Archive for the ‘Song from regional movies’ Category
Sun sun rasiyaa
Posted on: March 9, 2023
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5347 | Post No. : | 17533 |
“Vidhyapati”(1964) was directed by Prahlad Sharma for Chitra Vihar, Bombay. This movie had Bharat Bhushan, Simi Garewal, Nazima, Kamaljeet, Bipin Gupta, Murad, Natwar etc in it. This movie was based on the life of Mathili poet Vidhyapati. The language of the movie is Maithili, which is spoken in Darbhanga region of Bihar.
“Vidhyapati”(1964) had 14 songs in it. two songs have been covered so far.
Here is the third song from the movie. It is sung by Lata Mangeshkar and Malay Sarkar. Prahlad Sharma is the lyricist. Music is composed by V Balsara.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song and other details. There is one word that sound like “vipin” in the lyrics but it makes no sense. I request our knowledgeable readers to tell us what word it is and what does it mean.
Lyrics of the song were sent to me by Prakashchandra.
audio link:
Song-Sun sun rasiyaa (Vidhyapati)(1964) Singers-Lata, Malay Sarkar, Lyrics-Prahlad Sharma, MD-V Balsara
Both
Lyrics
ae ae ae ae
aey ae ae aey
oo oooo ooo
oooo oo o
oooooo
aangan aayab
jab rasiyaa aa
palati chalab reyee
sat hansiyaa
aavey se aanchar
piyaa dharbey ae ae ho o
jaayab ham na rey
man basiyaa aaa aaa
sun sun rasiyaa aaa
sun sun rasiyaa
sun sun rasiyaa aaa aaa
sun sun rasiyaa
ho o o
ab na bajaao re bin basiya
ho o ho o
ab na bajaao re bin basiya
sun sun rasiyaa aaa
sun sun rasiyaa
sun sun rasiyaa aaa aaa
sun sun rasiyaa
baar baar vinay karat hoon
yoon naa bajaa man basiya
baar baar vinay karat hoon
yoon na bajaa man basiyaa
jal jamunaa mein
phenk muraliyaa aaa aaa
jal jamunaa mein
phenk muraliyaa
ban jaaoon tori main dasiyaa aaa
sun sun rasiyaa aaa
sun sun rasiyaa
sun sun rasiyaa aaa aaaa
sun sun rasiyaa aaa
vidyaapati kahen
is bansee mein ae ae
pyaar hamaaraa basiyaa
vidyaapati kahen
is bansee ne ae
pyaar hamaaraa basiyaa
janam janam ke
sangee raadhey aey ae
janam janam ke
sangee raadhey
mohan hriday bulatiyaa aa
sun sun rasiyaa aaan
sun sun rasiya
sun sun rasiyaa aaa
sun sun rasiyaa
ho o ho o o
ab na bajaao vipin basiyaa
ho o ho
ab na bajaao vipin basiyaa
sun sun rasiyaa aaan
sun sun rasiyaa aaa
sun sun rasiyaa aaa aaa aaaan
sun sun rasiyaa aaa
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5334 | Post No. : | 17495 |
#the Decade of Sixties – 1961 – 1970 #
————————————————————————
# A tribute to Talat Mahmood on his birth anniversary #
——————————————-——————————
The song being presented in this post is from the ‘Bhojpuri’ film titled ‘Laagi Nahin Chhoote Raam-1963’.
I got to listen to this song on ‘Vividh Bharati’ more than a month or two back. I fell in love with this song immediately. I do not remember to have listened to this song earlier. This song is a lovely duet song sung by Lata Mangeshkar and Talat Mahmood.
Today 24th February’2023 is the ninety-ninth birth anniversary of the legendary singer, and actor Talat Mahmood. He was born on 24th February’1924 and he passed away on 9th May’1988.
As a tribute to him today we will listen to this song sung by him.
As per the statistics on the blog Talat Mahmood has sung around four hundred and fifty songs in Hindi Films. Out of these 450 songs, so far, 392 songs have been posted on the blog.
As mentioned above in this post I am presenting a song from the ‘1963’ ‘Bhojpuri’ movie ‘Laagi Nahin Chhoote Raam’.
‘Laagi Nahin Chhoote Raam-1961’ was directed by Kundan Kumar for ‘Friend’s movies’.It was produced by R. Tiwari.
It had Kumkum, Ashim Kumar, Nazir Hussain, Tiwari, Indrani Mukherjee, Anwar Hussain, Mishra, Ram Singh, Leela Mishra, Helen, Mehmood, Hasan Rizvi, Bhushan Tiwari, Polsan, Ramdev Tiwari, Mangala, Zaman, Baijul, Mastram, Garibdas, Amal Sen, Sinha, Tripathi and others.
Story of this movie was written by Vishwanath Panday. Screenplay and dialogues of this movie were written by Nazir Hussain.
Editing of this movie was done by Kamalakar.
‘Laagi Nahin Chhoote Raam-1961’ has seven songs all written by Majrooh Sultanpuri. Music for this movie was composed by Chitragupt the pioneer composer for ‘Bhojpuri’ films. Lata Mangeshkar, Asha Bhonsle, Manna Dey, Talat Mahmood and Suman Kalyanpur had given their voices to the songs in this movie.
One song from ‘Laagi Nahin Chhoote Raam-1963’ was posted on the occasion of ‘Rakshabandhan’ in 2016 on 18.08.2016.
Today’s song is the second song from this movie to be posted on the blog. It is sung by Lata Mangeshkar and Talat Mahmood.
Kumkum and Ashim Kumar are seen performing on this lovely song.
Let us now enjoy this song … enjoy the ‘soothing velvet voice of Talat Mahmood- also known as the ‘king of ghazals’…
Video
Audio
Song-Laal laal othwa se barse lalaiyya (Laagi Naahin Chhoote Raam)(Bhojpuri)(1963) singers-Lata Mangeshkar, Talat Mehmood, Lyrics-Majrooh Sultanpuri, MD-Chitragupta
Lyrics
laal laal othwaa se
barsey lalaiyaa
ho ki ras chuwelaa
jaise amuwaa ka mojraa se
ras chuwelaa
ho ki ras chuwelaa
laagewaali batiyaa naa
bol morey raaja ho
karejaa chuwelaa
tori meethhi meethhi boliyaa
karejaa chuwelaa
ho karejaa chuwelaa
bhaagelu to hamke
bulaawelaa ancharwaa aa
bhaagelu to hamke
bulaawelaa ancharwaa
ankhiyaa churaawelu to
hanselaa kajarwaa
o o o hanselaa kajarwaa aa
jiyaa ke janjaal bhayil
hamri soortiyaa
dagar rokelaa
jahaan jaayin tahaan logwaa
dagar rokelaa
ho ki ras chuwelaa
jaise amuwaa ka mojraa se
ras chuwelaa
ho ki ras chuwelaa
ham ta rahaniye
goguli(?) re chiraiyya
ham ta rahaniye
goguli(?) re chiraiyya
chirayee ka peechhe peechhe
laagal baa baheliyaa
laagal baa baheliyaa
chirayee kaa jaalwaa mein
phasal baheliyaa
gohaar karelaa
gori hamke chhudaawaa
ho gohaar karelaa
ho karejaa chuwelaa
tori meethhi meethhi boliyaa
karejaa chuwelaa
ho karejaa chuwelaa
ghoomi ghoomi dekhtaa re
kaahe more chaalwaa
ghoomi ghoomi dekhtaa re
kaahe more chalwaa
tanik chhaanhaailaa
ghamaayi jaayi galwaa
ghamaayi gayi galwaa
chali chaahe ghamwaa mein
baithhe chaahe chhanhwaa
o kaahe muwelaa
gore galwaa kaa peechhe
kehu kaahe muwelaa
ho ki ras chuwelaa
jaise amuwaa ka mojraa se
ras chuwelaa
ho ki ras chuwelaa aa
ho karejaa chuwelaa
tori meethhi meethhi boliyaa
karejaa chuwelaa
ho karejaa chuwelaa
Na kehu jaane na kehu samjhe
Posted on: January 14, 2023
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5293 | Post No. : | 17332 |
#the Decade of Sixties – 1961 – 1970 #
————————————————————————
(Remembrance Day – Chitragupt – A tribute)
Today 14th January’2023 is the 32nd ‘Remembrance Anniversary’ of music director Chitragupt. He was born on 16.11.1917 and he passed away on 14.01.1991.
On this occasion as a tribute to him I am presenting a song from a ‘1965’ Bhojpuri movie ‘Bhouji’ / ‘Bhauji’.
