Ae hairat e aashiqui jagaa mat
Posted on: August 18, 2019
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.
| Blog Day : | 4048 | Post No. : | 15177 |
Clad in starched white kurta and pyjama with an unshaven face, his appearance gives an impression of a Bengali intellectual. His early association with Bimal Roy, Hrishikesh Mukherjee, Hemant Kumar and Salil Chowdhary supported that impression of mine until one day I came to know that he was born in a Sikh family in pre-partition Punjab.
Yes, he is Sampooran Singh Kalra, better known by his pen name, Gulzar (born on 18/08/1934) who turns 85 today and is still active in pursuit of his first love – writing poems and short stories. He continues to be associated with Hindi films with occasional indulgence as a lyricist. His association with Hindi films started, first as a lyricist followed by screen-play/dialogue writer and finally as a producer/director. He has already spent nearly 6 decades in Hindi film industry and this association is continuing.
Gulzar saab had spent nearly a decade (1950s) in the company of some of the writers/poets of Progressive Writers Association such as Krishan Chandra, Khwaza Ahmed Abbas, Shailendra, Sahir Ludhianvi, Sagar Sarhadi etc, who were associated with Hindi film industry. But he was not attracted towards making a career in Hindi film industry. His interest was to become a poet/writer like Mirza Ghalib and Rabindranath Tagore.
Gulzar saab was destined to be associated with Hindi films and Shailendra became a catalyst in introducing him to the Hindi films. When he advised him to meet Bimal Roy for writing songs for ‘Bandini’ (1963), Gulzar saab’s first reaction was ‘I do not want to be a lyricist’. It was only when Shailendra reprimanded him for losing the opportunity to work with a great film-maker, Bimal Roy and the music director, S D Burman, Gulzar saab relented and wrote his first song mora gora ang lai le mohe shyaam rang dai de for the film.
By the way, this was the only song Gulzar saab wrote for ‘Bandini’ (1963) and for S D Burman. But this song opened up his association with Bimal Roy as Assistant Director in Bimal Roy Productions and became his grooming ground to learn the art of screen-play/dialogue writing and the film direction.
Gulzar saab is one among a few film lyricists of the golden period of Hindi film music about whom much has been documented through articles, memoirs and scores of his interviews both to print as well as electronic medias. I had also covered his journey into the Hindi film industry in my article while covering the song shaam se aankh mein nami si hai. So, I will skip the details about his celluloid journey. Broadly, Gulzar saab’s filmy career can be divided into three main phases.
During the first phase (1960-1970), Gulzar saab mostly worked as lyricist with his music directors like Salil Chowdhury and Hemant Kumar who were his colleagues in Bimal Roy Productions. Out of 16 films he was associated as lyricist in this phase, as many as 10 films were with music directors Salil Chowdhury and Hemant Kumar. He also worked with Hrishikesh Mukherjee as a screen-play/dialogue writer for films like ‘Aashirwad’ (1968), and ‘Anand’ (1970).
In the second phase (1971-1999) Gulzar saab’s career was the most active as a screen-play/dialogue/song writer and producing/directing the films. He was associated with 60 Hindi films of which he directed 19 films. Almost all of his films which he directed come in the definition of ‘middle of the road’ films which included ‘Mere Apne’ (1971), Aandhi’ (1975), ‘Mausam’ (1976), ‘Angoor’ (1982), ‘Lekin’ (1991), ‘Maachis’ (1996). Though none of the films he directed created ripple in the box office front, these films are regarded as classic in the history of Hindi films.
Gulzar saab’s association with Sanjeev Kumar and R D Burman was the highlights of his second phase in Hindi film industry. Sanjeev Kumar acted in Gulzaar saab’s films, ‘Koshish’ (1972), ‘Aandhi’ (1975), ‘Mausam’ (1976), ‘Angoor’(1982),and ‘Namkeen’ (1982). With R D Burman, Gulzar saab worked for 23 films writing 101 songs. The association would have continued but for the untimely death of Sanjeev Kumar in 1985 and of R D Burman in 1993.
The third phase of Gulzar saab’s filmy career started in the new millennium and is continuing. After the release of his film ‘Hu Tu Tu’ (1999), he had taken a decision to give up producing and directing films as he wanted to devote a considerable time in writing. In this phase, he has confined himself mostly as a lyricist and occasionally script/dialogue writing.
During this phase, Gulzar saab has been associated with the third generation of music directors like A R Rahman, Shankar-Ehsaan-Loy, Vishal Bhardwaj. He has already written lyrics for Vishal Bhardwaj in 19 films so far and perhaps he may break his own record of the highest number of films with R D Burman(23 films). He seems to be as comfortable with the new generation as he was with the older ones.
In the 1960s, he wrote songs like hawaaon pe likh do hawaaon ke naam for Hemant Kumar. Almost 5 decades later, he also wrote a rustic song ‘beedi jalaayi le jigar se piya’ for Vishal Bhardwaj. Both these songs have unusual imageries. The first one is about the nature giving the ‘feel good’ factor. The second song, though sounds rustic, has not prevented Gulzar saab sharing his thought on the real side of the world in two lines:
Dhuaan na nikaari o lab se piya
Je duniya badi dhaank hai
[O beloved, do not exhale smoke from your lips (from beedi)
The realities in this world are already masked].
Once, A R Rahman after getting explanations from Gulzar saab on his song, jiya jale jaan jale commented ‘Gulzar saab, you are a poet of imageries. I will amend his comment to say that Gulzar saab is a poet of unusual imageries. His six songs which I have covered during the last two weeks for the Blog would give the readers the taste of his unusual imageries/metaphors, choice of words and vocabularies.
I have been following Gulzar saab’s songs for many years. For me, he is an extension of what Sahir Ludhianvi did in 1950s to 1970s – to make the song lyrics an important part of Hindi film music. Though Gulzar saab belongs to the old generation of lyricist, he still gels well with the new generation. From the year 2000 until now, Gulzar saab has written lyrics for about 60 films. ‘I am going with the flow, but making sure that my aesthetics are in place,’ he had said in a recent interview.
There is another side of Gulzar saab’s personality. He has been active in writing short stories and poems side by side with his filmy career. Many of his short stories and poems have been published. He has received Sahitya Akademy Award for his Urdu book ‘Dhuaan’ in 2002. He has been associated with the children’s poems -both in films/TV and in prints. His most popular among jingles, ‘jungle jungle pata chala hai’ for ‘Jungle Book’ (1993) in Hindi which was telecast on Doordarshan, has become synonymous more with his name than its creator, Rudyard Kipling. Gulzar saab has done such a vast work of writing short stories and poems that they require a separate article which I intend to write some other time.
Gulzar saab’s association with R D Burman in 23 films has been one of the important segments in the history of Hindi film music. I regard Gulzar saab’s collaboration with A R Rahman, the continuation of that process. In fact, I feel that after the untimely death of R D Burman in 1993, A R Rahman has carried forward ‘Pancham’s legacy’ with refinements as new techniques and new types of musical instruments have emerged.
Hence, on the occasion of Gulzar saab’s 85th Birthday, I have chosen one of the songs born out of Gulzar-Rahman collaboration, ‘ae hairat-e-ashiqui jagaa mat’ from the film ‘Guru’ (2007). The song is mainly a duet sung by Hariharan and Alka Yagnik with Mohammed Aslam singing Sufi chants in the prelude and the first interlude with chorus singing in the second interlude and at the end of the song.
A R Rahman, in an interview published in the book ‘A R Rahman, The Spirit of Music’ (2012) by Nasreen Munni Kabir has revealed that whenever he gets stuck in composing tune for a given situation in the film, he has relied on the melodies of Amir Khusrau, Bulleh Shah and Subramania Bharati. The song under discussion was one of such songs for which A R Rahman relied on the melody of Amir Khusrau’s composition, ‘ae sharbat-e-aashiqui’. Rahman has based the tune on Raag Yaman Kalyan. Gulzar wrote the lyrics to the tune as per the song situation in the film.
I wish Gulzar saab a very happy and a healthy 85th Birthday. I remember his song ‘dil to bachcha hai jee’ from ‘Ishqiya’ (2010). I hope that the ‘bachcha’ (child) in his heart will inspire him to write many more poems of unusual imageries and metaphors in the years to come.
