Archive for the ‘Feelings of heart’ Category
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Remembering Motilal, a great artist and a peerless actor, who departed from this world on 17th June, 1965. A vivacious personality, so full of life and friendship all his life, he passed away friendless and penniless. Another sad commentary on the state of affairs of this industry.
Motilal is remember for the being the first and probably the finest natural actor that the Hindi screen has seen. In the age when the influence of the theatre, especially Parsi theatre ruled the film world, with the likes of Sohrab Modi, Prithviraj and Chandramohan making emphatic dialogue delivery as the mainstay of their performances, Motilal appeared on the scene with a suave finesse, a sharp smile and a naughty glint in his eyes, presenting his characters very naturally on the screen.
In 1933-34, after completing his education, he came to Bombay, actually to join the navy. As destiny would have it, he missed writing the entrance exam on account of fever and a bout of bad health. Ah, but for that fever, he would have been commanding naval vessels. So after missing the exam, and getting well, he was just around the city. As a curiosity, he went to watch a film shooting at Sagar Studios. Just standing in a crowd of onlookers, his personality still made its presence felt, and he caught the fancy of Kali Prasad Ghosh, who was directing the film being shot. Ghosh was verily impressed by the sharp personality and an easy communication – the image for the leading man for his upcoming film. Next thing Motilal knew that he was offered employment, and a hero’s role in the 1934 film ‘Shehar Ka Jaadu’, opposite to Sabita Devi.
That started a career that lasted for a little over three decades, during which he performed in about 90 films. Through the 1940s, he played the leading man opposite to almost all the leading glamour ladies of that era, in roles that varied from some of the best comic performances as in ‘300 Days And After’ (1938), ‘Shaadi’ (1941) and ’Ek Thi Ladki’ (1949) to very serene and sad roles in ‘Kulvadhu’ (1937), ‘Dost’ (1944) and ‘Gajre’ (1948). These latter roles carried so much pathos that the audience openly wept in the cinema halls, as is noted by the film writers.
Come the decade of 50s, he smoothly migrated over to character roles. In these years, he gave out some of the best supporting performances that have been seen on the Hindi films screen – the Chunni Babu of ‘Devdas’ (1955), the drunkard in ‘Jaagte Raho’ (1956), the postman Haradhan in ‘Parakh’(1960), and many more. And his sterling performances – the ruffian vagabond in ‘Mastaana’ (1954), and the lead character in the form of the smooth and suave conman and cheat in ‘Mr Sampat’ (1952). His performance in ‘Mr. Sampat’ is rated his best, even by himself.
His repartees and one liners form part of the legacy and culture of the Hindi film cinema. Sometime in the late fifties, he had commented, “I am ahead of our government. I have a 55 year plan”. The words, said in jest, ironically turned out to be a sad prophecy, for he left this world exactly when he was 55 years old. A broken and a defeated man, he did not live to see the release of the one film he produced. ‘Chhoti Chhoti Baaten’ (1965)– a very close autobiographical presentation of his own life, turned out to be a production disaster for him. The loss of finances and assets may not have meant much to him, but it was the turning away of the ones he considered to be lifelong friends that probably broke is him completely.
Near the end of his days, he was suffering with health problems, and was in the hospital. His pet project ‘Chhoti Chhoti Baaten’, was nearing completion, but the remaining work was moving very slowly due to financial and other difficulties. Anil Biswas, whom he had given the music composition responsibility, was those days in Delhi, working for All India Radio. He came to visit Motilal. In the hospital, Motilal implored Anil Biswas to complete the music for the film, so that it could be made ready for release. Anil Biswas responded, almost heartlessly, asking to be paid for the work that was already done and for the remaining work for background music. Motilal was stunned. And then he passed away a few days later. The work on the film was eventually completed through the efforts of Mukesh, his cousin, who convinced Anil Biswas to complete the work on the film. The film got critical acclaim and also won a special certificate of merit from the President of India, as part of that year’s national awards. Alas, but he himself was not around to see it.
The song I present today is in the voice of Motilal himself. A very rare recording from the 1940 film ‘Diwali’, the music is composed by Khemchand Prakash. ‘Diwali’ is a Ranjeet Movietone production, directed by Jayant Desai. The cast of actors includes Motilal, Ishwar Lal, K Daate, Dixit, Indubala, Suresh, Keshari, Madhuri, Bhagwan Das, Vasanti etc. The film has fourteen songs in all. The lyrics writing is shared between PL Santoshi,DN Madhok, and Pt. Sudarshan. However, specific songs information as to the poet, is not available.
