Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs


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 :

4682 Post No. : 16364 Movie Count :

4443

Just because I like old films and claim to know about the old films more than others, I do not consider New films worthless. Since the beginning – first the stage dramas and then the films always reflected what the current social scenes, problems and the aspirations of the young generation of the times showed. Old time films, to start with, were mainly made on Mythological stories and Folk tales. Later the focus shifted to Social themes. Still later it was music and then it was comedy and entertainment.

If one studies the pattern of living standards, styles and the general pattern, in the early times, the society was religious minded. Their entertainment was listening and reading about folk tales. So films were made on these subjects. During the II World War period, the people had become aware of their social issues and problems ( like alcoholism, Bal-Vivah, Dowry etc0 and films on these issues were made. After the war and independence, people were exposed to and enjoyed music from the world over, they were relaxed, so musical films were made (The Golden Age of HFM ). And then with many other sources of entertainment like Television, videos, cable TV etc, films were made on comedy and entertainment of all types.

A lover of films – any subject, any language, I became a little uninterested in films from the 70’s onwards. Reasons were many-job, marriage, family raising etc. I was forced to see some films due to my wife’s insistence, but soon I made a deal with her and got freedom from seeing films. When needed, TV and VCR were always there. As far as I remember, I have not visited a Cinema Theatre to see a film in the last almost 35 years. I do not know what a Multiplex looks like from inside ! Not a matter of pride at all,nevertheless a reality.

Maybe due to age or whatever, I do not have the patience to sit at one place to watch a movie for 2 to 3 hours- even on a TV. However, I have seen many films on TV-by instalments, in the 70’s and 80’s. The last film I saw on TV must have been a few years ago, perhaps.

Irrespective of whether I like it or not, the new songs are heard by me unintentionally in functions, get-togethers and gatherings. I have no comments on today’s films/songs/music. As I said music and films are made to suit the current generation’s likings and I am certainly not young anymore ! Occasionally some good films made on National events or National Heroes do come. I see them in my style. I like their presentations. Fortunately, in such films, songs are nil or only on the backgrounds.

The other day, someone asked me what the difference between old time songs and today’s songs is. I think comparisons can be made only of ‘ Likes with the Likes’. There is almost nothing common in these two, so no comparison. If you insist, I would utter only one word – MELODY !

However, I end this topic here by repeating my favourite quote (made by me only)-” Not all that was made before the 70’s was good and not all that is made after the 70’s is bad”! Mind you, this is not a Compromise or a Truce, but a Fact !

Today’s film Challenge-1937 is an interesting film. No, I have not seen it, but whatever information is available in HFGK clearly makes it interesting. Firstly, it is mentioned as a Costume Drama. When you look at the banner,the director, the Md and the cast, you start thinking that it is a stunt/action film. In the cast, along with Jayant, Gulab, Rajkumari, Shirin, M.Ismail, Jahangir and Lallubhai, you also find 3 names Tiger (a Dog), Bahadur (a Horse) and Runnio (a Motorcycle). In the stunt films of Fearless Nadia, in the same period, there was another set of ‘ Non Human ” cast, namely Punjab ka Beta (Horse), Moti (Dog) and Rolls Royce kin Beti (a Car). Later on, when she shifted from Wadia Movietone to Basant pictures, she had Rajput(Horse), Tiger(Dog) and Austin ki Bachhi (a Car). She also used Runnio (M/C) in a few films.

Secondly, names of some characters in this film were funny – M.Ismail’s name was Choona, Lallubhai was Kathha and Shirin was Supari. (I wonder who was the Paan ?).

Today i will tell you about an interesting actor in the cast of this film – M.Ismail. Besides being a devoted Chela of A.R.Kardar, Ismail’s role in Kardar’s marriage was unimaginable. Read on….

M.Ismail was born on 14-5-1902 in a Jeweller family of Lahore. He was a very good designer and Calligrapher.

M. Ismail was a resident of the Inner Bhati Gate in Lahore. Well built and fair complexioned, Ismail had blue eyes, and was quite attractive. Mian Abdul Rasheed Kardar (the famous A. R. Kardar), also belonged to the same area in Lahore. M. Ismail used to work as a golden calligrapher, while Kardar was involved in sketching and illustration.

They went to Bombay in 1927, and according to Ismail, he and Kardar played Kaedo and side hero respectively, in Imperial Company’s Heer Ranjha. But conditions weren’t helpful, and the two young men had to return to Lahore. Fortunately, for them, during 1928, Premier Film Company started a film called Daughters of Today. Both Kardar and Ismail were inducted into the cast, but the film remained incomplete.