Video Clip:
Audio Clip:
Song-Ae hairat-e-ashiqui jagaa mat (Guru)(2007) Singers-Hariharan, Alka Yagnik, Mohammed Aslam, Lyrics-Gulzar, MD-A R Rahman
Chorus,
Alka Yagnik & Chorus
Lyrics(Based on Audio Clip)
dum dara dum dara jashn jashn dum
dum dara dum dara jashn jashn dum
sun mere humdum
hamesha ishq mein hi jeena
dum dara dum dara jashn jashn dum
dum dara dum dara jashn jashn dum
sun mere humdum
hamesha ishq mein hi jeena
ae hairat-e-aashiqui
jagaa mat
pairon se zameen
zameen lagaa mat
ae hairat-e-aashiqui
jagaa mat
pairon se zameen
zameen lagaa mat
ae hairat-e-aashiqui
ae hairat-e-aashiqui
ae hairat-e-aashiqui
dum dara dum dara jashn jashn dum
dum dara dum dara jashn jashn dum
sun mere humdum
hamesha ishq mein hi jeena
kyun Urdu Faarsi bolte ho o o
kyun Urdu Faarsi bolte ho
dus kehte ho do tolte ho
jhoothhon ke shanshahaa bolo na
kabhi jhaankon meri aankh….en
kabhi jhaankon meri aankhen
sunaayen ik daastaan
jo honthhon se ae kholo na
ae hairat-e-aashiqui
jagaa mat
pairon se zameen
zameen lagaa mat
ae hairat-e-aashiqui
ae hairat-e-aashiqui
o o o
ae hairat-e-aashiqui
dum dara dum dara
dum dara dum dara
dum dara dum dara
dum dara dum dara
dum dara dum dara
dum dara dum dara
dum dara dum dara
dum dara dum dara
do chaar maheene se lamhon mein
do chaar maheene se lamhon mein
umron ke hisaab bhi hote hain
jinhen dekha nahin kal tak
jinhen dekha nahin kal tak
kahin bhi ab kok mein
woh chehre bote hain
ae hairat-e-ashiqui
jagaa mat
pairon se zameen
zameen lagaa mat
ae hairat-e-aashiqui
jagaa mat
pairon se zameen
zameen lagaa mat
ae hairat-e-aashiqui
ae hairat-e-aashiqui
o o
ae hairat-e-aashiqui
dum dara dum dara jashn jashn dum
dum dara dum dara jashn jashn dum
sun mere humdum
hamesha ishq mein hi jeena
o o o
dum dara dum dara jashn jashn dum
dum dara dum dara jashn jashn dum
sun mere humdum
hamesha ishq mein hi jeena
Dil ko bachaana baabu jee
Posted on: August 17, 2019
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4047 | Post No. : | 15176 |
“Ummeed” (1971) was a movie that was started in early 1960s but it could be released only in 1971. By that time the actors figuring in the move had ended up being actors of yesteryears. A few of them had even passed away.
“Ummeed” (1971) was directed by Nitin Bose for Raja Films Bombay. The movie had Ashok Kumar, Nanda, Joy Mukherji, Leela Naidu, Tarun Bose, Leela Mishra, Chandrima Bhaduri, Hazara Singh, Parasram, Hussain, Ravikant, Nazeer Kashmiri, Ramesh, Laxmichhaaya, Jeewankala, Madhumati, Jankidas, Sabita Chatterji, Tuntun, Agha etc in it.
“Ummeed” (1971) was a movie that was started in early 1960s but it could be released only in 1971. By that time the actors figuring in the move had ended up being actors of yesteryears. A few of them had even passed away.
The movie had seven songs in it. Six of these songs have been covered in the past.
Here are the details of the songs from the movie that have been discussed in the past :-
| S N | Song | Song number in blog | Date of posting |
|---|---|---|---|
| 1 | Mujhe ishq hai tujhi se meri jaan e zindagaani | 2988 | 18-Sep-10 |
| 2 | Mera dil hai pyaar ka aashiyaan | 3366 | 17-Dec-10 |
| 3 | Insaan jee rahaa hai ummeed ke sahaare | 4886 | 25-Oct-11 |
| 4 | Aaja meri jaan tere qurbaan tera deewaana | 5975 | 18-May-12 |
| 4 | Hamne chaaha magar keh na paaye | 12268 | 26-Jul-16 |
| 5 | Thhodi si aur pi le | 15118 | 12-Jul-19 |
Here is the seventh and final song from the movie. This song is sung by Asha Bhonsle and Usha Mangeshkar. Shakeel Badayuni is the lyricist. Music is composed by Ravi.
The song is picturised as a synchronised dance song on two female dancers. I am unable to identify them. I request our knowledgeable readers to help identify them.
With this song, all the songs of “Ummeed” (1971) have been covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog.
Song-Dil ko bachaana baabu jee(Ummeed)(1971) Singers-Asha Bhonsle, Usha Mangeshkar, Lyrics-Shakeel Badayuni, MD-Ravi
Both
Lyrics
dil ko bachaana baabu ji
na aana tum kabhi haseenon ki gali
aankhen hain teer yahaan
zulfen zanjeer yahaan
aage tumhaari marzi
dil ko bachaana baabu ji
na aana tum kabhi haseenon ki gali
aankhen hain teer yahaan
zulfen zanjeer yahaan
aage tumhaari marzi
dil ko bachaana baabu ji
aaj kal husn waale
rehem karna na jaanen
apni apni chalaayen
doosre ki na maanen
aaj kal husn waale
rehem karna na jaanen
apni apni chalaayen
doosre ki na maanen
inko rakhna sambhaale huye zindagi
inse rakhna sambhaale huye zindagi
dil ko bachaana baabu ji
na aana tum kabhi haseenon ki gali
aankhen hain teer yahaan
zulfen zanjeer yahaan
aage tumhaari marzi
dil ko bachaana baabu ji
ishq waale bhi zaalim
kam nahin aaj kal ke
jab kahin husn dekha
rah gaye bas machal ke
ishq waale bhi zaalim
kam nahin aaj kal ke
jab kahin husn dekha
rah gaye bas machal ke
lut gaya dil to hoti hai haalat buri
lut gaya dil to hoti hai halat buri
dil ko bachaana babu ji
na aana tum kabhi haseenon ki gali
aankhen hain teer yahaan
zulfen zanjeer yahaan
aage tumhaari marzi
dil ko bachaana baabu ji
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
pyaar wo hai ke jiska do taraf ho nishaana
husn bhi baawafa ho
ishq bhi ho deewaana
pyaar wo hai ke jiska do taraf ho nishaana
husn bhi baawafa ho
ishq bhi ho deewaana
dil mile na to samjho qayaamat hui
dil mile na to samjho qayaamat hui
dil ko bachaana baabu ji
na aana tum kabhi haseenon ki gali
aankhen hain teer yahaan
zulfen zanjeer yahaan
aage tumhaari marzi
dil ko bachaana baabu ji
na aana tum kabhi haseenon ki gali
aankhen hain teer yahaan
zulfen zanjeer yahaan
aage tumhaari marzi
dil ko bachaana baabu ji
Ye sooraj ye chanda ye taare
Posted on: August 16, 2019
This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4046 | Post No. : | 15175 |
Am writing this post with a heavy heart.
I never expected that I’d be writing a post on this occasion so soon.
But if we’ve learnt anything about life in all our lives, it is that life is unpredictable.
For all the wonderful advancements that science has made, we still don’t know who will live how long. All we know is that everyone has to go some day.
As it turned out, Independence Day 2019 was the day that Vidya Sinha, well-known heroine of (mainly) the 1970s, had to leave us and go.
When I came across the news on Twitter this (15th August) afternoon, I felt immensely sad. She had passed away in the morning.
A few days earlier I had got the news that she was on ventilator, with lung problems. That news shocked me because I had no idea that she was unwell at all. I had not heard about her for years – and then suddenly, boom, you get news like this.
So today, when I read the news of her death, it was not entirely unexpected. But that doesn’t mean it made me any less sad.
Vidya Sinha was part of my childhood, part of my schooldays.
I’ve often said I am a 1970s boy – which means my school life spanned that decade.
It is also the decade that I have most nostalgic memories of – especially with regard to films and music. In the 1980s, I was busy with higher studies, career, moving places etc – life changed quite a bit. And of course, thereafter, other priorities took over.
So it is the 1970s, and my experiences of that decade, the films I watched, the songs I listened to, that have particularly fond memories for me.
And Vidya Sinha was certainly very much part of those fond memories. As it turned out, the main part of her career was totally in that decade. Though she acted in the 80s too (and even later), I will always associate her with the 1970s.
I will not discuss her personal life – to be honest, I don’t know much about it. I am sure there are many other sources that can, and will, provide this. I will myself learn about it only from them.
This post, written so soon after her passing away, is just to pay her my own personal tribute.