As the song opens up, for a moment one gets a feeling that Motilal is also trying to emulate KL Saigal, the pace and the tone is such. A song of being in love, a song that expresses the sadness of being away from the beloved and pining for her. Motilal has sung maybe one and a half dozen songs, and
within that, the number of solos is more rare. Listen to the sound of this personality, that somehow does not match with the image that most carry in their minds. But yes, that is the versatility of this persona, that did make the audience weep, with some of his earlier roles.
Enjoy.
(NOTE: I must thank Nayan Yagnik, for the reminder about the dates of birth and passing away of Motilal.)
Song-Humko lagi hai tumse kuchh aisi lagan haaye (Diwali)(1940) Singer-Motilal, MD-Khemchand Prakash
Lyrics
humko
lagi hai tumse
humko lagi hai tumse
humko lagi hai tumse
kuchh aisi lagan haaye
aavo to behal jaaye
aavo to behal jaaye
jaavo to jiyaa jaaye
aaye bhi aur chale bhi
aaye bhi aur chale bhi
sadke chalaa-chali ke
sadke chalaa-chali ke
tum dillagi hi samjhe
tum dillagi hi samjhe
dil ki lagi ko haaye
aavo to bahal jaaye
aavo to bahal jaaye
jaavo to jiyaa jaaye
tum hum se ho pareshaan
tum hum se ho pareshaan
hum dil se hain pareshaan
hum dil se hain pareshaan
tum ko koi sataaye
tum ko koi sataaye
hum ko koi sataaye
humko lagi hai tumse
humko lagi hai tumse
kuchh aisi lagan haaye
aavo to bahal jaaye
jaavo to jiyaa jaaye
—————————————–
Hindi script lyrics (Provided by Sudhir)
—————————————–
हमको लगी है तुमसे
हमको लगी है तुमसे
हमको लगी है तुमसे
कुछ ऐसी लगन हाए
आवो तो बहल जाये
आवो तो बहल जाये
जावो तो जिया जाये
आए भी और चले भी
आए भी और चले भी
सदके चला-चली के
सदके चला-चली के
तुम दिल्लगी ही समझे
तुम दिल्लगी ही समझे
दिल की लगी को हाए
आवो तो बहल जाये
आवो तो बहल जाये
जावो तो जिया जाये
तुम हम से हो परेशान
तुम हम से हो परेशान
हम दिल से हैं परेशान
हम दिल से हैं परेशान
तुम को कोई सताये
तुम को कोई सताये
हम को कोई सताये
हमको लगी है तुमसे
हमको लगी है तुमसे
कुछ ऐसी लगन हाए
आवो तो बहल जाये
जावो तो जिया जाये
Bahut be takalluf huye ja rahe hain
Posted on: June 19, 2013
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Recently I watched GHAR KI IZZAT (1948) on YT. The film was produced under the banner of Murli Movietone and directed by Ram Daryani. The star cast included Dilip Kumar and Mumtaz Shanti in the lead role with Gope, Manorama, Dixit, Jeewan, Gulab, Suleman etc in the supporting roles. The melodramatic story of the film reminded me of some of the Hindi films produced from the South in the 50s and 60s.
The story of the film mainly revolves around a conservative parent having a son Chanda (Dilip Kumar) and a daughter Radhika (Manorama). The daughter is married to Chaman (Gope) who has become ghar jawaai or jamaai (son-in-law living with his in-laws). Chaman is always insulted by his mother-in-law which is not liked by his wife Radhika. So they decide to leave the house for country side and both start working as insurance agents for a living.
Chanda who has now become a lawyer, wants to pursue the legal profession which is not liked by his parent as in their family, nobody does a job for earning as they have their own family business. Chanda wins his first criminal case in the court and to tell the good news to his sister Radhika, he visits her house. Here, he meets Roopa (Mumtaz Shanti) who has already come to the house for selling donation tickets of her stage show in aid of her school. Chanda is impressed by her talk and buys donation tickets and he attends the stage show along with Radhika and Chaman. Eventually, they fall in love and decide to marry. But there are hitches. Roopa belongs to a poor family who had lost her parent and is now staying with her elder and younger brothers. His elder brother (Jeewan) has some reservations about the marriage proposal as Chanda is a city bred boy while Roopa has grown up in a rural environment. Also, there is difference in their financial status as Chanda belongs to a rich family. Chanda’s parent also expects a good dowry from the prospective bride’s family. Now the question arises as to who will bell the cat for his marriage.