‘Bhouji-1965’ was directed by Kundan Kumar for ‘Kundan Films’. It had Kumkum, Sujit Kumar, Tiwari, Mukri, Helen, Gopal, Savita Chatterjee, Leela Mishra, Hari Shukla, Bhagwan Sinha, Tun Tun, Master Anil, Keshav Rana, Daya Devi, Amul Sen, T.N. Sinha, Gharib Das, Leela, Bihari, Sandow, Rama Shankar, Rajinder Azimabadi, Balwant Sharma, Bela Bose and others.
This movie has six songs – all written by Majrooh Sultanpuri. Music for this movie was composed by Chitragupt.
Following is the list of songs in this movie:-
| SNo. | Song Title | Singer/s |
|---|---|---|
| 01 | Phoolban mein phool ha gulaab | Lata Mangeshkar, Talat Mahmood |
| 02 | Angoothiyaa nisaani le ja more raaja | Lata Mangeshkar |
| 03 | Ae chanda maama aa re aawa | Lata Mangeshkar |
| 04 | Duniya mein ek se badhhkar hazaar | Asha Bhonsle |
| 05 | Ham ghariban se bhayil pyaar | Mohd Rafi |
| 06 | Naa kehu jaane naa kehu samjhe | Manna Dey |
One song from this movie sung by Lata Mangeshkar viz ‘ae chanda maama aare aawa paare aawa’ has been posted on the blog earlier on 04.11.2016. This song was presented with a detailed post about Bhojpuri movies by our Respected Sadanand ji.
Today we are going to listen to a song from the movie which is sung by Manna Dey. Lyrics for this song are by Majrooh Sultanpuri.
This song is about a mother’s sentiments for his child who has been separated from her… Only the audio of this song is available. I think video of this movie or its songs is not available.
Music is composed by Chitragupt.
Let us pay our tributes to Chitragupt on his ‘remembrance day’ today and listen to this composition by him.
Song-Na kehu jaane na kehu samjhe (Bhauji)(Bhojpuri)(1965) Singer-Manna Dey, Lyrics-Majrooh Sultanpuri, MD-Chitragupta
Lyrics
naa kehu jaane ae ae ae
naa kehu samjhe ae ae
maiyya ka manwaa ke
peer ho o o o o
naa kehu jaane raamaa
naa kehu samjhe re ae
maiyya ka manwaa ke
peer ho
aisan alag bhayil
tukda karejwa ke
kat gayil jaise
sareer ho o
naa kehu jaane raamaa
naa kehu samjhe re ae
maiyya ka manwaa ke
peer ho
mati kah bichhudal
maai ke dularwa
gaiyya se bichhud gayil
gaiyya ke bachharwaa aa
mati kah bichhudal
maai ke dularwa
gaiyya se bichhud gayil
gaiyya ke bachharwaa
bahelaa jhar jhar
chhatiya ke dudhwaa re
aankhi se bani bani neer ho o
naa kehu jaane raamaa
naa kehu samjhe re ae
maiyya ka manwaa ke
peer ho o
bujhe naa darad kehu
baah re jamanwaa
godiya se chheen lehlat godiya ke
chanwa
bujhe naa darad kehu
baah re jamanwaa
godiya se chheen lehlat godiya ke
chanwa
dekhe na de re kehu
chhuhvun na de re ae
maiyya dhare kaise dheer ho o
naa kehu jaane raamaa
naa kehu samjhe re ae
maiyya ka manwaa ke
peer ho o
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4937 | Post No. : | 16787 |
23rd January 2022
Today 23rd January ’22 is the one hundred and twenty-fifth birth anniversary (born on 23rd Janunary, 1897) of our great leader Netaji Subhash Chandra Bose. On this occasion as a tribute to Netaji Subhash Chandra Bose we listen a song from the recent movie ‘Gumnaami’ (2019).
I watched this movie on OTT platform last week and would like to mention here or rather I would like to request that every Indian should watch this movie. I think this movie was made in Bangla and Hindi language. The version available on OTT is the Bangla version. But major part is in Hindi and English so anybody can easily understand this movie.
The movie is based on the Mukherjee commission findings and the research movement taken by Mission Netaji and the later events.
Senior member of our team Shri Sadanand Kamath ji has presented a song from this movie “Shubh Sukh Chain Ki Barkha Barse” on the blog on 23.07.2020. His post elaborately mentions about the movie and its content. So, I would not like to repeat the same again here in this post.
But, yes, I would like to mention here that the movie has been successful in bringing the essence of the movement lead by the two journalists Chandrachur Ghose and Anuj Dhar in real life to bring forward the truth of Gumnaami Baba who died at Faizabad on 16th September 1985. In the movie we have shown that one journalist (Chandrachur Dhar) and his few friends put on their fight through RTI and other sources to prove that Gumnaami Baba was very much Subhash Chandra Bose.
This song is said to be the original song composed to welcome Subhash Chandra Bose in Singapore where he reached after a 90 day marine journey, from Germany in a submarine (U-Boat) provided by Hitler’s Govt.
I present here the film version as sung by Sonu Nigam, as well as the original audio recording that was made just after World War II. The original audio recording has one extra stanza.
An honor salute to the Great Son of India, the only one leader who is called Neta ji.
And it seems that the mystery is destined to abide for a long long time.
Video Clip (Based on Film ‘Gumnaami’)
Audio (Original Recording made after WWII)
Song – Subhash Ji. . . Subhash Ji. . . Wo Jaan e Hind Aa Gaye (Gumnaami) (Bangla) (2019) Singer – Sonu Nigam, Lyrics and Music Composition – Indian Residents of East Asia, Song Recreated by – Indradeep Das Gupta
Lyrics
(Based on Video Clip)
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash ji
Subhash ji ee
Subhash jaan e Hind hain
Subhash shaan e Hind hain
Subhash aan e Hind hain
Subhash maan e Hind hain
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash ji
Subhash ji ee
kali kali
gali gali
ye andaleeb chah chali
gali gali
gali gali
ye aam khalq gaa rahe
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash ji
Subhash ji ee
(chorus)
toofan e hind laayenge
wo shaan e hind laayenge
phirangiyon ki qaum par
wo qahar ban ke chhayenge
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash ji
Subhash ji ee
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash ji
Subhash ji ee
(Based on Original Audio Version)
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash jaan e Hind hain
Subhash shaan e Hind hain
Subhash aan e Hind hain
Subhash maan e Hind hain
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
kali kali
gali gali
ye andaleeb chah chali
gali gali
gali gali
ye aam khalq gaa rahe
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
wo aan e hind laayenge
wo shaan e hind laayenge
phirangiyon ki qaum par
wo qahar ban ke chhayenge
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
khushi ka daur aa gaya
nishan(??) ban ke chhaa gaya
wo asia ka aaftab
ab asia mein aa gaya
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
(विडियो पर आधारित)
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
सुभाष जी
सुभाष जी॰ ॰ ॰
सुभाष जान ए हिन्द हैं
सुभाष शान ए हिन्द हैं
सुभाष आन ए हिन्द हैं
सुभाष मान ए हिन्द हैं
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
सुभाष जी
सुभाष जी॰ ॰ ॰
कली कली
गली गली
ये अन्दलीब चह चली
गली गली
गली गली
ये आम ख़लक़ गा रही
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
सुभाष जी
सुभाष जी॰ ॰ ॰
वो आन ए हिन्द लाएँगे
वो शान ए हिन्द लाएँगे
फिरंगियों की कौम पर
वो कहर बन के छाएंगे
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
सुभाष जी
सुभाष जी॰ ॰ ॰
(मूल आडियो पर आधारित)
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
सुभाष जान ए हिन्द हैं
सुभाष शान ए हिन्द हैं
सुभाष आन ए हिन्द हैं
सुभाष मान ए हिन्द हैं
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
कली कली
गली गली
ये अन्दलीब चह चली
गली गली
गली गली
ये आम ख़लक़ गा रही
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
वो आन ए हिन्द लाएँगे
वो शान ए हिन्द लाएँगे
फिरंगियों की कौम पर
वो कहर बन के छाएंगे
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
खुशी का दौर आ गया
निशान(??) बन के छा गया
वो एशिया का आफताब
अब एशिया में आ गया
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
Shola Jo Bhadke Dil Mera Dhadke
Posted on: November 13, 2021
- In: Anwesha Songs | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Lyrics contributed by readers | Post by Sudhir | Song from regional movies | Songs of 2010s (2011 to 2020) | Songs of 2016 | Songs reused again in subsequent movies | Vinay Mandke Songs | Yearwise breakup of songs
- 1 Comment
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4866 | Post No. : | 16658 | Movie Count : |
4539 |
Songs Repeated in Hindi Films – 25
– – – – – – – – – – – – – – – – – –
Ah yes, of course. The reading of the title line tells us that we are getting another repeat song. And this one is a blockbuster – everybody knows the original, so I will not spend much time on that.