Many who have remarked on her death, have referred to her as having the “girl next door” image in her films. And that’s not entirely off the mark. In many of her films, this was the type of role she played. Both her best-known films, Rajnigandha (1974) and Chhoti Si Baat (1976) portrayed her as a woman who you could easily run into in Bombay at a bus stop, waiting for a BEST bus. Or working in an office. She had that unassuming, down-to-earth image about her.
And it was this image that endeared her to many at that time.
That was the time when Hema Malini was the reigning female superstar. Zeenat Aman, Neetu Singh and Raakhee were also popular. Rekha , though not yet the star she was to become, had her fair share of films. Parveen Babi and Reena Roy were beginning to make their mark. Then there were others, like Yogeeta Bali, Moushumi Chatterjee and Sulakshana Pandit, who had their fans too.
Many of these heroines comfortably fitted the requirement of the typical mid-1970s masala film. Stories often had a plot around smuggling, or (if village-based) dacoits. There’d be song-and-dance, a car (or horse) chase, “disguises” – the usual masala stuff. Music was often loud, costumes even louder.
Then you also had the “art” films of the mid-70s. Dominated by Shabana Azmi and Smita Patil.
But there was also room for simple, wholesome entertainment – without the above-mentioned elements. Films of Hrishikesh Mukherjee and Basu Chatterjee specialized in this.
And this is where Vidya Sinha fitted in very comfortably.
She didn’t have a very prolific, or long, career – certainly not by standards of other heroines. She also didn’t have a very wide variety of roles, unlike many other heroines.
But one thing for sure. In almost every film she did, she had a role that you felt was just tailormade for her. Ok, she wasn’t a star like Hema Malini, but the roles themselves needed an understated, non-star type, actor. And no one did that better than Vidya. (In later years, Deepti Naval would do similar roles).
Vidya doesn’t quite get credit for her acting – but I think it could also be because I always felt she didn’t “act”. She just seemed to be natural for her role – you didn’t even notice her “acting”.
In those days, when I was in school, Hema, being the reigning superstar, was the favourite for many of my friends. In trying to be “hatke” :-), I preferred Vidya, Moushumi, Leena C, even Sulakshana. Their films usually had better storylines, I felt.
I’ve seen most of Vidya’s films of the time – she didn’t act in too many.
The ones that I remember are Rajnigandha (1974), Chhoti Si Baat (1976), Karm (1977), Mukti (1977), Inkaar (1977), Pati Patni Aur Woh (1978), Tumhaare Liye (1978) and Atithee (1978).
I have very fond memories of those times, and of her – which is why it hit harder to hear about her illness, and her death.
She might not be physically around anymore, but her films will remain with us. And memories of her films. I thank her for these at least.
Moving on the song for today, it is from a film Mera Jeevan (1976).
Now this is a film I do not recall seeing. But when I checked the songs, all of them seemed familiar. That’s possibly because at that time, I used to get to listen to a lot of songs, without having any clue about the film. I’d get to hear the song on radio, or through my classmates in school. Or I might even have seen the film at that time, but have no recall of it.
There are 4 songs in this film – of which 3 are already posted. The title song sung by Kishore Kumar “mera jeevan kuchh kaam na aaya” is quite well-known, as is “tera jogi aaya” by Rafisaab. The other song posted already is “Koi mere haathon mein mehendi lagaa de”, sung by Asha Bhosle. I’ve heard this song too in my schooldays.
The song that remains to be posted is “ye sooraj ye chanda ye taare”, sung by Asha Bhosle. From the clip it appears that Vidya Sinha is a teacher at a school, and singing this song to her students.
Lyrics are by MG Hashmat, probably best-known for “mera jeevan koraa kaagaz”. At least, that’s the first time I heard of him.
The song “ye sooraj ye chanda ye taare” is philosophical – talking primarily about life.
Which, given the context of this post, is most apt.
A few lines struck me as particularly poignant
Jeevan khilona hai
Kitna salona hai
Sukh dukh ke aansoo ka
Haar phirona hai
Isi khilone se
Khel rachaana hai
Kya leke aaye the
Kya leke jaana hai
So very true.
We come into this world with nothing, and with nothing we will one day return.
All we leave behind are a legacy, if at all, and memories.
Go well, Vidya Sinha.
Thank you for the memories.
May your soul rest in peace.
Om Shanti.
PS-With this philosophical song, all the songs of “Mera Jeewan”(1976) have been covered in the blog and this movie joins the list of movies that have been YIPPEED in the blog.
Song-Ye sooraj ye chanda ye taare(Mera Jeewan)(1976) Singer-Asha Bhonsle, Lyrics-M G Hashmat, MD-Sapan Jagmohan
Chorus
Lyrics
aa aa
aa aa aa
aa aa
aa aa
ye sooraj ye chanda ye taare
bolo chalte hain kis ke sahaare
bolo bolo
hamaare
nahin
uske
jisne hum sab ko banaaya hai
achcha
ye sooraj ye chanda ye taare
bolo chalte hain kis ke sahaare
sadiyon se ghoome hai
kisko ye dhoondhe hai
ye sooraj ye chanda ye taare
bolo chalte hain kis ke sahaare
nadiya ki dhaara ye
badle kinaara ye
thham nahin paaye kyun
behti hi jaaye kyun
kahaan se aati hai
kahaan ko jaati hai
kisne pukaara hai
kiska ishaara hai
ghoome zameen
aur aasmaan
manzil miley
jaane kahaan
ye sooraj ye chanda ye taare
bolo chalte hain kis ke sahaare
sadiyon se ghoome hai
kisko ye dhoondhe hai
ye sooraj ye chanda ye taare
bolo chalte hain kis ke sahaare
jeewan khilauna hai
kitna salona hai
sukh dukh ke aansu ka haar pirona hai
isi khilaune se
khel rachaana hai
kya leke aaye thhe
kya leke jaana hai
baadal kahe
jis ko jahaan
jalte dilon ka hai ye dhuaan
ye sooraj ye chanda ye taare
bolo chalte hain kis ke sahaare
sadiyon se ghoome hai
kisko ye dhoondhe hai
ye sooraj ye chanda ye taare
bolo
chalte hain kis ke sahaare
ye sooraj ye chanda ye taare
bolo
chalte hain kis ke sahaare
This article is written by Peevesie, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4045 | Post No. : | 15174 |
What kind of relationship must one have with their country? This is a question I have been pondering lately. There is no doubt one feels a sense of kinship and pride for the perseverance and accomplishments and bravery its people show on a near everyday basis. But then aren’t all these accomplishments a result of someone questioning some kind of status quo that existed in this country.
The world is feeling like a strange place. Ours isn’t the only country in the grips of a wave of nationalism that is based on a sense of othering and homogenizing our culture. But weren’t we taught ‘Unity in Diversity’ as one of our strengths in school? Independence day involved so many symbolic displays of things like ‘One Country, Many Cultures’; “Hindu Muslim Sikh Isaai, sab hai yahan bhai bhai”. One of my favourite lines to do the cringy school dances to was “Koi Punjab Se, Koi Maharashtra Se” one from the song “Ae Watan Ae Watan” (film ‘Shaheed’, 1965) – (though I hated the word Madrasi that was used in such displays, I am not from Madras!). And suddenly we have a country where questioning the status quo is being against the country.
Can’t one love the country and still dislike / disagree with somethings in it? We love our family and friends the same way no? The love is unconditional but there are things like maybe their lateness or forgetfulness that annoys us? Isn’t that what patriotism should be? An unconditional love that pushes us to work hard to improve our country so we are truly the best country in every metric?
Last year I saw a film called ‘Raazi’. It is based on the true story of an Indian spy who married into a Pakistani military family to help the Indian war efforts. Two plot points in the movie left a deep impression on me and on my patriotic sentiments. The first was when the ‘spy’ and her spouse have a conversation about why they both do what they do. And they both realize that they will always choose their birth country over their spouse. It’s just that their birth countries are different. The second point is this song I want to showcase in this post on independence day today. Incidentally this song is also titled “Ae Watan” .
This song in the film is supposed to be an Indian patriotic song being taught to Pakistani school children for a school function. Even though the song contains the opening lines (“Lab Pe Aati Hai Duaa. . .“) which is the national prayer of Pakistan. It was penned in 1902 by the legendary poet, Allama Iqbal. But by its very nature it is country neutral. It is sung in schools in Pakistan, as well as in some states in India. That’s when it hit me. The object of your emotion of patriotism – that is an accident of nature. You have no control over this. But you have control over what you do with it. And how you use the opportunity to leave the place you were born into, better than when you arrived into it.