Fortunately, Radhika and her husband Chaman take up the responsibility of convincing his parent while Chanda meets Roopa’s brother (Jeewan) asking for his sister Roopa’s hand. Finally, Chanda and Roopa get married. But the newly married couple’s problem starts on the day one itself. Roopa is tormented by her in-laws for her poor background and this insult continues every day. Even some loss in the family business is attributed to Roopa as their daughter-in-law. She is not even allowed to accompany her husband for parties. Chanda is caught in the conflict of his parent and wife. Fed-up with this daily tormenting by his parent, Chanda leaves the house and finds solace in drowning himself in alcohol and gambling while Roopa is virtually under ‘house arrest’.
Radhika once again dons the role of a saviour and bring back her brother Chanda to his parent’ house. The long absence of their son from the house and Radhika’ confrontation with her parent on this issue make them to repent for their wrongdoings and they apologise to Roopa’s brother. So like most Hindi films from the South, it is a happy ending with all the important characters of the film posing together for the camera. Though Dilip Kumar and Mumtaz Shanti are the lead pair, Gope and Manorama, the other pair, have almost equal footage in the film.
The film had 11 songs, all penned by Ishwar Chandra Kapoor and composed by Pandit Gobindram. I have chosen ‘bahut betakalluf kiye jaa rahe ho’ from the film sung by Shamshad Begum and G M Durrani. This is a question-answer song with some shade of teasing which has been picturised on Mumtaz Shanti and Dilip Kumar. The background to the song is that Dilip Kumar who has come to Mumtaz Shanti’s house in a village as a guest has been able to get the approval from her brother (Jeewan) for the marriage with her.
After the runaway success of the film ‘Kismet’(1943) and its songs, the voice of Amirbai Karnataki was identified with Mumtaz Shanti. However, all the songs picturised on Mumtaz Shanti in ‘Ghar Ki Izzat’ (1948) was rendered by Shamshad Begum. As far as I know, this was the only film in which G M Durrani lent his voice for Dilip Kumar.
Song-Bahut betakalluf huye jaa rahe hain(Ghar Ki Izzat)(1948) Singers-Shamshad Begam, G M Durrani, Lyrics-I C Kapoor, MD-Pt Govindram
Lyrics
bahut betakalluf huye jaa rahen hain
en en en
bahut betakalluf huye jaa rahen hain
jo mehmaan banke hain aaye hamaare
jo mehmaan banke hain aaye hamaare
labon pe hain halki si ik muskurahat
adaaon mein shokhi nigaah mein ishaare
adaaon mein shokhi nigaah mein ishaare
dil cheena tirchi nazar se kisi ki
israar karte ho
tum bebasi ka
bholi si baaten sunaate sunaate
wo le aaye saath apne dariyaa kinaare
wo le aaye saath apne dariyaa kinaare
jabaan bhi hai khaamosh
dil bhi hai majboor oor oor
jabaan bhi hai khaamosh
dil bhi hai majboor
kyun
mohabbat ki duniya ka ye hi hai dastoor
kyaa
agar poochna ho kaho dil se poochche
sun lo jo kehte hain ye naina hamaare
sun lo jo kehte hain ye naina hamaare
hamen apne dil pe nahin ikhtiyaar
aur na apni aankhon pe hai aitbaar
achchaa
jee
lo kehti hoon khaakar kasam pyaar ki
ye dil bhi tumhaara hai
ham bhi tumhaare
ye dil bhi tumhaara hai
ham bhi tumhaare
Hum chaahen ya na chaahen
Posted on: June 17, 2013
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Remembering Hemant Kumar, on the 93rd anniversary of his birth (16th June, 2013).
An active career that lasted more than five and a half decades, Hemant Da is a voice that has left behind a luminous legacy of musical treasures to cherish. Starting his musical journey very early in his teens, it was 1933 when he first sang and recorded for All India Radio in Calcutta (then known as Indian State Broadcasting Service). He received his training in classical music at feet of Ustad Faiyaaz Khan, and was mentored in Rabindra Sangeet by two very close friends, both well known musicians themselves –Subhas Mukhopadhyay and Sailesh Duttagupta.