However, interesting to note the circumstances under which this song has been re used. This song is from a recent Marathi biopic ‘Ekk Albela’ – a 2016 film that chronicles the life of Bhagwan Dada. And so, the making of such a biopic would never have been considered complete without the inclusion of this song.
The song has been re-recorded for the film in the voices of Vinay Mandke and Anwesha. The original lyrics and the original tune has been retained intact. The on screen scenario of the song has also been retained almost in-toto. The song is presented a stage dance song, as it was in the original film ‘Albela’ from 1951. On screen, the roles of Bhagwan and Geeta Bali are enacted by Mangesh Desai and Vidya Balan. Vidya Balan appears in this film in a cameo role, especially for the songs.
The available video of this song seems to be a promotional clip, as it also contains some additional footage about the film. The original 1951 hit has 3 stanzas, but this version uses only two. The first stanza – “Mehki Hawaayen. . .” seems to have been cut out of this video at least. There seems to be a very minute jerk as the song moves from the title lines and jumps straight to the second stanza.
‘Ekk Albela’ is directed by Shekhar Sartandel and produced by Dr Monish Babre under the Kimaya Motion Pictures banner. It is presented by Manglmurti Films. The film stars Mangesh Desai in lead role as Bhagwan Dada and Vidya Balan in cameo role as Geeta Bali. The supporting cast features Vidhyadhar Joshi, Prasad Pandit, Swapnil Rajshekhar, Vighnesh Joshi, Shekhar Phadke, Shriram Kolhatkar and Arun Bhadsavle.
Interestingly, the film also includes two other hits from the original ‘Albela’ – “Shaam Dhale Khidki Taley. . .” and “Naam Bade Aur Darshan Chhote”. Both songs are not available as complete videos as yet. One will have to visit the original Marathi film to ascertain whether these songs were filmed in full, for the latter film. Potential for more repeat song posts. 🙂
Enjoy this song yet once again, in color.
Song – Shola Jo Bhadke Dil Mera Dhadke (Ek Albela) (2016) Singer – Vinay Mandke, Anwesha, Lyrics – Rajinder Krishan, MD – C Ramchandra
Lyrics
sholaa jo bhadke
dil meraa dhadke
sholaa jo bhadke
dil meraa dhadke
dard jawaani ka sataaye badh-badh ke
sholaa jo bhadke
dil meraa dhadke
sholaa jo bhadke
dil meraa dhadke
dard jawaani ka sataaye badh-badh ke
[The first stanza is not contained in the available video clip]
[mehki hawaayen
[behke kadam mere
[aise mein thaam lo
[aa ke balam more
[mehki hawaayen
[behke kadam mere
[aise mein thaam lo
[aa ke balam more
[pattaa bhi khadke
[to bijli si kadke
[pattaa bhi khadake
[to bijli si kadke
[dard jawaani ka sataaye badh-badh ke
[sholaa jo bhadke
[dil meraa dhadke
[sholaa jo bhadke
[dil meraa dhadke
[dard jawaani ka sataaye badh-badh ke
[sholaa jo bhadke
[dil meraa dhadke
[sholaa jo bhadke
[dil meraa dhadke
[dard jawaani ka sataaye badh-badh ke
pyaar ko mere
kisne pukaaraa
dil mein utar gayaa
kiskaa ishaaraa
pyaar ko mere
kisne pukaaraa
dil mein utar gayaa
kiskaa ishaaraa
yaad ye kiski
laayi pakad ke
yaad ye kiski
laayi pakad ke
dard jawaani ka sataaye badh-badh ke
sholaa jo bhadke
dil meraa dhadke
sholaa jo bhadke
dil meraa dhadke
dard jawaani ka sataaye badh-badh ke
sholaa jo bhadke
dil meraa dhadke
sholaa jo bhadke
dil meraa dhadke
dard jawaani ka sataaye badh-badh ke
aaa
dekhaa jo tumko
dekhaa jo tumko
dard gaya tham
ab to na honge
tumse judaa ham
dekhaa jo tumko
dard gaya tham
ab to na honge
tumse judaa ham
jee na sakenge
tumse bichadke
jee na sakenge
tumse bichadke
dard jawaani ka sataaye badh-badh ke
sholaa jo bhadke
dil meraa dhadke
sholaa jo bhadke
dil meraa dhadke
dard jawaani ka sataaye badh-badh ke
sholaa jo bhadke
dil meraa dhadke
sholaa jo bhadke
dil meraa dhadke
dard jawaani ka sataaye badh-badh ke
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
शोला जो भड़के
दिल मेरा धड़के
शोला जो भड़के
दिल मेरा धड़के
दर्द जवानी का सताये बढ़ बढ़ के
शोला जो भड़के
दिल मेरा धड़के
शोला जो भड़के
दिल मेरा धड़के
दर्द जवानी का सताये बढ़ बढ़ के
[प्रथम अन्तरा इस विडियो क्लिप में नहीं है]
[महकी हवाएँ
[बहके कदम मेरे
[ऐसे में थाम लो
[आ के बलम मेरे
[महकी हवाएँ
[बहके कदम मेरे
[ऐसे में थाम लो
[आ के बलम मेरे
[पत्ता भी खड़के
[तो बिजली सी कड़के
[पत्ता भी खड़के
[तो बिजली सी कड़के
[दर्द जवानी का सताये बढ़ बढ़ के
[शोला जो भड़के
[दिल मेरा धड़के
[शोला जो भड़के
[दिल मेरा धड़के
[दर्द जवानी का सताये बढ़ बढ़ के
[शोला जो भड़के
[दिल मेरा धड़के
[शोला जो भड़के
[दिल मेरा धड़के
[दर्द जवानी का सताये बढ़ बढ़ के
प्यार को मेरे
किसने पुकारा
दिल में उतर गया
किसका इशारा
प्यार को मेरे
किसने पुकारा
दिल में उतर गया
किसका इशारा
याद ये किसकी
लाई पकड़ के
याद ये किसकी
लाई पकड़ के
दर्द जवानी का सताये बढ़ बढ़ के
शोला जो भड़के
दिल मेरा धड़के
शोला जो भड़के
दिल मेरा धड़के
दर्द जवानी का सताये बढ़ बढ़ के
शोला जो भड़के
दिल मेरा धड़के
शोला जो भड़के
दिल मेरा धड़के
दर्द जवानी का सताये बढ़ बढ़ के
आ आ आ
देखा जी तुमको
देखा जी तुमको
दर्द गया थम
अब तो ना होंगे
तुमसे जुदा हम
जी ना सकेंगे
तुमसे बिछड़ के
जी ना सकेंगे
तुमसे बिछड़ के
दर्द जवानी का सताये बढ़ बढ़ के
शोला जो भड़के
दिल मेरा धड़के
शोला जो भड़के
दिल मेरा धड़के
दर्द जवानी का सताये बढ़ बढ़ के
शोला जो भड़के
दिल मेरा धड़के
शोला जो भड़के
दिल मेरा धड़के
दर्द जवानी का सताये बढ़ बढ़ के
Morey man mitwaa
Posted on: August 27, 2021
- In: Duet | expression of love | Feelings of heart | Guest posts | Mukesh songs | Mukesh- Suman Kalyanpur duet | Post by Mahesh Mamadapur | Song from regional movies | Songs of 1960s (1961 to 1970) | Songs of 1965 | Suman Kalyanpur songs | Theme song | Title song | Yearwise breakup of songs
- 4 Comments
This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4788 | Post No. : | 16545 |
Mukesh and his Composers – 22
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We pay tributes to legendary singer Mukesh on his Remembrance Day today (22 July 1923 – 27 August 1976). His voice, songs, and the rich legacy left behind continues to be remembered and cherished by fans across the globe.
February 12, 1982, Music Director’s Association had organized a programme at Mumbai’s Shanmukhananda Auditorium to celebrate 50 years of sound in Indian Cinema. Off course, the mega event is now also fondly remembered for Noor Jahan’s only travel from across the border after partition and her active participation in it.
In the programme, anchor Shabana Azmi, while introducing the life and singing career of Mukesh says that for having such pathos and honestly in the voice, it is necessary that apart from being a good singer, the person himself has to be a noble soul. I liked her description of Mukesh immensely and hence including it in his special post for the day. This nobility of Mukesh and his good deeds for society and his co-workers, has been mentioned in quite a few of my previous posts.
For adherent Mukesh fans, it very easy to pick a sample of their most favorite songs for the simple reason that there exists no sample and his entire body of thousand odd songs can be counted as best loved.
Continuing the series on Mukesh and his composers, I take up his association with composer Dattaram.
We all know that Dattaram was one of the main pillars on which the empire of Shanker Jaikishen stood and flourished. He worked for SJ camp almost all of his career but also had several opportunities to compose on his own name in many of the films. It is now an established fact that he could not come out of the shadows of SJ completely in spite of being immensely talented and hard working.