There is a multitude of amazing things being done by Indians that we can be proud of – from sustainable sanitary solutions, to the moon mission, to Dutee Chand fighting the Olympic committee and her village simultaneously on accepting everything she was born with. Whether it’s is a medical condition or who she loves. This is a beautiful country that gained its independence because people refused to accept the status quo. And I choose to be proud of it without losing sight of how much further we have to go.
There is another reason I love this song, because the video reminds me of the Independence day celebrations we had in school and all the ways we practiced for it. Truly brings a certain nostalgia back
This song is “Ae Watan” from ‘Raazi’ (2018) which is directed by Meghana Gulzar and produced by Junglee Pictures and Dharma Productions. Its based on a book by Harinder Sikka named ‘Calling Sehmat’. The film version of the song has Alia Bhatt, Vicky Kaushal, Amruta Khanvilkar. The song is composed by Shankar Ehsaan and Loy, while its lyrics are written by Gulzar. Its female version, which is the one featured in the film, is sung by Sunidhi Chauhan and the male version which was for promos is by Arijit Singh. Both versions have longer audio versions than video. The lyrics given below are according to the audio versions I have.
Happy Independence day to all readers! Enjoy!
Female Version
Male Version (Chorus Only)
Song – Ae Watan Watan Mere Aabaad Rahe Tu (Raazi) (2018) Singers – Sunidhi Chauhan, Arijit Singh, Lyrics – Gulzar, MD – Shankar Ehsaan Loy
Chorus
Lyrics
lab pe aati hai dua ban ke tammana meri
zindagi shamma ki surat ho khudaaya meri
lab pe aati hai dua ban ke tammana meri
ae watan watan mere aabaad rahe tu
ae watan watan mere aabaad rahe tu
ae watan watan mere aabaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
ae watan mere watan
ae watan mere watan
tu hi meri manzil hai pehchaan tujhi se
tu hi meri manzil hai pehchaan tujhi se
pohunchun mein jahaan bhi meri buniyaad rahe tu
pohunchun mein jahaan bhi meri buniyaad rahe tu
ae watan mere watan
ae watan mere watan
tujh pe koi gum ki aanch aane nahi doon
tujh pe koi gum ki aanch aane nahi doon
qurbaan meri jaan tujhpe shaad rahe tu
qurbaan meri jaan tujhpe shaad rahe tu
ae watan watan mere aabaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
labh pe aati hai dua banke tammanah meri
zindagi shamma ki surat ho khudaya meri
zindagi shamma ki surat ho khudaya meri
ae watan mere watan
ae watan mere watan
Male Version
ae watan watan mere
ae watan aabaad rahe tu
aabaad rahe tu
aabaad rahe tu
ae watan watan mere aabaad rahe tu
ae watan watan mere aabaad rahe tu
ae watan watan mere aabaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
ae watan mere watan
ae watan mere watan
tu hi meri manzil hai pehchaan tujhi se
tu hi meri manzil hai pehchaan tujhi se
pohunchun mein jahaan bhi meri buniyaad rahe tu
pohunchun mein jahaan bhi meri buniyaad rahe tu
ae watan watan mere aabaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
ae watan mere watan
ae watan mere watan
tujh pe koi gum ki aanch aane nahi doon
tujh pe koi gum ki aanch aane nahi doon
qurbaan meri jaan tujhpe shaad rahe tu
qurbaan meri jaan tujhpe shaad rahe tu
ae watan watan mere aabaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
ae watan
ae watan
mere watan
mere watan
ae watan
ae watan
mere watan
mere watan
ae watan mere watan
ae watan mere watan
aabaad rahe tu
aabaad rahe tu
ae watan mere watan
aabaad rahe tu
Main har janam teri bahna banoon
Posted on: August 15, 2019
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
4045 | Post No. : | 15173 | Movie Count : |
4169 |
Today (15 august 2019) is not only the independence day, it also happens to be the festival of Rakhi.
I have managed to post one independence day song on this occasion. Now it is time I cover a Rakhi festival song as well, before the day wears off.
This raakhi festival song is from “Dav Pech”(1989). The correct spelling should be “Daanv Pench”. This movie was produced by Padmini Kolhapure and directed by Kewal Verma for Padmini Films Private Limited, Bombay. The movie had Jeetendra, BhanuPriya(south),Prem Chopra, Dinesh Hingoo, Chandrashekhar,Shakti Kapoor, Bob Christo, Sunil Dhawan, Renu Joshi,C.S.Dubey, Manik Irani,Kamaldeep, Neeta Kapoor,
Sangeeta Kapoor,Master Rinku,Gurbachchan Singh, Gauri Verma,Jugnu, Azad Irani,Umesh Khanna, Surbhi Zaveri etc in it.
This rakhi song had two versions. The duet version (happy version) was sung by Sadhana Sargam and Shailendra Singh. It was picturised on Gauri Verma, Jeetendra and Master Rinku. The sad female solo version was just one stanza long and it was sung by Sadhana Sargam.
Indeewar is the lyricist. Music is composed by Anu Malik.
Lyrics of the song were sent to me by Prakashchandra long back.
With this song, “Dav Pech”(1989) makes its debut in the blog.
I take this opportunity to wish our visitors happy Raakhi and also happy independence day.
Duet
Female solo
Song-Main har janam teri bahna banoon (Daanv Pench)(1989) Singers-Sadhana Sargam, Shailendra Singh, Lyrics-Indeewar, MD-Anu Malik
Both
Lyrics(Provided by Prakashchandra)
———————————
Duet version
———————————
hoooo…oooooo…ooooo
oooo…oooooo…….oooooo
main har janam teri behnaa banoon
tu har janam meraa bhaiyyaa bane
main har janam teri behnaa banoon
tu har janam meraa bhaiyyaa bane
ek janam kyaa
saaton janam
teraa hi saayaa
sar pe rahe ae
main har janam teraa bhaiyyaa banoon
tu har janam meri behnaa bane
rishte naate bahut hain jag mein
koyee na rishtaa aisaa
bhai behan kaa pyaar hai paawan
gangaa jal ke jaisaa
main uss ghar ki karoon hifaazat
tu jis ghar ka gehnaa bane ae
main har janam teri behnaa banoon
tu har janam meraa bhaiyyaa bane
des rahen pardes rahen hum
badlenge naa iraade
raakhi ke dhaagon mein chhupe hain
pyaar bhare kuchch vaade
buri nazar koyee
chhoo na paaye
tu meraa laaj rakhaiyyaa bane ae
main har janam teraa bhaiyyaa banoon
tu har janam meri behnaa bane
ek janam kyaa
saaton janam
teraa hi saayaa
sar pe rahe ae
main har janam teri behnaa banoon
tu har janam meraa bhaiyyaa bane
hooooo….oooooooooo…ooooo ooooo….oooooooooo…..
ooooo….hoooooooooo……….ooooooooooooo….ooooo
————————————-
Lyrics (Sad female solo version)
————————————-
main har janam teri behnaa banoon
tu har janam meraa bhaiyya bane
ek janam kyaa
saaton janam teraa hi saayaa sar pe rahe ae
main har janam teri behnaa banoon
tu har janam meraa bhaiyya bane
tu har janam meraa bhaiyya bane
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4045 | Post No. : | 15172 |
Today (15 august 2019) is the 73rd independence day of India. It is already evening and no post has appeared in the blog so far. But I will try and post topical songs today like we have always done in the blog on the past such occasions.
The first song of the day is from “Shaheed”(1948). This movie was directed by Ramesh Saigal for Filmistan. The movie had Chandramohan, Dilip Kumar, Kamini Kaushal, Ram singh, S L Puri, V. H. Desai, Shashi Kapoor, Raj adeeb, Prabhu Dayal etc in it.
The movie had seven songs in it. Six songs have been covered in the past. One of these six songs was covered exactly nine years ago, and that was the most well known song from the movie, a patriotic song, viz Watan ki raah mein watan ke naujawaan shaheed ho .
Here is the list of the six songs of the movie that have been covered in the past:
| S N | Song | Song number in blog | Date of posting |
|---|---|---|---|
| 1 | Badnaam na ho jaaye muhabbat ka fasaana | 2035 | 8-Oct-09 |
| 2 | Watan ki raah mein watan ke naujawaan shaheed ho | 2790 | 15-Aug-10 |
| 3 | Bachpan ki yaad dheere dheere pyaar ban gayi | 12574 | 17-Nov-16 |
| 4 | Aana hai to aa jaao | 12579 | 18-Nov-16 |
| 4 | Hain ham kahaan aur tum kahaan | 12585 | 19-Nov-16 |
| 5 | Aaja bedardi baalmaa koi ro ro pukaare (Shaheed) | 15164 | 9-Aug-19 |
The seventh and final song is a stage song performed by kids and watched by elders. The stage performance is a patriotic song performance.