In his formative years, his father’s desire was for him to become an engineer. He even joined the Bengal Technical Institute at Jadavpur, but his passion for literature and music pulled him away from engineering in a very short time. In 1937, the Gramophone Company of India (GCI), contracted him, and that year he recorded his first non-film songs in Bengali. His non-film recordings became an annual feature with GCI, and continued till 1984. In 1940, he recorded his first Hindi non-film song – “Kitna Dukh Bhulaaya Tumne”. Gaining popularity with his non-film renderings, it was but natural that he started singing for films. The debut in Bengali films came in 1941, and in Hindi films, it was 1944 with the film ‘Iraada’ under the music direction of Pt. Amarnath.
In the mid 1940s, he joined the Indian People’s Theatre Association (IPTA), and thence began a very strong friendship with the music director Salil Chaudhry. In the backdrop of Bengal famine of 1943, IPTA was active and a lot creative output came from this group based on this man made calamity that ravished Bengal. Salil Da wrote and composed a song “Gyaner Badhu”(‘The Rural Bride’), that told about the tribulations of an idyllic and caring rural housewife, whose entire world is ravaged by the scourge of the famine. This six minutes song was recorded in the voice of Hemant Da. The composition lacks the traditional Bengali romanticism and sweetness, and the song is built of sections of varying pace. The unexpected and unforeseen popularity of this song went on to establish Hemant Da as the leading male singer in Bengal.
His career as a music director is significantly impressive, and in the Hindi film world, he has composed music for 57 films. In Bengali cinema, his record is even more impressive – he scored the music for about 140 films. On the Hindi screen, his music has embellished many a wonderful films starting with ‘Anand Matth’ (1952), and on with ‘Shart’ (1954), ‘Jaagriti’(1954), ‘Sahib Biwi Aur Ghulam’ (1962), ‘Kohraa’ (1964), ‘Bees Saal Baad’(1962), ‘Sannaata’ (1966), ‘Khamoshi’ (1969), ‘Anupama’ (1966), ‘Bin Badal Barsat’ (1963), ‘Faraar’ (1965), ‘Ek Jhalak’ (1957), ‘Do Dooni Chaar’(1968), ‘Miss Mary’ (1957), and many more.
The song I present here today is a wonderful memory from the 1971 film ‘Phir Bhi’, directed by Shivendra Sinha. The philosophical content of this song appealed strongly to the impressionable mind of the student that I was then. The thoughtful lyrics are from the pen of Pt. Narendra Sharma, and the mesh of music is woven by Raghunath Seth.
The words tell about the journey of life that is so much away from our control. We may fancy ourselves to be free spirits, yet the we are so bound by the passages of this life, of the decisive determinism of birth and death. Eventually, the impermanence of our smug arrogance and the futility of our flights of fancy, talks back to us in the face of the ultimate destiny that will eventually visit us all. And bounden we are, to travel this path, and meet our destination.
Things to think about.
Song-Hum chaahen ya na chaahen (Phir Bhi)(1971) Singer-Hemant Kumar, Lyrics-Pt Narendra Sharma, MD-Raghunath Seth
Lyrics
hum chaahen
ya na chaahen
humraahi banaa leti hain
hum ko jeevan ki raahen
hum chaahen
ya na chaahen
ye raahen kahaan se aati
ye raahen kahaan le jaati
ye raahen kahaan se aati
ye raahen kahaan le jaati
raahen dharti ke tan par
aakaash ki faili baahen
hum chaahen
ya na chaahen
humraahi banaa leti hain
hum ko jeevan ki raahen
hum chaahen
ya na chaahen
utraa aakaash dharaa par
tan mann kar diya nichhaawar
utraa aakaash dharaa par
tan mann kar diya nichhaawar
jo phool khilaana chaahen
hans hans kar saath nibaahen
hum chaahen
ya na chaahen
humraahi banaa leti hain
hum ko jeevan ki raahen
hum chaahen
ya na chaahen
————————————————-
Hindi script lyrics (Provided by Sudhir)
————————————————-
हम चाहें
या ना चाहें
हमराही बना लेती हैं
हमको जीवन की राहें
हम चाहें
या ना चाहें
ये राहें कहाँ से आतीं
ये राहें कहाँ ले जाती
ये राहें कहाँ से आतीं
ये राहें कहाँ ले जाती
राहें धरती के तन पर
आकाश की फैली बाहें
हम चाहें
या ना चाहें
हमराही बना लेती हैं
हमको जीवन की राहें
हम चाहें
या ना चाहें
उतरा आकाश धरा पर
तन मन कर दिया न्योछावर
उतरा आकाश धरा पर
तन मन कर दिया न्योछावर
जो फूल खिलाना चाहें
हंस हंस कर साथ निबाहें
हम चाहें
या ना चाहें
हमराही बना लेती हैं
हमको जीवन की राहें
हम चाहें
या ना चाहें
Tere bin din naahin beete re
Posted on: June 17, 2013
“Do Dil” (1947) was a Jamuna Productions movie. It was directed by Jagdish Sethi. The movie had Motilal, Suraiyyaa, Karan Dewan, Badri Prasad, Gulab, Ram Singh, Shabnam, Sudhir, S Baburao, Khalil etc in it.