The curious cases of Dattaram and another favourite of mine Ghulam Mohammed intrigues me to no end. They had everything in them to create name and fame for themselves, but it appears they were too reluctant to venture out on their own to a far extent.
There are many videos, interviews, articles and blogs available on the web for the works of Datttaram and I am skipping referring the same.
Below is the table of collaboration of works of Mukesh with the composer.
An interesting fact on initial glance reveals that two prominent names of SJ camp are missing. Lyricist Shailendra and singer Lata. Off course, both have worked for Dattaram but when we filter Mukesh songs, we find them missing.
Again, what should I write about the songs enlisted below. Its signature Mukesh all the way starting with the immortal “aansoo bhari hain”. This song will forever remain an indisputable proof of the wonders the voice could create in lower tones of pathos songs with or without instruments. It was 1958 and Mukesh had just come out the clutches of his failed experiments and he grasped the year with all his might and went on to become Mighty Mukesh.
A cursory glance through the second column in the table below brings to the mind several memories of humming these songs. And, for obvious reasons, I again skip describing each of the songs.
Needless to say, I have again relied on the highly reliable Mukesh Geetkosh by Shri Harish Raghuvanshi ji and thank him for the same.
| S.No | Name of the song | Movie (Year of release) | Co-singer if any | Lyricist |
|---|---|---|---|---|
| 1 | Aansoo bhari hain | Parwarish (1958) | Hasrat Jaipuri | |
| 2 | Dil ne usey maan liya (Happy and Sad version) | Santaan (1959) | Hasrat Jaipuri | |
| 3 | Dil dhoondhtaa hai | Kaala Aadmi (1960) | Hasrat Jaipuri | |
| 4 | Ae dil dekhe hain humne | Shreemaan Satyawaadi (1960) | Hasrat Jaipuri | |
| 5 | Ik baat kahoon wallaah | Shreemaan Satyawaadi (1960) | Mahendra Kapoor, Suman Kalyanpur | Gulzar |
| 6 | Haal e dil hamaara | Shreemaan Satyawaadi (1960) | Hasrat Jaipuri | |
| 7 | Rut albeli mast samaan | Shreemaan Satyawaadi (1960) | Gulzar | |
| 8 | Maano ya na maano | First Love (1961) | Suman Kalyanpur | Gulshan Baawra |
| 9 | Mere pyaar mein ya wafa | First Love (1961) | Gulshan Baawra | |
| 10 | Mujhe mil gayi hai | First Love (1961) | Gulshan Baawra | |
| 11 | Kabhi kisi ki khushiyaan | Zindagi aur Khwaab (1961) | Kavi Pradeep | |
| 12 | Ae meri jaane wafaa | Neeli Aankhen (1962) | Gulshan Baawra | |
| 13 | More Mann Mitwa Suna | Morey Man Mitwaa (1965) | Suman Kalyanpur | Harishchandra Priyadarshi |
| 14 | Dekhi teri duniyaa arre | Farishta (1968) | Asad Bhopali |
The duo worked together for 14 songs of which 13 are already represented on the blog and is yet another proof regarding their popularity. One duet with Suman Kalyanpur remains to be covered and is the song under consideration for the post. This duet is from a 1965 movie, Morey Man Mitwa, a Magadhi language film. The producer and director of the film are R. D. Bansal and Girish Ranjan respectively.
A chirpy and hummable love song, I am sure readers will like it on first listening.
Song-Morey man mitwa (Morey man mitwa)(Magadhi)(1965) Singers-Suman Kalyanpur, Mukesh, Lyrics-Harishchandra Priyadarshi, MD-Dattaram
Lyrics
morey man mitwa
suna de o geetwa
suna de o geetwa
balam ho
balam ho
geetwa jagaawe more man maa
balam ho
geetwa jagaawe more man maa
sun goriya kaise sunaiha o geetwaa
sun gori kaise sunaiha o geetwaa
sajaniya hey
sajaniya hey
geetwa jagawai tor man maa
sajaniya hey
geetwa jagawai tor man maa
man ma ??
milan ma ke galema
milan ma ke galma
nainwa ke korwa sajaawaa na sapan maa
sajaawaa na sapan maa
man ma ??
milan ma ke galma
milan ma ke galma
lalki ?? kiraniya aitai
hamre anganma
hamre singaar toohi
hamre sajanma
hamre sajanma
balam ho
balam ho
chhun chhun boley kanganwa
balam ho
chhun chhun boley kanganwa
ban ke baawariya
rachaawa na laganma
rachaawa na laganma
torey bin chain naahin
paawe more man maa
na paawe more manwaa
ban ke baawariya
rachaawa na laganma
rachaawa na laganma
dilwa se door karde
man ke bharam ma
na ham singaar tohre
na hi sajanma
ho na hi sajanma
sajaniya hey
sajaniya hey
jud le judaito na paranma
sajaniya hey
jud le judaito na paranma
more man mitwa
suna de o geetwaa
suna de o geetwaa
balam ho
balam ho
geetwa jagaawe more man maa
balam ho
geetwa jagaawe more man maa
Sakhi ree saawan bhaawat naahin
Posted on: July 23, 2021
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4753 | Post No. : | 16492 | Movie Count : |
4480 |
Hindi Songs in Bangla Films:36
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It has been almost one year when I wrote my last article under the series ‘Hindi songs from Bangla films’ on July 23, 2020 in the Blog. There are some more Hindi songs from Bangla films which are yet to be covered. But most of them are those films from which at least one song has been covered in the Blog. So, I kept the series on the back-burner.
A few days back, Partha Chanda ji, a regular visitor to our Blog, suggested me to write on a Hindi song from a Bangla film, ‘Goynar Boksho’ (Jewellery Box, 2013). The song was of my type which I immensely liked it. The synpsis of the film made an interesting reading. These two factors pushed me to write the article forthwith.
In the film, Maushumi Chatterjee has a pivotal role of a ghost who watches three generations of women brought up in a different social status as to how they attach importance to her jewellery box. I had liked Maushumi Chatterjee’s performance of a middle-aged aunt in ‘Piku’ (2015). Another interesting role of a new daughter-in-law in the film was played by Konkona Sen Sharma whose performance I have liked in ‘Wake Up Sid’ (2009). Surely, it was going to be an interesting film to watch with English sub-titles which I did so on one of the OTT platforms.
‘Goynar Boksho’ (2013, Bangla) was produced under the banner of Shree Venkatesh Films Pvt Ltd and was directed by Aparna Sen. The main cast included Maushumi Chatterjee, Konkona Sen Sharma, Saswata Chatterjee, Srabanti Chatterjee, Paran Banerjee, Pijush Ganguly, Aparajita Adhya, Manasi Sinha etc. The film’s story was adapted from the novel of the same name and a short story ‘Rashmonir Sonadana’ both written by Sirshendu Mukhopadhyay, a well-known Sahitya Akademy Award winner Bangla laureate.
In an interview with the Times of India sometime in 2012, Aparna Sen had revealed that she had read the story for the first time in 1993 and immediately decided to make a film on it. However, she could not get the right type of the film production house to finance the film. It took nearly 20 years to find the right film production house by which time, she had become a kind of celebrity film directors of art/parallel films.
The story of the film is as under:
Chandranath (Paran Banerjee) the patriarch of Mitra joint family was once landlord in East Bengal. After partition, the entire family migrates to West Bengal side. The Mitra family stays in a big 3-story house. Being from the family of landlord, none of the menfolk has worked for a living. Obviously, Chandranath’s two sons – Chandan (Saswata Chatterjee) and Chanchal (Pijush Ganguly) pass their time fishing in the pond near their house and visiting their respective courtesans in the evenings.
In the house, the 70-year old aunt, Pishima (Maushumi Chatterjee) who got married at 11 and became widow at 12 in Faridkot, has been deprived of all worldly pleasure, conjugal relationship and good food. She finds solace in her jewellery box containing 5 kgs of gold jewelleries as a part of her ‘streedhan’. Chandranath’s younger son, Chandan gets married to Somlata (Konkona Sen Sharma), a poor girl from an adjoining village. The family’s financial condition can be judged from the fact that the expenses for the wedding are paid off by selling an old Burma teak-wood double bed and an expensive carpet. All the members of Mitra family are afraid of Pishima because of her authoritative and cursing voice. Also no one in the family wants to be in the bad book of Pishima as she holds the jewellery box which the family can inherit once she dies.
One day, Somlata on a visit to Pishima’s room, finds her dead. Knowing fully well that once she dies, her gold jewellery would be sold over time for the family’s sustenance, Pishima turns ghost and entrusts the jewellery box to Somlata with a condition that she should safely keep it in a secret place without any family members knowing it including her husband. Now, the box has been handed over to the second generation. After the death of Pishima, the family members search for the jewellery box but in vain. They also call the police in case the box has been stolen but again police fail to find out the box.
