hua hai sauda
tere mere dil ka

haaye
aa dance karein
La la la
La la la
La la la la la la la laa

mausam hai aashiqui ka
masti ka bekhudi ka
phir kyun na zindagi ka
aaye mazaa
mausam hai aashiqui ka
masti ka bekhudi ka
phir kyun na zindagi ka
aaye mazaa

thhukra ke ye zamaana
kar le kahin thhikaana
apna to hai iraada
tera hai kya
dil hai mera bhi
O sanam tera pyaasa

haa
aa dance karein
thhoda romance karein
nazar nazar mein hua hai sauda
tere mere dil ka

aaa
aa dance karein


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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where "new" songs are added every day, and that has been the case for more than six years. This blog has over 10000 songs post by now.

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