Later, Kardar learned production and became well known as a brilliant technician. Kardar established his own film making firm in 1930, called United Players Corporation, and cast Ismail in his early silent movies like Mysterious Eagle a. k. a Husn Ka Daku, which also had Kardar in a central role. Others in the cast were Gulzar Begum, Ghulam Qadir, Ahmed Deen and an American actress, Aeris Crawford. Ismail also acted in Kardar’s film, Safdar Jang, and both these early silent films were very successful. This led Kardar to cast him in Shepherd King (Gadarya) and Golden Dagger (Sunehri Khanjar). In those days, every film used to have an English title and an Urdu one.

Kardar’s marriage to Bahar has an interesting story, and M.Ismail has a role in it.

Sardar Akhtar and Bahar were sisters and were singers and dancers in Lahore’s famous Heera Mandi. They were known as Daari and Beharo. Bahar was very good looking. Kardar selected her as a Heroine for his film, opposite himself as a Hero and the shooting started. Kardar fell in love, but Bahar was guarded closely by her escorts and sister Sardar Akhtar. Kardar was wondering how to go about it. He opened his mind to friend M.Ismail, a 6 feet tall,and hefty friend. Ismail went to Bahar’s residence and lifted her on shoulders and brought her to Kardar. They hurriedly got married. Meanwhile Sardar Akhtar came to know this and made a Police complaint. The police came , arrested kardar and all shooting artistes. He spent 2 days in Police custody. Then it was Bahar herself who gave in writing that she was an adult and she married Kardar by her consent only. Kardar and others were released then. Few years later Sardar Akhtar married Mehboob Khan and Kardar became his Co-brother.

After Alam Ara opened the way for talkies, Ismail became even more popular. In Kardar’s Hoor e Punjab, an adaptation of Heer Ranjha, Ismailagain played Kaedo, the intriguing ice uncle of Heer, which he repeated yet again later, in film Heer Siyal, with his characteristic style. His other films in India include Alif Laila, Dekha Jaega, Mast Faqeer, Raja Gopi Chand, Prem Pujari, Watan Parast, Sohni Mahiwal, Laila Majnoon, Zamindar and others. In all he acted in 16 Talkie films. He even sang 7 songs in 3 films.

In 1948, M. Ismail came to Pakistan, and immediately got offers from seniors like Nazir, whose films, Pherey, Larey, Anokhi Dastan and Shehri Babu included him in their cast. His first film here was Hichkole-49. Observing his work, another promising and experienced director, Anwar Kamal Pasha offered him some good roles. His films, Ghulam, Gumnam, Qatil, Inteqam and others were the earliest hits of Pakistan. Luqman also cast him in Patan, and Mehbooba was another one that was appreciated.

Similarly Nazeer Ajmeri’s Qismat and Paigham, Munshi Dil’s Hasrat and Ishq e Laila and S. M. Dar’s Saltanat and Dulla Bhatti were also amongst his famous movies. His other films were Darwaza, Subah Kaheen Sham Kaheen, Patey Khan, Piya Milan Kee Aas, Jameela, Bara Aadmi, Zehr e Ishq and many others. M. Ismail was a charming person, with a rural simplicity and a very forgiving disposition. Endearingly called Bhaiyyaji in the industry, M. Ismail’s roles of good hearted, forgetful, careless and sometimes cynical man were the best that he did. But, in many films, he performed a perfect villainish role, including the earlier mentioned, Hoor e Punjab, which had a historic role of Kaedoo. This one was only bettered later, by that most sterling artiste, Ajmal, who made Kaedo legendary with his gestures in Khwaja Khurshid Anwar’s Heer Ranjha.

In Yamla Jat and Khazanchi, in India, he did very fine title roles, while K. Asif’s Phool portrayed him as an old hakeem from Turkey, which he did to perfection. As a villain in Indian film, Wamiq Azra, he presented an individual style, with his full facial expressions. By full facial expressions means that most artistes use the eyes and the forehead, but M. Ismail, with a tremendous mobility of his motor mouth, his sagging cheeks and his prominent and protruding jowls, used a tremendous expanse of his face, which aided him in doing old men’s roles very early in his career.

In those days, there was much importance of finding a characteristic face for films and not handsome or beautiful faces, which is the trend today. That was the reason that more such fine artistes were available to the screen. In Nazeer Ajmeri’s Qismat, he played a unique role of a man, who is too forgetful to even remember his own name. It was a most hilarious performance from a truly talented actor of his times. M. Ismail got a Presidential Award for this role in Qismat.