None of the family members can see the hukka smoking Pishima’s ghost except Somlata to whom she bullies just to make sure that her jewellery box is not misused by her. However, due to adverse financial condition of the family, Somlata looks the gold jewelleries as a means of raising capital for her husband to set up a saree shop. For this purpose, she pledges one of the gold ornaments and convince Pishima that once the business earns profit, she would get the jewellery back in the box. Over a period of time, the fortunes of Mitra family improve enabling Somlata not only to get back the pledged ornament but also some of the antiques of the house which the family had sold for their sustenance.
Somlata gives birth to a daughter who grows up to become a college going Chaitali (Srabanti Chatterjee). One day, Somlata shows all the ornaments in the jewellery box to Chaitali who evinces no interest in the ornaments as they are all old style. Besides, she has no interest in wearing gold ornaments. Chaitali has an affair with a boy who is involved in supporting the underground movements in East Pakistan. On the advice of Pishima’s ghost, Chaitali donates all the ornaments to support the underground movements for an independent Bangla Desh. The film ends with a poem recitation-cum-song when the ghost of Pishima merges with the fog over the river.
Maushumi Chatterjee in the role of Pishima – both live and as a ghost, has given a lively performance. Generally, the role of a ghost should bring horror situations. But in this film, Maushumi Chatterjee in the role of ghost, brings comic situations in the film like her hukka smoking, her bullying tactics, the sarcastic comments on the family members, her suggestion to Somlata that like her husband, she should also have an extra-marital affair etc. Probably, the Bangla audience would enjoy more fun from her dialogues which have to be in East Bengali dialect due to her role being a native of Faridkot.
Konkona Sen Sharma as Somlata, the new daughter-in-law, has a contrasting role vis-à-vis Maushumi Chatterjee. She is so scared with the presence of Pishima in the house that she starts stammering. It is much later that a positive bonding develops between Pishima and Somlata. Both of them have a major presence in the film. The superlative performances of Konkona Sen Sharma as well as Maushumi Chatterjee in the film got them Filmfare Awards for the best actress and the best supporting actress, respectively in Bangla film category.
The coverage of the third generation in the film seems to be too rushed up. It gives an impression that the Aparna Sen was in a great hurry to finish the film. Probably, the film had become too long for a non-mainstream category and she therefore may have edited out some sequences from this part of the film.
It is interesting to note that Aparna Sen’s ‘Goynar Baksho’ (2013) was released, on April 12, 2013. After a week, Vishal Bhardwaj’s ‘Ek Thhi Daayan’ (2013) was released. In both these ‘ghost’ films, Konkona Sen Sharma acted. The story of ‘Ek Thhi Daayan’ (2013) was written by Mukul Sharma, the father of Konkona Sen Sharma and the ex-husband of Aparna Sen.
‘Goynar Boksho’ (2013) has 8 songs of which one song is in Hindi. It is interesting to watch a short Bengali rap song which is sung when some distant relatives of Chandranath visits Chandan’s saree shop to buy sarees for their daughter’s baby shower. The lyrics of the rap song mostly use various names of the sarees. The rap song was rendered by all the actors involved in the scene. All the songs were set to music by Debijyoti Mishra who was the chief assistant to Salil Chowdhury for 14 years and for Ilaiyaraja for 2 years.
I am presenting the Hindi song ‘sakhi ri saawan bhaawat naahi’ which is a ‘biraha’ song rendered by Shubha Mudgal in a Dadra format. The lyricist of the song is not mentioned. As with most of the songs in the film which is played in the background in driblets interspersed with dialogues, this ‘biraha’ song also follows the same pattern in the film. So, it is better to listen to the song on the audio clip for getting its seamless rendering.
This is a sublime song using the minimum musical instruments to give prominence to the singer’s voice. In the film, the song plays in the background when Somlata, on the instigation from the ghost of Pishima, is about to get involved with an extra-marital affair when her husband is away on a long tour.
Audio Clip:
Song-Sakhi ree saawan bhaawat naahin (Goynor Boksho)(Bangla)(2013) Singer-Shubha Mudgal, MD-Debijyoti Mishra
Chorus
Shubha Mudgal + chorus
Lyrics
sakhi ri…eeeee
saawan bhaawat naahi..eeeee ee
sakhi ri…eeeee ee eee
haan saawan bhaawat naahi..eeee
bijuri chamkat dar laagat hai
soona..aaaaa aa aa
soona
soona ghar laagat hai
kaun oar gaye peerahwa
kauno bataawat naahi.eee
bataawat naa..hi
saawan bhaawat naahi..ee
saawan bhaawat naahi
saawan bhaawat naahi..ee
saawan bhaawat naahi..ee
aaaaaaaaaaaa aaa
boondiya barsat aangan aangan
mann su….khaa
aa aa aaa
mann soo….kha bin tere saajan
saawan jaihyen baar phir aihyen….en en
gaile joban phir aawat naahin
sakhi ri..ee
saawan jaihen baar phir aihen….en
aa aa aaa
saawan jaihen baar phir aihen….en
gaile joban phir aawat naahi..ee ee
sakhi ri ..eeee
saawan bhaawat naahin
sakhi ri…eeee ee ee
saawan bhaawat naahi…eeeee
saawan bhaawat naahin
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4542 | Post No. : | 17116 | Movie Count : |
4396 |
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Hindi songs in Malayalam films-2
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Hullo Atuldom
I am not attempting a tribute to the great favorite of millions of Hindi film music lovers. I am sure there are many Atulites who are competent and will do a great job of it.
I am just presenting HFM lovers a song which is not from a Hindi movie. I landed on this song as I was going through the discography of the singer whose voice has mesmerized an entire generation and his fans exist across the length and breadth of this vast country and beyond the boundaries. His fan following is not bounded by language barriers as we know that he has sung in various Indian and foreign languages.
So without beating around the bush, I shall straight away get to the song. It is from the 27th June, 1980 released, Malayalam movie “Thaliritta Kinakkal”. ‘Thalir’ means tender leaf and ‘Kinakkal’ means dreams. So the title should loosely translate to ‘Tender Dreams’.
It was directed by P. Gopikumar, Jamal Kochangadi was the story, screenplay and dialogue writer. When I read the cast of the movie I was astonished to find Madhu Malini and Tanuja’s names; of course I am aware that Madhu Malini (sister in many Hindi movies of the ’80s) had done a few movies in Malayalam. But Tanuja!!! (I need to see this movie). More importantly for the sake of the song with this post.
I was amused to see the actor – Padmadalakshan (who was more popular as Kuthiravattam Pappu) – lip syncing to this wonderful voice of HFM. I immediately showed the video of the song to my dear Mom-in-law as I was having trouble recalling the name of the lady to whom the song was being addressed. She instantly pointed the direction and I recalled the various characters that this lady has played in Malayalam movies; beginning her career in 1957 till her death in 2009; her last release was in 2004. This lady goes by the name Adoor Bhavani. She was a Kerala Sangeetha Natak Academy award winning stage actress as well as popular enough to have appeared in about 450 films. She was also associated with Kerala People’s Art Club.
Coming back to the song. The makers of this movie, being huge fans of the Hindi film legend were keen on getting him to record for them. The legend commented that he needed a few weeks to learn the pronunciation of the language and also the meaning as without that he would not be able to impart the right emotions. Don’t we know this about our legend- how meticulous he was about each and every song that he has recorded. Whether it were his ‘halke-phulke’ “yahoo-type” songs, “bapu ki yeh amar kahaani” type patriotic songs, or any ghazal, bhajan, highly romantic or supremely melodious sad numbers. This legend was a go-to for songs of every genre and actor and emotion and pitch. There has been no replacement for him.
I seem to be straying.
So, as I said earlier, there are fans of this legend across the country and it is a small wonder that the makers of “Thaliritta Kinnakal” approached the legend and he didn’t refuse them. But I would surely love to know what transpired in the interim and the legend ended up recording a Hindi song for the Malayalam film.
Thus, we are having a Hindi song from a Malayalam film, sung by our very own Mohd. Rafi saab (I am sure I didn’t have to mention the playback singer’s name) which is lip synced by Kuthiravattam Pappu addressing Adoor Bhavani. We see, as the song is coming to a close, Adoor Bhavani is actually dancing to the song that is playing on a Two-in-one. I vividly recall that it was customary for all gulf-returnees to get one for their dear ones back home. We also see that ‘Pappu’ spies Bhavani and calls Madhu Malini too, to enjoy the sight of the 50-year-old lady’s antics.
The composer is Jithin Shyam and Aayish Kamal is the lyricist.
I would like to mention here that both these talented actors of Malayalam are impersonating characters usually played by Prem Nazir and Jayabharathi (the pair known for romantic duets of those times). I am assuming that this is part of the comic-romantic-sub plot of the movie something that our Mehmood used to excel in with either Shubha Khote or Aruna Irani in tow.