HFGK mentions Lalita Deulkar and chorus as the singer. I am not sure that I can detect Lalita Deulkar’s voice in the song, but I will take the words of HFGK for it. To me the song sounds like being sung by a few child voices (unattributed) and chorus. I request our knowledgeable readers to throw light on the singing voices.
Raja Mehdi Ali Khan is the lyricist. Music is composed by GHulam Haider.
With this song, all the songs of “Shaheed”(1948) get covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog.
I take this opportunity to wish every Indian and Indian origin people a very happy 73th Independence day. I am quite certain that we are looking forward to a prosperuos and strong India in the days to come.
Qadam uthha kar…teri aisi ki taisi (Shaheed)(1948) Singer-Lalita Deulkar, Lyrics-Raja Mehdi Ali Khan, MD-Ghulam Haider
Lyrics
qadam uthha kar ruk nahin sakta
jo Bharat ka laal hai
wohi hai Gandhi
wohi Subhash
wohi Jawaharlal hai
Jai Hind
Jai Hind
Jai Hind
maaro
maaro
maaro
maaro maaro
maaro maaro
maaro
maaro
maaro
maaro
maaro
maaro
maaro
maaro
maaro
de de mukka hind ke sher
chaaron taraf se isko gher
maaro maaro
iski aisi ki taisi
chhote chhote bachche re
teri aisi ki taisi
chhote chhote bachche re
teri aisi ki taisi
duniya badli
teri haalat waisi ki waisi
teri aisi ki taisi
chhote chhote bachche re
teri aisi ki taisi
dhat tere shaitaan ki
har tere beimaan ki
Hind mein rah kar kahta hai tu
jai ho Englistaan ki
Hind mein rah kar kahta hai tu
jai ho Englistaan ki
le ja le ja door kahin
ye soorat bandar jaisi
teri aisi ki taisi
chhote chhote bachche re
teri aisi ki taisi
sarkaari gaadi mein khinch kar
karta hai tu dhenchoo re
dhenchoo dhenchoo dhenchoo
aur kahta hai gadha bana hoon
main hi gaadi khenchoo re
kenchoo kenchoo kenchoo
baandho iski dhenchoo dhenchoo
maaro laaten aisi ki
iski aisi ki taisi
chhote chhote bachche re
teri aisi ki taisi
chhote chhote bachche re
teri aisi ki taisi
pakdo iske sar ke baal
khench ke rakh do iski khaal
maaro maaro
iski aisi ki taisi
chhote chhote bachche re
teri aisi ki taisi
chhote chhote bachche re
teri aisi ki taisi
ae bharat ke baalakon
gaao vande mataram
tum hindi ho
duniya ko sunaao vande mataram
jaag uthhe aazaadi ki
???
bol jai hind
bol jai hind
jai hind
Shaadi kar ke phans gaya yaar
Posted on: August 14, 2019
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.
|
Blog Day : |
4044 | Post No. : | 15171 | Movie Count : |
4168 |
hullo to all of Atuldom
Yesterday (13 august 2019) was the birth anniversary of our dear Sridevi, hailed as the first female superstar of Bollywood. I was not liking it that we had let it go without a post. Then last thing before I switched off for the day, I saw a song on some satellite channel and had my ‘eureka’ moment. I found a song from the later period of Sridevi’s career when she had started experimenting with the characters she played.
The song was from the 1997 Raj Kanwar directed and Boney Kapoor produced “Judaai”. The movie starred Sridevi alongside Urmila Matondkar and Anil Kapoor with Kadar Khan, Johnny Lever, Farida Jalal, Upasana Singh, Junior Mehmood, Paresh Rawal, Dinesh Hingoo, Saeed Jaffrey and two sweet child actors. Poonam Dhillon had a special appearance. The movie was a remake of a 1994 Telugu film “Shubhalagnam”.
It was a story of a lady Kajal (Sridevi) who gets her honest and loving husband (Anil Kapoor) married to his boss’s niece (Urmila) in exchange for money in her quest to become rich quickly. She gets this done much against her husband’s wishes and she faces social problems when she realises that it is not possible to remain your ex-husband’s legal wife after having divorced him and practically sold him to another lady. The film received mixed reviews for its simple and clichéd plot and execution. But the performances of the lead actresses were appreciated. This was Sridevi’s last film appearance before she took a sabbatical to lead a family life. Sridevi and Johnny Lever played the children of Kadar Khan and Farida Jalal.
Incidentally today happens to be the 62nd birthday of Johnny Lever. He was brought up as John Prakash Rao Janumala. He had to drop out of studies as his family faced financial problems and he pithed in by doing odd jobs including selling pens on the streets by mimicking Bollywood stars etc. At a program in his father’s plant (Hindustan Lever Limited) he mimicked some senior officers and the workers there gave him his stage name JOHNNY LEVER. He started out his career doing stage shows Kalyanji Anandji Nite, Tabassum Hit Parade etc which served as his launchpad. He has been entertaining the world since the 80s. His daughter Jamie is following in his footsteps and is a comedian-actor-singer. Here is wishing him a long and healthy life.
Todays’ song is sung by Bali Brahmabhatt, Alka Yagnik and Shankar Mahadevan. Nadeem Shravan are the music composers and Sameer was the lyricist. It is a party song that celebrates the birthday of Sridevi’s character’s daughter. We have Upasana Singh, Kadar Khan, Sridevi, Urmila and Anil Kapoor singing and Junior Mehmood is also there in the scene.
So, here is a song which sings the mind of most males of the species. I am not judging anybody. 🙂 my statement is based on all the husband-wife jokes that are constant on the various social media forums. 🙂
Song-Shaadi kar ke phans gaya yaar (Judaai)(1997) Singers-Bali Brahmbhatt, Alka Yagnik,Shankar Mahadewan, Lyrics-Sameer, MD-Nadeem Shrawan
Chorus
Lyrics
haayo rabba haayo rabba haayo rabba
haayo rabba haayo rabba haayo rabba
haayo rabba haayo rabba haayo rabba
haayo rabba haayo rabba haayo rabba
aa haa
aa haa
aa haa
aa haa
shaadi karke
shaadi karke phans gaya yaar
achcha khaasa thha kanwara
aa aaa
aa aaa
o shaadi karke phans gaya yaar
achcha khaasa thha kanwara
aa aaa
aa aaa
arre jo khaaye pachhtaaye
jo na khaaye woh lalchaaye
jo khaaye pachtaaye
jo na khaaye woh lalchaaye
door se meethha lagta hai
yeh kadva laddoo pyaaara
shaadi karke
shaadi karke phans gaya yaar
achcha khaasa thha kanwara
aa aaa
aa aaa
o shaadi karke phans gaya yaar
achcha khaasa tha kanwara
aa aaa
aa aa aaa
aasmaan ki pari ho chaahe gori ho ya kaali
chaar dinon ki chaandni hoti hai har gharwaali
abbaa dabbaa jabbaa aa
abbaa dabbaa jabbaa aa
aasmaan ki pari ho chaahe gori ho ya kaali
chaar dinon ki chaandni hoti hai har gharwaali
shaadi karne waala bas shaadi ke din hansta hai
saari umr woh rota hai
iss jaal mein jab fansta hai
dar dar bhatke
dar dar bhatke mere yaar
dekho iss aafat ka maara
aa aaa
aa aaa
o shaadi karke phans gaya yaar
achcha khaasa thha kanwaara
aa aaa
aa aaa
arre sun mere harry re ae ae
arre sun mere hirva
sun o hiraalaal re ae
saare agar kanwaare hote
na karta koi shaadi
kaise chalti ye duniya
kaise badhhti aabaadi
aa aaa
aa aaa
aa aaa
aa aaa
hey saare agar kanwaare hote
na karta koi shaadi
kaise chalti ye duniya
kaise badti aabaadi
byaah racha ke jo na main teri mummy ko laata
bol zara pagle
tu kaise iss dharti pe aata
tere jaisa
tere jaisa moorakh na paida hoga kahin dobaara
aa haaa aa haaa
shaadi karke phans gaya yaar
achcha kahsa tha kanwara
aa haaa
aa haaa
mere tan ka gehna ban gaye chanda aur sitaare
maine jitne sapne dekhe poore ho gaye saare
aa haaa
aa haaa
aaj main kitni khush hoon jeewan ki khushiyo ko pa ke
jee karta hai nsachu bin paayal ghungroo chankaake
jaise din ke bina adhuri hoti raina kali
do pahiyo ke bina chale na gaadi jeewan waali
mere apne
mere apne meri jaan maine tum pe sab kuchh vaara
aa haaa
aa haaa
o shaadi karke phans gaya yaar
achcha khasa thha kanwara
aa aaa
aa aaa
jo khaaye pachataaye
jo na khaaye woh lalchaaye
door se meetha lagta hai ye kadva laddoo pyaara
shaadi karke
shaadi karke phans gaya yaar
achcha khaasa thha kanwara
aa aaa
aa aaa
o shaadi karke phans gaya yaar
achcha khaasa tha kunwara
aa aaa
aa aa aa aa
haayo rabbaa haayo rabbaa haayo rabbaa
haayo rabbaa haayo rabbaa haayo rabbaa
haayo rabbaa haayo rabbaa haayo rabbaa
haayo rabbaa haayo rabbaa haayo rabbaa
Mere baba ne baat meri maan li
Posted on: August 14, 2019
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4044 | Post No. : | 15170 |
Today’s song is from film Shakuntala-43. This was the first film of V.Shantaram, under his own new banner- Rajkamal Kala mandir. The song is sung by film’s Heroine, Jayashree, on whom it was filmed also. The song was written by Ratan Piya ( I like this musical name, really !) and the music was by Vasant Desai.