The movie had eleven songs in it. As many as ten songs from the movie have already been disussed in the past.
Here is the eleventh anf final song from “Do Dil” (1947). The song is sung by Suraiyya. D N Madhok is the lyricist. Music is composed by Pt Govindram.
Only the audio of this song is available but it is clear that the song is picturised on Suraiyya herself and perhaps on Motilal too. Today (17 july 2013) is incidentally the 48th death anniversary of Motilal.
Lyrics of this song were sent to me by Nitin Shah.
With this song, “Do Dil” (1947) joins the ranks of 260 plus movies that have all their songs already discussed in the blog.
Song-Tere bin din naahin beete re (Do Dil)(1947) Singer-Suraiyya, Lyrics-D N Madhok, MD-Pt Govindram
Lyrics(Provided by Nitin Shah)
din-din joban dhalta jaaye
din-din dhale jawaani
o pardesi
laut ke aa ja
jeewan ek kahaani
tere bin din naahin beete re
tere bin beete na raaten
tere in din naahin beete re
tere bin beete na raaten
kab pardesi ghar aaoge
kab pardesi ghar aaoge
kab hongi mulaaqaatein
mohe chanda daraaye
mohe chanda daraaye
mora sooni atariya pe jiya ghabraaye
mora sooni atariya pe jiya ghabraaye
haay-haay
chham-chham neer barsaaun re
yaad aaye beeti baatein
chham-chham neer barsaaun re
yaad aaye beeti baatein
munh dekhi ki saari preet jaani ho
jaani ho
munh dekhi ki saari preet jaani ho
jaani ho
aaja aaja aaja
aaja aaja aaja
ja ke na aaye jawaani mastaani ho
ja ke na aaye jawaani mastaani ho
kab aayenge din wo jiya poochhe
kab hongi mulaaqaatein
tere bin din naahin beete re
tere bin beete na raaten
kab pardesi ghar aaoge
kab pardesi ghar aaoge
kab hongi mulaaqaatein
Aata hai dil pe pyaar kyun
Posted on: June 17, 2013
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
= = = = = = = = = = =
The Many Colors of Love #2
– - – - – - – - – - – - – -
लिखने वाला लिख गया है. . .
(and so the scribe has written. . .)
“Mohabbat Aisi Dhadhkan Hai Jo Samjhaayi Nahin Jaati”.
In Sanskrit language, there is a phrase ‘idd mitham’ – ‘इद्द मित्थम’. The literal meaning is – ‘with certainty, this is it’. The intent of usage is to emphasize the correctness and the authority of a conclusion. For something that is not anymore arguable, for something that can be stated as a definite fact or condition, this is the phrase used to represent it. There are texts in our scriptures that talk about God, what He is, or what He can be. Every place where this topic is discussed in our books, there is one thing that all such descriptions agree. That there are many epithets that can be suggested to indicate the characteristics of God, but that no one can make an ‘इद्द मित्थम’ statement about Him. Whatever one may say about God, it will never be complete, it will never be fully correct, and it can never be the last word about God. ‘कोई भी ‘इद्द मित्थम’ ये नहीं कह सकता के भगवान ऐसे हैं ।‘
A similar circumstance presents itself when one talks of love. There are so many things that can be said about what love is, how it is expressed, what effect it has, what it may do to your mind and your heart. But no one has ever been able to make a singular statement that will conclude that ‘इद्द मित्थम’, this is what love is. And maybe so, because it is an experience that is unique for everybody, and is an emotion that cannot be exactly articulated. Like a trail of symptoms that one can express and observe, and yet the shadows of underlying malaise can never be trapped with bare fingers. And then, the heart of the poet resorts to epithets and illustrations.