Wishing that our Rafisaab was here, in this mortal world, to see us, his fans, going crazy on his 96th birthday.
Audio
Video
Song-Jaadoo hai meethha meethha jaana meri baaton mein (Thaliritta Kinakkal)(Malayalam)(1980) Singer-Rafi, Lyrics-Aayish Kamal, MD-Jithin Shyam
Lyrics
shabaab leke woh
jaane shabaab aaya hai
utar ke jaise yahaan
aaftaab aaya hai
tujh ko o
chaand sitaare salaam
kehte hain
teri aankhen hain ya koi jaam
kehte hain
jaadu hai meetha meetha
jaana meri baaton mein
apna bana hi loonga
ik do mulaaqaaton mein
jaadu hai meetha meetha
jaana meri baaton mein
apna bana hi loonga
ik do mulaaqaaton mein
ho o o dilrubaa aa
jaane adaa aa aa aa aa
sun zaraa aa aa
chaahat pe zor kisi baat ka kabhi na chala
shama jali toh wahin aake parwaana jala
chaahat ke rog se bacha hai yahaan kaun bhala
ae mere dil tu u u u
ho na beqaabu u u u
haan
saara zamaana dekha tujh sa mila na koi
mehfil mein aaya tere pyaar ka deewaana koi
jalwe lutaate huye
chhed de taraana koi
hai yehi maukaa aa aa aa aa
yoon toh na sharmaa aa aa aa aa
haan
jaadu hai meetha meetha
jaana meri baaton mein
apna bana hi loonga
ek do mulaaqaaton mein
jaadu hain meetha meetha
jaana meri baaton mein
apna bana hi loonga
ek do mulaaqaaton mein
ho o o dilrubaa aa aa
jaane adaa aa aa aa aa
sun zaraa aa aa
jaane adaa aa aa
sun zaraa aa aa
o o o
Shubh Sukh Chain Ki Barkha Barse
Posted on: July 23, 2020
- In: Babul Supriyo Songs | Background song | Devnagri script lyrics by Sudhir | Guest posts | Hindi Songs in Non-Hindi Films | Lyrics contributed by readers | Patriotic song | Post by Sadanand Kamath | Song from regional movies | Songs of 2010s (2011 to 2020) | Songs of 2019 | Yearwise breakup of songs
- 7 Comments
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4388 | Post No. : | 15750 | Movie Count : |
4342 |
Hindi Songs in Bangla Films: 35
‘Gumnaami’ (2019) is a Bangla film with fairly good parts of dialogues in Hindi and English. The film is produced under the banner of Shri Venkatesh Films and is directed by Srijit Mukherjee. The main star cast consists of Prosenjit Chatterjee (as Netaji Subhash Chandra Bose and later as Gumnaami Baba), Anirban Bhattacharya (as journalist, Chandrachur Dhar), Tanushri Chakraborty (as Ronita Dhar), Surendra Rajan (as Mahatma Gandhi), Sanjay Gurubuxani (as Jawaharlal Nehru) etc. The film was released on October 2, 2019. Being a recent release, as of now, the movie is not available on video sharing platforms.
I watched the film on one of the OTT platforms. The film is not a biopic on Netaji Subhash Chandra Bose. It is based on later events, relating to the investigations by Mukherjee Commission, which was set up by Government of India in 1999 to probe the death of Netaji Subhash Chandra Bose. The Commission was assigned the task to tackle the three broad theories surrounding the alleged mysteries and unanswered questions related to Netaji’s death. First, Netaji died in a plane crash while taking off from an airport in Taiwan. Second, he staged a fake plane crash to escape to Russia where he died in prison. Lastly, Netaji staged a plane crash, escaped to Russia and returned to India as a sanyasi (monk) known as ‘Bhagwan ji’ or ‘Gumnaami Baba’ who died in September 1985 in Faizabad.
Film starts with Mahatma Gandhi and Jawaharlal Nehru advising Netaji Subhash Chandra Bose, who was the then Congress President, that he should support the British Government during World War II. They also advocate non-violent methods for attaining India’s freedom from the British Rule. Netaji disagrees by saying that freedom is to be snatched from Britishers rather than demanding from them. Due to his differences with Congress High Command, he resigns from the Indian National Congress. He goes abroad to make allies with Japan and Germany who are at war with Great Britain and the Allied forces. He sets up Indian National Army with the support of Japan.
After the surrender of Japan to allied forces in Burma, Netaji shifts his forces to Singapore and then to Bangkok. He advises his forces to surrender while he with Rahman will go to Tokyo for onward escape to Soviet Union which, according to his view, would become anti-British after the war. He can then fight for India’s independence from there. While travelling to Soviet Union, Netaji’s plane catches fire and he dies after a few hours of the accident due to burn injury on August 18, 1945. He is cremated and his ashes are taken to Tokyo.
There have been many commissions and reports to inquire about the circumstances of Netaji’s death but there still remains uncertainty and the doubts have been raised in various quarters about the death of Netaji from time to time. In 1999, Government of India decides to set up the Mukherjee Commission go into the mysteries behind Netaji’s death afresh.
In 2003, a journalist, Chandrachur Dhar is given an independent assignment by his employer, Indiatimes to make a research-based study on the mystery of Netaji’s death. Chandrachur believes that all the myths surrounding Netaji’s death are hoaxes. Nevertheless, he takes up the assignment and spends much of his time in gathering evidences. During this period, his entire thinking about Netaji’s life changes. The study and research on the Netaji’s life becomes his obsession to such an extent that he neglects his personal life. His wife, Ronita feels that she is living with a husband who is unstable, crazy and unpredictable. In a fit of anger, she ransacks all the papers and documents which Chandrachur had collected in the course of his reasearch. She files for a divorce and gets it. In frustration, Chandrachur resigns his job. Instead, he forms a passionate group of his friends called ‘Mission Netaji’ to study and research to solve the mystery of Netaji’s death.
Based on extensive studies and research, Chandrachur makes presentations before the Mukherjee Commission with evidences to prove that Netaji did not die in plane crash but escaped to Russia by staging a fake plane crash. From Russia, he came to India via Tibet as a wandering monk and stayed in Lucknow. He submits 19 evidences in support of his contention. In 2005, Mukherjee Commission presented the report to the Government of India. The Report was presented to Lok Sabha and was publicly released.
Chandrachur and his friends of ‘Mission Netaji’ have assembled in his house to read the Commission’s report. Ronita, his ex-wife has come to wish her best to Chandrachur. While Commission has come to the conclusion that Netaji has not died in the plane crash based on the various evidences including the DNA report of his remains which have been kept in Tokyo, which was identified as that of a Japanese soldier. However, due to absence of any concrete evidence, the Commission is unable to come to the conclusion whether Netaji escaped to Russia. Further, the DNA test of Gumnaami Baba did not match with that of Netaji. The Government of India rejected the report without giving any reasons.
The rejection of the Commission’s report affected Chandrachur so much that he locks himself in a room full of the books, and documents collected over the last 3 years for his ‘Mission Netaji’. He starts burning every documents, files and books connected with his research so much so the entire room engulfs with fire. Ronita calls his friends and gets the door broken to rescue Chandrachur. The film ends with Ronita convincing Chandrachur to keep on fighting for the truth of Netaji’s death. Hence, the fight must go on until an end to the mystery.
Before I started watching this film, I did not have a very high expectation from the film because, there has been many films on the life of Netaji Subhash Chandra Bose. Furthermore, I was one of the believers that Netaji died in the plane crash in August 1945 and the talks thereafter about the mystery of his death were all myths and conjectures. But once I completed watching the film in one sitting, I must admit that the director, Srijit Mukherjee has managed to present the film in a way which made me to rethink about the controversies surrounding Netaji’s death. This film is a class by itself putting it on a different pedestal.
Prosenjit Chatterjee, in the role of Netaji as well as Gumnaami Baba has given an excellent performance which was a pleasant surprise for me as most of his roles in Bangla films are that of a romantic hero. His performance as a Gumnaami Baba looks so real that for once, I started feeling that Gumnaami Baba could really be Netaji in disguise. As Netaji, almost all of his dialogues are in Hindi and English. It is only when he turns to act as Gumnaami Baba, his dialogues are in Bangla.
Another roll of honor in the film goes to Anirban Bhattacharya, who in the role of Chandrachur Dhar, has given the superb performance as a journalist. His submissions to the Mukherjee Commission and the crazy reactions to the news that the Commission’s reports have been rejected by the Government are his top-most performances in the film. In fact, he has an equal presence in the film if not more than Prosenjit Chatterjee.