The film was directed by Shantaram and the Cinematographer was his own brother V. Awadhoot.The cast of the film Shakuntala-43 was, Jayashree, Chandramohan, nana Palshikar, Nimbalkar, Zohra, Shantarin, Ameena, Vilas, Ratan piya etc etc.
Besides being the first film of Rajkamal, it was also first film of Vasant Desai to give music to a Shantaram film. He went on togive music to other Shantaram films like, Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Matwala shayar Ram Joshi-47 ( Amar Bhoopali-52 in Bangla and in 55 for Marathi version also), Dahej-52, Surang-53, Jhanak jhanak payal baje-55, do aankhen baraa haath-57 and Ladki Sahyadri ki-66.
Likewise, for Lyricist and writer Diwan Sharar ( real name Dewan Atmanand Sharar) also this was first film with Shantaram. He adapted the story from original ‘ Abhigyan Shakuntalam” in Sanskrit by mahakavi Kalidas. He wrote the story, dialogues and some lyrics too. later on he did some more Shantaram filmslike Parbat pe apna dera-44, Dr, Kotnis ki amar kahani-46, Apna Desh-49, Teen batti Chaar raasta-53 and jhanak jhanak Payal Baje-55.
So far,8 songs of this film are already discussed here and lot of information has been given in them, I too have done one post for this film. I wrote about this film being the First in 3 cases as mentioned above. This film also was the Last film in Pre-Partition era for one artiste, who was a very popular and well known Heroine, in the early era of the Hindi films. Her name is Miss Zohra Jaan aka Zohra.
In the Hindi film industry history,there have been many brother and sister pairs who worked in films. However, there were only 2 cases where 3 sisters worked in Hindi films as Heroines. The first ‘Triplet’ was Zubeida (Alam Ara fame), Sultana and Shahzadi,who all operated in the 30’s. The second ‘ Triplet ‘ was Zohra, Mushtari and Anuradha (real name Khurseed Akhtar), who worked in Hindi films from the 20s to the 40s. Mushtari died in her teens, after doing just 8 films as Heroine, and the other sisters migrated to Pakistanafter partition.
Miss Zohra Jaan or Zohra is not known to most people. She was one of the most successful heroines in the 30’s, having her first 5 films declared as Hit films, in the early era of Cinema. let us know more about her.
Zohra was born into a famous courtesan’s family of Delhi. originally from Punjab, the family had shifted to Delhi for better prospects. She was trained in Dance and Music in Lahore. They were 3 sisters-Zohra, Mushtari and Khursheed Akhtar ( screen name Anuradha). Zohra, as a young girl, was very naughty and mischievous. She had learnt Urdu, Punjabi and Pushtu languages, with excellence.
One day, while on an outing in Lahore, with father, Zohra saw a shooting on the road. This was her first encounter with a film shooting and she was terribly impressed. A.R.Kardar had started a small studio ‘ United players’ Corporation’ in Lahore and he was doing the shooting. He saw the sisters and was keen on taking them in films. Next day Kardar, along with a common friend, went to Zohra’s father and made his offer, which was out rightly refused by her father.
After few days, her father took the family to Bombay, in 1928, for some work. They hired a beautiful bungalow on Chaupati. Zohra was quite grown up now.she sang very well. She did some Mujra programmes. At the same time her Mujra and some devotional songs were recorded by The Twin Records company.
Neelam, a singer known to the family took the girls to see a film in Imperial Talkies. Ardeshir Irani, who saw them there, was impressed.Along with Neelam, he went to meet her father, next day. He offered Rs. 500 for each sister- Zohra and Mushtari- per month if they agree to working in his films.In those days, Rs. 1000 was a hugh amount and it did the trick . With father’s permission, Zohra was very happy.She did 2 silent films- Nand kumar-1929 and Radha Krishna-1930.
When the Talkie films started, she did Anang sena-31, Niti Vijay-32, Dagabaz Ashiq-32 and Bharati Mata-32 with Imperial. However, due to her command over Urdu language and good acting all these films being Hits, she started getting offers from other producers. She got an offer of Rs. 2500 and she left Imperial. Mushtari continued at imperial. ( Mushtari,who was in her teens did only 8 films. She fell ill and was removed to Lahore. However Mushtari died on 8-6-1934 at a very young age.)
Zohra became very popular and went on from 2500 to 5000 rupees per month. She was a very calculated person and saved quite a lot money. She went on doing films after films. In the beginning of her carer she had married Rafique Ghaznavi, who was making a career in films as actor,director, singer and Music Director. He had earlier married Anwari in Lahore but divorced her after a daughter was born.
In film industry, Zohra was known as ‘Marlene Dietrich’ of India. From 1931 to 1943, she did 31 films and had sung 44 songs in 15 films. Unfortunately none of her records of film songs are available,as most songs were not made commercially. Her private NF song records may be available with some Record Collectors of India or Pakistan. her last film in India was “Shakuntala”-43. She was further engaged to work in Shantaram’s next film ‘Parbat pe apna dera’-44. At that time the winds of Partition were blowing and some communal riots also took place. Zohra was scared and she left for Lahore.
Meanwhile Rafique Ghazanavi had divorced her after 15 years of married life. He married Zohra’s younger sister Anuradha. After migrating to Pakistan, he divorced her also and married someone else. Their daughter Shaheen was young now and ready for entering films. Zohra married director A.M.Mirza.
Sohrab Modi and Kardar urged her to come back for their films,but she was reluctant to come here due to fear. In Lahore,her daughter started getting film roles.In 1948, Filmistan invited her to act in their proposed film “Heer Ranjha”. So, Zohra came on 3 month’s visa. She immediately worked in a quicky stunt film “Aaj ka Farhad”-48. The news of her coming to Bombay spread and she was flooded with offers. In just 15 days, she made 10 contracts. Prithviraj Kapoor got her 1 year visa, with Morar ji Desai’s help.
During this period some artistes in Pakistan felt that because of Indian films,film industry in Pakistan was not developing and hence there was an agitation not to take any Indian films for exhibition and distribution. As a reply, India also declared not to take any Pakistani artiste in Indian films. Producers like Jagdish Sethi and P N Aurora hesitated to proceed with their films with Zohra. So once again Zohra went back to Pakistan.
Her daughter Shaheen’s career took off. Several offers came to Zohra also,but she did not want to work with new people. Consequently,offers stopped coming. It was rumoured that Zohra was curt, egoistic and very quick tempered, which was actually true. in reality Zohra could never forget the free atmosphere at India and the work of professionals here. That was also the cause of her career’s ending Pakistan. There is no information about her after that. In India, Zohara worked with the Best actors, best Directors and Best banners, at Bombay, Lahore and Calcutta.
Hindi film industry is full of unbelievable stories and anecdotes about producers, Directors, Actors, Singers and music Directors. Among actresses,the story of actress Shanta Apte is very famous how she taught a lesson to Baburao Patel, by beating him with a whip, in his office, for writing objectionable and insulting about her in magazine Film India. her name is quotes as an example of Woman-Power, courage and as an act of protecting self respect.
It is unfortunate that an act of similar nature, performed by Zohra in 1934 ( much earlier to Shanta Apte’s act) has remained unknown. She did something to protect her self respect and to teach a lesson for insulting her.Let us know how it happened.