Across the centuries, many a learned person, and many who are afflicted with it, have tried their hand at describing love. But no one has ever been able to establish any definition, any description for which one can say – this is it. It is an emotional experience that everyone has lived through, at some point in their lives. The mention of a name, the sight of a face, the passage of someone in thoughts – and there is a quickening of the pulse, and the thumping of the heart resounds in one’s own being, so loud that one looks around to see if someone else heard it too. The moments of nearness when the rest of the world is completely blocked out, and only later, in retrospect, one realizes – gosh, where have I been. Yes, love does that to you.
When in loneliness, the heart wants to call out and sing, and the mind wants to create verses, for there seems nothing better to do in this world. When the garden always seems to be full of flowers, when the breeze is always cool and pleasant, and when the night sky is always full of stars and a shining moon. Whatever may be the time of the year, for the heart in love, the world is always pink and the season is always spring. And the young heart in love sings out
madhosh hawaa matwaali fiza, sansaar suhaanaa lagtaa hai
kar le na kisi se pyaar kahi, dil apnaa deewaanaa lagtaa hai
(http://atulsongaday.me/2009/04/01/madhosh-hawa-matwaali-fizaa/)
Way back, sixty five years ago, some songs were sung by a beautiful young and upcoming star, who would become famous as Meena Kumari in the following decades. This song, from the 1948 film ‘Bichhde Balam’ is a creation of Pt. Narendra Sharma, and the endearing melody comes from the mind of Bulo C Rani. The film came from the banner of Ranjeet Movietone and is directed by Manibhai Vyas. The brief list of actors includes Khurshid (junior), Meena Kumari, Anjum, Nihal, Qamar, Sheikh Hasan, Nafeez Khalili etc. Of the eleven songs in this film, this is the only one written by Pt. Narendra Sharma, the remaining ten coming from the pen of Pt. Indra Chandra. As Meena Kumari is in this film, it is safe to say that on screen, this song is performed by her.
The construction of the verses is very lovely as well as interesting. The poet is posing some questions in this song, and just by the fact of posing them, the verses are actually pointing to the answers themselves.
kal bhi to phool thhe khile
aaj nayi bahaar kyun
The flowers, they bloomed yesterday too
Why so it seems a new spring today
That is what love does – it is the same flowers as yesterday. But today, it seems like a completely new spring. Because there is something new stirring in the heart, that people call as ‘love’.
A very endearing and a very enchanting song. A veritable gem that has been in the hiding for so long. It does not give all the answers, rather none. But is does ask questions that indicate somewhat, what the answers can be. For the young hearts coming of age, for the young hearts that have known and are in love – listen to these lovely verses. And then compare notes with your own heart, and surmise – what is this thing called love. ‘इद्द मित्थम’तो नहीं कह सकेंगे, but check out the symptoms indicated. And find out, where does love exist in your heart, and whether
jo be-mazaa thi zindagi
lagti hai ab bhali bhali
Enjoy.