The film is a mix of black & white and colour. The scenes involving Netaji in pre-1945 period are in black & white while scenes representing Gumnaami Baba, Chandrachur Dhar, the journalist and the proceedings of the Mukherjee Commission are in colour. The film has dialogues in Bangla, Hindi, English and few dialogues in Japanese. These combinations in the film give a feel of a period atmosphere as well as the natural proceedings of the story in the film.
While on Netaji Subhash Chandra Bose, it is incidental and interesting to note that today, July 23rd,is the Remembrance Day of one of Netaji’s closest aides who led INA’s Women Wing named the Rani Jhansi Regiment. She is Captain (Dr) Lakshmi Sehgal (24/20/1914 – 23/07/2012) of INA born as Lakshmi Swaminathan. She had barely completed her MBBS and arrived in Singapore, where she met with Netaji and got immersed in the Azad Hind movement.
During the surrender of Singapore by British to the Japanese, Dr Lakshmi helped heal the wounded soldiers of prisoners of war, many of whom were Indians. They desired to form the Azad Hind Fauj. After the arrival of Netaji in Singapore in July 1943, Dr. Lakshmi met Netaji who was keen to take women into INA. Thus she became Captain Lakshmi Swaminathan of Rani Jhansi Regiment of INA.
In Burma operations, INA joined Japanese in December 1944 but by March 1945, Japanese were on the losing ground. INA decided to beat a retreat from Burma. While crossing into Imphal, Captain Lakshmi was arrested in Burma by the British Forces and held in prison in Burma until March 1946 when she was sent to Delhi for trials as a war criminal. However, on the eve of India getting independence, Captain Sehgal and many of the INA facing trials were set free.
In March 1947, Captain Lakshmi married Prem Kumar Sehgal and shifted to Kanpur. She continued her medical practice in Kanpur. She became a Rajya Sabha member in 1971. During the Bangla Desh crisis in 1971, she set up relief and medical camps for refugees from East Pakistan in Kolkata. During the Bhopal gas tragedy in December 1984, she led a medical team to look after those affected by the gas. She was active as a medical practitioner until the age of 92.
‘Gumnaami’ (2019) has 5 songs of which 3 are in Hindi. All songs have been used in the film as background songs. I am presenting “Shubh Sukh Chain Ki Barkha Barse” rendered by Babul Supriyo and chorus. There is an interesting history behind this song.
After the establishment of the provisional Government in exile of INA in 1943, Netaji decided to have a National Anthem for his Government. He himself selected Gurudev Rabindranath Tagore’s “Jan Gan Man Adhinayak Jai He” and asked Mumtaz Hussain and Colonel Abid Hussain Saffarani of INA to translate it into Hindustani so that it becomes easy to understand the meaning to all. He selected Captain Ram Singh Thakur to composed in the martial music so that the listeners would be awaken. It is significant to note that on the day of India’s independence on August 15, 1947, Jawaharlal Nehru unfurled the Tricolour on the ramparts of the Red Fort after which Captain Ram Singh Thakur of INA conducted the orchestra with his musicians, playing the tune of the National Anthem of INA.
In the film, this song appears towards the end of the film, incorporating the flashback of what has happened in the life of Netaji from 1940-45 and the efforts made by the journalist to unlock the mystery of Netaji’s death. The credit title of the film gives credit to Mumtaz Hussain and Colonel Abid Hussain Saffarani as lyricists and the music to Captain Ram Singh Thakur. However, I feel that Rabindranath Tagore should also get the credit since the tune was originally composed by him for “Jan Gan Man Adhinayak Jai He”. The audio clip of the song has one extra stanza.
It is the song which reminds us with moist eyes, the fond memory of Netaji of his sacrifice for the freedom of the motherland.
Video
Audio
Song – Shubh Sukh Chain Ki Barkha Barse (Gumnaami) (Bangla) (2019) Singer – Babul Supriyo, Lyrics – Mumtaz Hussain, Colonel Abid Hussain Saffarani , MD – Captain Ram Singh Thakur
[Note on MD – The original score of this song is created by Gurudev Rabindranath Tagore, the creator of the “Jan Gan Man. . .” anthem.]
Chorus
Lyrics
shubh sukh chain ki barkha barse
bharat bhaag hai jaaga
punjab, sindh, gujarat, maratha
draavid, utkal, banga
chanchal sagar, vindh, himaalaya
neela yamuna, ganga
tere nit gun gaaye
tujh se jeewan paaye
har tan paaye asha
suraj ban kar jag par chamke
bharat naam subhaaga
jai ho…o
jai ho…o
jai ho…o
jai jai jai jai ho..o
bharat naam subhaaga
sab ke dil mein preet basaaye
teri meethi baani
har subey ke rahne waale
har mazhab ke praani
sab bhed aur farak mita ke
sab god mein teri aa ke
goondhe prem ki maala
suraj ban kar jag par chamke
bharat naam subhaaga
jai ho…o
jai ho…o
jai ho…o
jai jai jai jai ho…o
bharat naam subhaaga
subah savere pankh pakheru
tere hi gun gaayen
baas bhari bharpur hawaayen
jeewan mein rut laayen
sab mil kar hind pukaaren
jai azad hind ke naare
pyaara desh hamaara
suraj ban kar jag par chamke
bharat naam subhaaga
jai ho…o
jai ho…o
jai ho…o
jai jai jai jai ho…o
bharat naam subhaaga…aa
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
शुभ सुख चैन की बरखा बरसे
भारत भाग है जागा
पंजाब सिंध गुजरात मराठा
द्राविड़ उत्कल बंग
चंचल सागर विंध्य हिमाला
नीर यमुना गंगा
तेरे नित गुण गाये
तुझ से जीवन पाये
हर तन पाये आशा
सूरज बनकर जग पर चमके
भारत नाम सुभागा
जय हो॰ ॰ ॰
जय हो॰ ॰ ॰
जय हो॰ ॰ ॰
जय हो॰ ॰ ॰
जय जय जय जय हो॰ ॰ ॰
भारत नाम सुभागा
सबके दिल में प्रीत बसाये
तेरी मीठी बानी
हर सूबे के रहने वाले
हर मज़हब के प्राणी
सब भेद और फर्क मिटा के
सब गोद में तेरी आ के
गूँधे प्रेम की माला
सूरज बनकर जग पर चमके
भारत नाम सुभागा
जय हो॰ ॰ ॰
जय हो॰ ॰ ॰
जय हो॰ ॰ ॰
जय हो॰ ॰ ॰
जय जय जय जय हो॰ ॰ ॰
भारत नाम सुभागा
सुबह सवेरे पंख पखेरू
तेरे ही गुण गायें
बास भरी भरपूर हवाएं
जीवन में रूत लाएँ
सब मिल कर हिन्द पुकारें
जय आज़ाद हिन्द के नारे
प्यारा देश हमारा
सूरज बनकर जग पर चमके
भारत नाम सुभागा
जय हो॰ ॰ ॰
जय हो॰ ॰ ॰
जय हो॰ ॰ ॰
जय हो॰ ॰ ॰
जय जय जय जय हो॰ ॰ ॰
भारत नाम सुभागा
Bhar bhar aayin mori ankhiyaan
Posted on: July 6, 2020
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4371 | Post No. : | 15705 | Movie Count : |
4329 |
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Hindi Songs in Bangla Films : 34
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‘Jalsaghar’ [(1958), Music Room] was Satyajit Ray’s third film (4th film in terms of the date of release). After the box office failure of his second film, ‘Aparajito’ (1957), Satyajit Ray decided to make a popular film which would cater to the taste of Bengali audience. ‘Jalsaghar’. the short story of Tarashankar Bandopadhyay was the basis for the film which had the popular subject of the declining fortunes of zamindars (landlords) who patronized arts and music. So, there would be scope for songs and dances which would attract the audience.
But how could a director of the stature of Satyajit Ray succumb to make a commercial film whose heart was attuned to making the intellectual films? So, the net result was that when ‘Jalsaghar’ (1958) shooting was completed, the popular subject of declining aristocracy became a serious subject. The popular music associated with such subject was turned into the hardcore Hindustani classical songs and a classical dance. In other words, the film took the shape of an artistic film and won the National Film Award, 1959 for the best feature film in Bengali.
It took quite a long time to search for a dilapidated palace in West Bengal for shooting the film. At last, someone from Murshidabad suggested Nimtita Rajabari in Murshidabad which suited well as a palace for a zamindar whose fortunes are on the decline. It was a great coincidence that later on, Tarashankar Bandopadhyay revealed to Satyajit Ray that his short story was inspired by landlord Upendra Narayan Chaudhury who stayed in Nimtita Rajabari. His descendants have now settled in Kolkata.