Zohra was shooting for film ‘Jawani Diwani’-34 in Jayant studio of Jayant Desai. She had sent her driver for bringing lunch, but he was delayed. The shooting was going on even after the Lunch period of 1.30 to 2.30. She became very uneasy. Unmindful of the delay, the director arranged foranother shot. Zohra told him,” Lunch hour is already over and it is past 2.30.I am going.”
The director said ” you cant go without doing this shot.”
Zohra was angry and said- “you are arranging for this shot since last one hour. I can not wait anymore.”
Director said sarcastically, ” O Bai ji, this is your job, not a joke.”
His calling her “Bai ji” was very insulting for Zohra. She removed her chappals and gave a solid beating to the director. He started begging pardon. This matter went to the owners and the director was removed instantly. You must be wondering how the word ‘ Bai ji’ annoyed Zohra. To understand this, we have to know something.
To understand this word,we have to go back in History. There were 565 Princely states in India before Partition. Due to patronising of fine arts like music and dance by these Princes, a new class of Nautch Girls emerged in the 19th century. All Nautch Girls were not the same. Author Michael Kinnear, in his book “The Gramophone company’s first Indian Recordings 1899-1908 “, has explained the classification and Nomenclatures of these Nautch Girls. As per that, there were 4 types…
| Lowest Class…..IV | Name – Khanki | Prostitutes/Sex workers |
| Class III | Name – Kaneez | Daasi or servant |
| Class II | Name – Bai ji | Singing/Dancing |
| Class I | Name – Jaan | Top class singers |
They all were called collectively as Tawayafs. The readers will now understand the difference between Amirbai,Waheedanbai,Jaddanbai and Tamancha Jaan, Gauhar Jaan, Malika Jaan, Zohra Jaan etc etc.
There were quite a few such stars in the annals of early cinema world. Hopefully,more artistes will be dug out with their history.
Today’s song is sung by Jaishree. The video shows how happy Shakuntala is, about her father agreeing to send her to Dushant.
( This article is based on information from various sources, like Zohra’s interview in Madhuri magazine of 18-12-1981, book ” The lost treasure” by Kamlakar Pasupuleti and Surjit Singh ji, Screenplay by Isak Mujawar, MuVyz, HFGK, CITWF, shri Harish Raghuwanshi ji and my notes.)
Song- Mere baba ne baat meri maan li (Shakuntala)(1943) Singer-Jayshree, Lyricist- Ratan Piya, MD- Vasant Desai
Lyrics
Mere baba ne baat meri maan li
Mere baba ne baat meri maan li
?? baba ne
?? baba ne
achche baba ne baat meri maan li
achche baba ne baat meri maan li
Mere baba ne baat meri maan li
Mere baba ne baat meri maan li
?? sandes
apne preetam ke des
?? sandes
apne preetam ke des
haay ??
kaun jaaye arri
le ke paati meri
kaun jaaye arri
le ke paati meri
Mere baba ne baat meri maan li
Mere baba ne baat meri maan li
bhanwre bhejoon tujhe
par hai ye darr mujhe
wo bhi kaliyon ka ras pee ke phool jaayega
wo bhi kaliyon ka ras pee ke phool jaayega
aur mera sandesa bhi bhool jaayega
aur mera sandesa bhi bhool jaayega
meri nanhi kudi(??)
aaj kar lo deri
meri nanhi kudi(??)
aaj kar lo deri
arre pyaari gayi maari
kya jaayegi
arre pyaari gayi maari
kya jaayegi
raah aadhi na pahunchegi
laut aayegi
raah aadhi na pahunchegi
laut aayegi
Mere baba ne baat meri maan li
Mere baba ne baat meri maan li
maina
kaho mitthhu ye maina tumhaari
saari baaten kahegi hamaari
nahin bhoolegi na
na na na na na
?? kah degi na
haan haan haan haan haan
mere pyaare pyaare maina
mere achche achche maina
mere pyaare pyaare maina
mere achche achche maina
leja meri khabar
mere saajan ke ghar
leja meri khabar
mere saajan ke ghar
Mere baba ne baat meri maan li
Mere baba ne baat meri maan li
kahna ab to bula lo mujhe
apne paas
kahna ab to bula lo mujhe
apne paas
pyaasi dasshan ki main
swaami teri udaas
pyaasi dasshan ki main
swaami teri udaas
dekh lena badha
unki jaldi se ??
jajaaldi jaldi se
meri pyaari pyaari maina
meri achchi ahchi maina
meri pyaari pyaari maina
meri achchi ahchi maina
leja meri khabar
mere saajan ke ghar
leja meri khabar
mere saajan ke ghar
Mere baba ne baat meri maan li
Mere baba ne baat meri maan li
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
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.
| Blog Day : | 4043 | Post No. : | 15169 |
hullo to all in Atuldom
We have all heard “Gore gore, o baanke chhore, kabhi meri gali aaya karo, gori gori, o banke chhori, chaahe roz bulaaya karo”. Now that song from “Samadhi” was filmed on two actresses one of whom –Kuldeep Kaur- was dressed in male attire. That was in 1950. There have been numerous occasions where a lady does a stage song dressed as a man or vice versa. In such cases the man dressed as a lady sings in a female voice –as Amir Khan had done in a song in the 90s. And Kishore Kumar before him in “Dilli Ka Thug” (but that was a genre in itself) But always as a rule we seem to have females who are dressed as males sing in female voice as was the case in the song from “Naya Daur” “Reshmi salwar kurta jaali ka roop saha nahin jaaye nakhrewaali ka”; or the one from “Kismet” “Kajra Mohabbatwala akhiyon mein aisa dala”. We have had one instance (if my knowledge is right) where the male is dressed in both genders and sings in the voice of Asha Bhonsle and Rafi. I am talking of a Mehmood song (in league with the Kishore Kumar song in terms of artist’s caliber. ??). But today I discovered a song which has the actress dressed as both male and female singing in Lata Mangeshkar’s voice. Now this is a first encounter for me. I had seen this song ages ago, that is before my association with ASAD; which means that those days I used to listen and enjoy the songs without bothering about who sang who wrote or whose music! Etc. So, here is my heartfelt thank you to ASAD for making me aware of the songs I listen to ??
The song which I am talking of is from the 1953 romantic comedy “Ladki”. It had Vyjayantimala playing a tomboy, dancer (what else to expect from a movie with her in the cast), a sportswoman etc. She has Anjali Devi for a friend and Kishore Kumar as her male lead. There is Bharat Bhushan for Anjali Devi. This movie was made in Tamil as “Penn” and Telugu as “Sangam”. All three movies had Anjali Devi and Vyjayantimala as the constant factors with Gemini Ganeshan and N.T.Rama Rao (respectively) essaying the role played by Bharat Bhushan in Hindi. Similarly, in the south Indian versions, S. Balachander played the character that Kishore Kumar played in Hindi. The movie was directed by M.V.Raman and produced by AVM. Rajinder Kishan was the lyricist. The music director for this song was C Ramachandra.
We are having this song picturised on a seventeen year old Vyjayantimala on the occasion of her 79th birthday. Happy birthday to Vyjayantimala.
13-8-2019
————
On August 2015, I had discovered a song “todke duniya ki deewar” which I had proposed to send to Atulji to celebrate the beautiful Vyjayanthimala’s birthday. The above post was written for that song. I don’t remember if I had sent it. And I am not going to search my outbox to see if I have sent or not. But before I sat to update the post when I checked ‘songs posted list’, I found that the song was posted in April 2018. But anyways my thoughts about that song remain unchanged.
I also saw that there are 15 songs in the movie out which 7 are posted that still means a few more possible Vyjayathimala dance songs are possible. As the saying goes- ‘a lot of water has flown down the river Ganges’ in the interim period. I missed an opportunity to see her live-performance in 2015 when my Peevesie said she could arrange passes, if I say-so, to a show in Bangalore where Vyjayanthimala was scheduled to perform. There are videos on YouTube that show her dance and grace even at 80 in some performance in Chennai. Hats off to the lady for her zeal and devotion to dance even at this age. May it continue in that manner for as long as she wishes.
Today’s song is a stage song sung by Lata Mangeshkar for a song written by Rajinder Krishan and composed by C. Ramchandra. We have our dear birthday girl occupying the stage as Kalidas, Tansen, a rishi who is writing the “vedas”, a Manipuri dancer, and the finale is Bharatnatyam (how could she miss out performing this). In fact the last three minutes of the song is devoted to her dance and it is a feast for the eyes, much like the last part of the “Jewel Thief” dance.
Happy Birthday to Vyjayanthimalaji.