Song-Aata hai dil pe pyaar kyun (Bichhde Balam)(1948) Singer-Meena Kumari, Lyrics-Pt Narendra Sharma, MD-Bulo C Rani
Lyrics
aata hai dil pe pyaar kyun
pyaar kyun
chhede hai
chhede hai baar baar kyun
aata hai
aata hai dil pe pyaar kyun
pyaar kyun
chhede hai
chhede hai baar baar kyun
aata hai
duniya pe hai nikhaar kyun
har cheez par singaar kyun
duniya pe hai nikhaar kyun
har cheez par singaar kyun
kal bhi to phool thhe khile
kal bhi to phool thhe khile
aaj nayi bahaar kyun
aankhon mein ye khumaar kyun
aata hai
aata hai dil pe pyaar kyun
pyaar kyun
chhede hai
chhede hai baar baar kyun
aata hai
aisi koi hawaa chali
jhoomti hai kali kali
jhoomti hai kali kali
aisi koi hawaa chali
jhoomti hai kali kali
jhoomti hai kali kali
be-mazaa thhi zindagi
jo be-mazaa thhi zindagi
lagti hai ab bhali bhali
lagti hai ab bhali bhali
hasraten beshumaar kyun
aata hai
aata hai dil pe pyaar kyun
pyaar kyun
chhede hai
chhede hai baar baar kyun
aata hai
kyaa jaane
kyaa jaane kya hai maajraa
kyaa jaane
kyaa jaane dil ko kyaa huaa
kyaa jaane
haan
haan itni baat hai zaroor
haan itni baat hai zaroor
dard sa hai uttha huaa
dard sa hai uttha huaa
varnaa be-ikhteyaar kyun
aata hai
aata hai dil pe pyaar kyun
pyaar kyun
chhede hai
chhede hai baar baar kyun
aata hai
——————————————–
Hindi script lyrics (Provided by Sudhir)
——————————————–
आता है दिल पे प्यार क्यूँ
प्यार क्यूँ
छेड़े है
छेड़े है बार बार क्यूँ
आता है
आता है दिल पे प्यार क्यूँ
प्यार क्यूँ
छेड़े है
छेड़े है बार बार क्यूँ
आता है
दुनिया पे है निखार क्यूँ
हर चीज़ पर सिंगार क्यूँ
दुनिया पे है निखार क्यूँ
हर चीज़ पर सिंगार क्यूँ
कल भी तो फूल थे खिले
कल भी तो फूल थे खिले
आज नयी बहार क्यूँ
आँखों में ये खुमार क्यूँ
आता है
आता है दिल पे प्यार क्यूँ
प्यार क्यूँ
छेड़े है
छेड़े है बार बार क्यूँ
आता है
ऐसी कोई हवा चली
झूमती है कली कली
झूमती है कली कली
ऐसी कोई हवा चली
झूमती है कली कली
झूमती है कली कली
बेमज़ा थी ज़िंदगी
जो बेमज़ा थी ज़िंदगी
लगती है अब भली भली
लगती है अब भली भली
हसरतें बेशुमार क्यूँ
आता है
आता है दिल पे प्यार क्यूँ
प्यार क्यूँ
छेड़े है
छेड़े है बार बार क्यूँ
आता है
क्या जाने
क्या जाने क्या है माजरा
क्या जाने
क्या जाने दिल को क्या हुआ
क्या जाने
हाँ
हाँ इतनी बात है जरूर
हाँ इतनी बात है जरूर
दर्द सा है उठा हुआ
दर्द सा है उठा हुआ
वरना बे-इख्तेयार क्यूँ
आता है
आता है दिल पे प्यार क्यूँ
प्यार क्यूँ
छेड़े है
छेड़े है बार बार क्यूँ
आता है
Chanda ki chaandni mein haay raama
Posted on: June 16, 2013
“Do Dil” (1947) was a Jamuna Productions movie. It was directed by Jagdish Sethi. The movie had Motilal, Suraiyya, Karan Dewan, Badri Prasad, Gulab, Ram Singh, Shabnam, Sudhir, S Baburao, Khalil etc in it.
Read more on this topic…
Phir nain baawre bhar bhar aaye
Posted on: June 15, 2013
“Do Dil” (1947) was a Jamuna Productions movie and it was directed by Jagdish Sethi. The movie had Motilal, Suraiyyaa, Karan Dewan, Badri Prasad, Gulab, Ram Singh, Shabnam, Sudhir, S Baburao, Khalil etc in it.
Read more on this topic…
Jhoom jhoom ke naache manwa
Posted on: June 15, 2013
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
When Manoj Kumar approached him for lyrics and music for his film on the life of Bhagat Singh, the first thing he did was he traveled to Banga village in Punjab, and personally met with the Bhagat Singh’s moher, Mata Vidyawati ji. He talked with her about the legendary martyr, his childhood, his time in college, and as a freedom fighter. And the time he spent in the prison. From these reminiscences of Mata Vidyawati, the incredible poetry that emerged from the pen of this extraordinary poet became the iconic song of patriotic inspiration – “Tu Na Rona Ke Tu Hai Bhagat Singh Ki Maa. . .”.
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Duniya na dekhe zamaana na jaane
Posted on: June 14, 2013
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
In our series ” Lata with uncommon singers” today, today we will hear a song from Honeymoon-1960. This is sung by Lata with DWIJEN MUKHERJEE.
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