The film is available for viewing on one of the video sharing platforms in 10 parts with English sub-titles. While watching, I felt that the original film may have been edited to some extent. However, the continuity of the story seems to have been maintained. The film’s story is set in the mid 1930s and centres around Chhabi Biswas in the role of an aged music-loving landlord. He is present in almost all the frames of the film. Rest of the main actors like Padma Devi, Gangapada Bose, Tulsi Lahiri, and Kali Sarkar have subsidiary roles. The story as depicted in the film is as under:
Biswambar Roy (Chhabi Biswas) is an aged feudal landlord who lives in his dilapidated palace on the banks of a river. He has lost his wife, Mahamaya Devi (Padma Devi) and the only son, Khoka some years back when their boat capsized in the river during a storm. He has lost much of the land-holding due to the soil erosion created by the river. He has only one servant, Ananta (Kali Sarkar) and the Estate Manager (Tulsi Lahiri) to his company besides his horse and an elephant. To maintain his status as an aristocratic landlord, he indulges in lavish spending and pleasures like hosting concerts in his music room, high quality drinks etc. Much of his assets including the remaining land and jewelries have been mortgaged or sold.
While old Biswamber is resting in his room reminiscing his golden days as a wealthy landlord, Mahim Ganguly (Gangapada Bose), his neighbour and a neo-richman, visits the palace to invite him to attend his son’s thread ceremony. While Biswamber declines to attend giving an excuse that because of his old age, he has stopped going out of his palace. But this event reminds him of his son’s thread ceremony which he had conducted in pomp and show worthy of a landlord which included a grand firework in the night followed by a musical concert in his jalsaghar (music room) where all his guests were served choicest drinks. He also remembers that in the same night, his wife resented his spending on concerts too, by mortgaging her jewellery.
Biswamber also remembers that he had arranged a next musical concert on the day his wife and son were to return to the palace after the visit to her mother’s place, to celebrate the new year. This was also to show his might to his new-rich neighbour, Mahim even though for this, Biswamber had to sell some of his antique furniture and some more jewellery. While the concert was in the mid-way, he got the news that his wife and the son drowned in the river while returning on a boat.
After the death of his wife and son, Biswamber has been living in the palace alone with a servant to attend to him. His music room has remained locked for many years. He has become a recluse. He is in no mood to accept his neighbour Mahim’s personal invitation to attend his newly constructed house-warming ceremony and a dance concert. But it reminds him of his music room which has been closed for years. He orders his servant to open it at once. He spends some time inside the music room reminiscing of his glorious days.
In order to spite his neighbour, Biswamber decides to organise a dance concert of a famous kathak dancer from Banaras for which he spends his last cash reserves of Rs.500 for refurbishing his music room, arranging drinks to his guests and giving his last of the precious stones as a gift to the dancer. After the concert, though he has become almost bankrupt, a drunk Biswamber is very happy that he could effectively replicate his past glory to spite his neo-rich neighbour, Mahim.
However, as the night progresses, he observes that one by one the candles in the chandeliers of his music room are getting over, making the room dark. A frightened Biswamber linking the candle light-off to the end of his own life, calls his servant, Ananta who apprises him that the dawn is approaching. He would open the windows and the sunlight would make the room brightened. As the morning sun rises, in his last show of grandeur of his aristocracy, Biswamber mounts his favourite horse and rides at a faster pace away from the palace. But he is thrown out of the horse and dies at the banks of the river – the same river which is also responsible for the erosion of his land and the death of his wife and son.
The moral of the story is that though Biswamber knows that his fortunes are on the decline, he is not ready to adjust to the reality of the situation. Every effort is made to maintain his lavish spending even in the background of facing the adverse financial position. There is no need to compete in terms of prestige with the neo-rich, Mahim who has improved his economic condition by his business acumenship. On the other hand, Biswamber should have taken the clues from Mahim to diversify into some other business ventures. In both the cases – the decline of Zamindars and the emergence of non-Zamindar neo-rich, Satyajit Ray has very well explored human psychology of showmanship.
The highlight of the film is the superb performance by Chhabi Biswas in the role of an aged landlord. The entire film lies on his shoulder. It may be worthwhile to note that in reality, actor Chhabi Biswas belonged to an aristocratic family. He has personally witnessed the downfall of aristocracy. With this background, it comes naturally to him to perform his role of a falling aristocrat. In fact, there is so much of a genuineness in his performance that those who have watched the film would sympathise with him at the end of the film notwithstanding the fact that it is his ego and the false prestige which are responsible for his downfall.
One of the scenes in the film which I liked the most is when Biswamber enteres his jalsaghar (music room) for the first time after keeping it locked for some years. He spends about 5-6 minutes inside jalsaghar without any dialogue and the background music, observing each and every item – portraits of his forefathers, each and every chandeliers, furniture and fixtures etc. This scene reminds me of a similar scene in ‘Kaagaz Ke Phool’ (1959) when an aged Guru Dutt visits his studio and glances the entire studio, reminiscing of his glorious days as a successful director. He touches the camera and sits on his director’s chair in the dark studio never to get up.
Satayjit Ray has used the camera as well as the expression and gestures of the main actors to move forward the story of the film more than the dialogues. My guess is that of 100 odd minutes of the film, the dialogues in the film would have cumulatively consumed not more than 40 minutes. Ustad Vilayat Khan has used mainly Sitar and Flute for background music which goes well with the ambience of the palace as well as the genre of the story.
Like ‘Kaagaz Ke Phool’ (1959), ‘Jalsaghar’ (1958) had also the same fate of failure at the box office. The reviews of the film after its release in India were mostly adverse. It was only after a couple of years when the film was released in the US and the UK, it received a cult status. Over a period of time, the film has been one of the widely discussed classic films of Satyajit Ray like ‘Kaagaz Ke Phool’ (1959). In June 2018, the film was shown in the Siri Fort Auditorium, the only Indian classic film shown at Navras Duende World Film Festival.
‘Jalsaghar’ (1958) has two songs – both rendered in Hindustani classical raags. In addition, the film also has the 8-minute of Kathak dance by Roshan Kumari, the daughter of playback singer, Zohrabai Ambalewaali. I am presenting a traditional thumri ‘bhar bhar aayi mori ankhiyaan piya bin’ rendered by Begum Akhtar. The song is picturised on Begum Akhtar herself up to say 01:45 of duration. Thereafter, the actress singing the song is different until Begum Akhtar surfaces again towards the end of the song. However, the entire duration of the song is rendered by Begum Akhtar. The Thumri was set to music by Ustad Vilayat Khan.
The background of the song is that Biswamber Roy remembers his olden days when after the thread ceremony of his son, he had arranged a concert in the night in his jalsaghar where all the guests had been served with drinks. All the money spent for the event was raised by selling his wife’s jewellery.
The director’s camera captures many other details while the singer is rendering the Thumri. The camera pans over the entire jalsaghar to show the grandeur of the music room. The camera also captures other subsidiary activities simultaneously going on, both physically and mentally. The camera focuses on Chhabi Biswas who is shown to be listening very intensely. But behind the intensity, he is also thinking something else as his eyes remain static, probably remembering many such music soirees of the past. His neighbour, Gangapada Bose is inhaling snuff but at the same time, he is embarrassed as to whether any of the guests has noticed his action. The camera also captures him in trying to control his sneeze following inhaling the snuff and thereafter searching for a glass of drink.
This film, in my view, is a ‘must see’ for those who believe the films as the director’s medium and also for the excellent performance of Chhabi Biswas as an aged landlord.
Video Clip:
Audio Clip:
Song-Bhar bhar aayi mori ankhiyaan piya bin (Jalsaghar)(Bangla)(1958) Singer-Begam Akhtar, MD-Ustaad Vilaayat Khan
Lyrics
aaaaaa
aaa aa aa aaaa
aaa aaa aaaaaa
aaaa aaa aa
aaaaaaaaa aa
aaaaaaaaaaaaa
aa aa
aa aa aa aaaa
aaaaaaaaa
aaa aaa aaa aa
aa aa aa aa aaa aa
aa aa aaaa aa aaaa
ae bhar bhar aayin mori ankhiyaan
piyaa bin
bhar bhar aayin mori ankhiyaan
piyaa bin
bhar bhar
bhar bhar aa………yin
bhar bhar aa………yin
aa aa aa aaa aaa
ae ae ae
bhar bhar aayin aa aaa
bhar bhar aayin mori ankhiyaan
piya bin
bhar bhar aayin
bhar bhar aayin
aa……yi
aa……yi mori ankhiyaan
bhar bhar aayin mori
bhar bhar aayin mori ankhiyaan
piya bin
ghir ghir aayin…een een een…… een een
ghir ghir aayin..een kaari ee ee badariya aa aa
ghir ghir aayi..ee
aa…..aa….yi
ghir ghir aayin
o o ghir ghir
ghir ghir aa..yin een kaari ee badariya
dharkan laagi mori chhatiyaan
piya bin
dharkan laagi
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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