Ed note-This song is followed seamlessly by a Tarana song which deserves to be treated as a separate song and it has been covered as such in the past.
Song-Mere watan se achcha koi watan nahin hai(Ladki)(1953) Singer-Lata, Lyrics-Rajinder Krishan, MD-C Ramchandra
Lyrics
mere watan se achcha koi watan nahin hai
mere watan se achcha koi watan nahin hai
saare jahaan mein aisa koi ratan nahin hai
saare jahaan mein aisa koi ratan nahin hai
mere watan se achcha koi watan nahin hai
mere watan se achcha koi watan nahin hai
iss desh jaisi ganga jamuna kahin na hogi
jamuna kahin na hogi
vedon se khubsoorat Rachna kahin na hogi
Rachna kahin na hogi
duniya mein aisi dharti aisa gagan nahin hai
duniya mein aisi dharti aisa gagan nahin hai
mere watan se achcha koi watan nahin hai
mere watan se achcha koi watan nahin hai
yeh raam krishna Gautam
naano guru ki basti
naano guru ki basti
paida yahaan hui thi Gandhi ki nek hasti
Gandhi ki nek hasti
kisi aur desh ki toh aisi khabar nahin hai
kisi aur desh ki toh aisi khabar nahin hai
mere watan se achcha koi watan nahin hai
mere watan se achcha koi watan nahin hai
iss sarzameen pe aaye
gunwaan kaise kaise
gunwaan kaise kaise
kabhi kalidas jaise kabhi tansen jaise
kabhi tansen jaise
mujhe naaz hai watan par
jhoothhi lagan nahin hai
mujhe naaz hai watan par
jhoothi lagan nahin hai
mere watan se achcha koi watan nahin hai
mere watan se achcha koi watan nahin hai
mere watan se achcha koi watan nahin hai
mere watan se achcha koi watan nahin hai
tarana
Zindagi Zindagi Zindagi
Posted on: August 13, 2019
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.
|
Blog Day : |
4043 | Post No. : | 15168 | Movie Count : |
4167 |
I had not heard of a film named ‘Chatran’ (1988) until recently. The title of the film was unusual. I was wondering as to why the film in which Gulzar and R D Burman were associated, has remained obscure. After a search on the Google, I got the answer.
There was a Japanese film ‘Koneko Monogatari’ (1986) which became the most popular film in Japan in 1986 and continues to get earnings from this even now. Due to the film’s popularity, Columbia Pictures Industries (now Sony Pictures) dubbed the film in English under the title ‘The Adventures of Milo and Otis’ (1989). The English version film also became a box office hit.
But, before the English version of the film was released, the Indian film producer, Gul Anand got it dubbed in Hindi, titled ‘Chatran’ (1988). The film’s cast consisted of only the animals who did the live actions in the film. It is the story of a friendship between Chatran (the kitten) and Poosky (the pug-nosed puppy). So there were no dialogues in in all the versions of the film. The dubbing part is only of the narrators in the films. I watched the Hindi version of the film on the internet. The film is of 70-minute duration. The gist of the story is as under:
On a farm, a cat gives birth to seven kittens of which one of the male kittens, Chatran is naughty and is curious about its surroundings which sometime lands him in trouble. Chatran becomes friendly with mild-mannered Poosky and they become inseparable. They play ‘hide and seek’ game in the court yard of the farm in which Poosky is always a seeker and Chatran, a hider. But in this game, sometime Chatran gets in to trouble due to his curiosity. For instance, Chatran gets trapped in a chimney and with great difficulties, comes out of it with an ashen face.
One day, both Chatran and Poosky go towards the shore of a stream. Out of curiosity, Chatran enters into a wooden box lying in the stream water at the shore. Because of Chatran’s playful nature, the wooden box gets drifted to flowing stream. Poosky tries to save him by jumping into the stream but the wooden box gets drifted away from him. Poosky keeps trailing Chatran from the shores of the stream. From here onward, Chatran’s adventure starts.
Rest of the film is about how Chatran faces the problems and escapes on each occasion. He faces a bear but in nick of the time, Poosky comes to his rescue and fights with bear. Once Chatran comes out of the stream, he wanders in the forest and gets into trouble with snakes, bear and seagulls etc but successfully escapes. The positive side of his adventure is that during his wandering in the forest, he is sheltered by a deer and a pig with her piglets.
Finally, Chatran and Poosky unite in a vast meadow. They come back to their farm. They find their own mates and leave separately. They raise their own kittens and puppies. The film ends with Chatran and Poosky meeting each other with their extended family in the old farm house.
There were charges levelled against the original Japanese and English version films by Animal Rights Activists that there were cruelties to animals used in the filming. For example, there was a scene in which kitten plunges from a cliff and falls in the sea. Also, there was fight between the puppy and the bear. But the charges were never substantiated. However, I did not find any such problem for the Hindi version of the film from animal rights activists like PETA in India. Incidentally, the original Japanese film was of the duration of about 90 miniutes. But both the English and Hindi versions were of the duration of about 70 minutes. It is quite likely that some scenes which might have invited the wrath of Animal Rights Activists may have been deleted.
After watching the film, I personally felt that the scene in which the Chatran (the kitten) meows in pain when bitten by a crab (or scorpion?), looked to me real. Also, Chatran appeared stressful when he was drifting in the wooden box in the stream. And it is one of the longest scenes in the film. I do not know whether an animal put into such a stressful situation by a person, comes under the definition of ‘cruelty to the animal’.
As in the case of the Japanese and English versions of the film, the Hindi version,’Chatran’ (1988) has a ‘Sutradhaar’ (Narrator) and that function was superbly handled by Gulzar. At some places, he appears to have deviated from the original version. For example, in the beginning of the film, his narratives have unusual imageries which are not in the original Japanese version as well as in English version of the film:
Do bade bade sansaar hain ye, pariwaar hain ye.
Aakash aur dharti achche rishtedhaar hain ye.
Raat aakaash ki beti hai.
Kuchh kaali hai.
Aakaash ne gore chaand ki bindi de kar
isko chunmun karke taaron ke gahane pehanaayen hain.
Aur din aakaash ka beta hai.
Gora bhi hai magroor bhi hai.
Dharti par uski fazaa bhi hai.
Fazaa ke laakhon aur karodon chehare hain.
In cheharon se dharti par rounak rehti hai.
In sab mein zindagi behti hai.
In sab mein zindagi behti hai
The film has only one song of 4 stanzas, each stanza being played on 4 different occasion in the film. The last stanza is played with the montages of the film as credit titles roll. Asha Bhosle sings the words of Gulzar. The song is set to music by R D Burman.
With this song, ‘Chatran’ (1988) makes its debut in the Blog and also gets ‘yippied’ at the same time.
Video Clip(All the 4 parts)
Audio Clip(All the 4 parts)
Song-Zindagi zindagi zindagi (Chatran)(1988) Singer-Asha Bhonsle, Lyrics-Gulzar, MD-R D Burman
Lyrics
————————–
Part-1
————————–
zindagi
zindagi
zindagi
zindagi
zindagi
zindagi
khoobsoorat hai tu janm leti huyi
khoobsoorat hai tu janm deti huyi
zindagi
zindagi
zindagi
chhoo ke gujri hawa ke bahaane kabhi
aur shabnam mein utri nahaane kabhi
chhoo ke gujri hawa ke bahaane kabhi,
aur shabnam mein utri nahaane kabhi
ek mausum si gudgudi zindagi
zindagi
———————————-
Part-2
———————————-
na to dariya ruka na kinaara mila
door hota gaya jo sahaara mila
na to dariya ruka na kinaara mila
door hota gaya jo sahaara mila
dagmagaati huyi chal padi zindagi
dagmagati huyi chal padi zindagi
zindagi
————————————
Part-3
————————————-
dhoop chhaaon mein aisi buni zindagi
zindagi ne ye kaisi chuni zindagi
hans rahi thhi abhi ro padi zindagi
hans rahi thhi abhi ro padi zindagi
zindagi
————————————-
Part-4
————————————-
zindagi
zindagi
zindagi
zindagi
zindagi
zindagi
khoobsoorat hai tu janm leti huyi
khoobsoorat hai tu janm deti huyi
zindagi
zindagi
zindagi
pyaar hi pyaar hai kho gayi zindagi
ek se phir anek ho gayi zindagi
pyaar hi pyaar hai kho gayi zindagi
ek se phir anek ho gayi zindagi
ho gayi hai ye kitni badi zindagi
ho gayi hai ye kitni badi zindagi
zindagi
zindagi
zindagi
zindagi
zindagi
zindagi
Recent comments