His last film in Pakistan was Maan jawani da-76- released after his death. He died on 22-11-1975 at Lahore. ( The article is based on information from Filmdom-1946, Cineplot, pakmag.com,muVyz, HFGK and my notes, with thanks to all).

The song I have selected from this film is a Parody of a popular and famous song from the film ” Manmohan-1936″. It was sung by Surendra and Bibbo. Speciality of this song was, after 4-5 lines by Surendra,Bibbo peeps from the door and asks ” kya main andar aa sakti hoon ? ” This variation in a song was a novelty in those days and it added to the popularity of the song further. Enjoy this parody song by Lallubhai and an unknown male. With this song film Challenge-37 makes its Debut on the Blog.


Song- Tumhi ne mujh ko maar khilaaya (Challenge)(1937) Singers- Lallubhai Nayak, Unknown male voice, Lyrics- Sampat lal shrivastav ‘Anuj’,
MD- Lallubhai Nayak

Lyrics

aa hahahahahaan
kyun bachchaa
ab tum kyon rone lage

arre kya bataaun bade bhai
tumne to mujhko aisa maar khilaaya
aa
aisa maar khilaaya
jiska bayaan nashr mein nahin
balke gaane mein sunaana padega

gaane mein
haan

achcha
sunaao

aa haa haa

unhoon
Tumhi ne mujh ko ho ho ho
arree mere bhai
hahahaha
maar khilaaya
ha ha ha
aa
tumhi ne mujh ko zahar pilaaya
aahahahnaha
sota huaa aa aa aa
ek saanp jagaaya
sota huaa aa
ek saanp jagaaya aa
sota huaa aa
ek saanp jagaaya
ahahaha
man ko jalaaya
tan pitvaaya
arre meri maar
hahahaha
man ko jalaaya
tan pitvaaya
tumhi ho poore ganvaar
saajan
tumhi ho poore ganvaar
saa aa aa aajan
tumhi ho poore ganvaar

jo chiraag lekar gahre gadhe mein gire
wo ganvaar nahin to aur kya

hahaaha

tumhi ho poore ganvaar o saajan
tumhi ho poore ganvaar
saa aa aajan
tumhi ho poore ganvaar

tumhi ne mujhko maar khilaaya
tumhi ne mujhko zahar pilaaya
tumhi ne mujhko maar khilaaya
tumhi ne mujhko zahar pilaaya
tumhi ne mujhko maar khilaaya
tumhi ne mujhko zahar pilaaya

aa ha ha h ah
tumhi ne mujhko
hahahahaha
hoho ho ho
aaaa
maar khilaaya
hahaah
arre mere baap

are kambakht
agar gaane mein hi sunaana thha
to koi ghazal , daadra , thumri mein sunaata
ye beqoofi ?? kyun pasand ki

arre bade bhai
arre bade abba
mohabbat ke rone mein isse badhkar aur kaun see
?? ho sakti hai
aa ha ha
chup kar baithh


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 :

4682 Post No. : 16363

I had almost forgotten about the existence of a film titled ‘Room No. 9’ (1946) until I came across a song from the film on one of the video sharing platforms a few days back. I checked on our Blog to know that two songs from the film was covered in the Blog as early as in March 2013 but surprisingly, the song which I had heard has not yet been covered in the Blog. I liked the song so much that I decided to share the song on the Blog with a small write-up.

‘Room No. 9’ (1946) was produced by S R Rajguru under the banner of Navyug Pictures and was directed by Vedi. The star cast included Shyam and Geeta Nizami in the lead role with K N Singh, Dar Kashmiri, Saroj Borkar, Randhir, Kesari etc in the subsidiary roles. At the outset, I did not have any idea as to which genre the film belonged. The film’s title gives an impression that it may be crime thriller. But an advertisement of the film which appeared on one of the 1946 issues of ‘Filmindia’ magazine indicates that film has the ‘most unusual romance’.

The film was released in Mumbai on June 15, 1946 and a review of the film was published in August 1946 issue of ‘Filmindia’ magazine. Based on the review, I am presenting below a summarized version of the story of the film:

Geeta (Geeta Nizami) is an heiress to a huge fortune left by her father. With this, Geeta’s life is at risk as her uncle is eyeing on her fortunes. For the attainment of his objective, he employs Pratap (K N Singh) a crook to do the needful.

For completing the formalities of handing over the fortunes to Geeta, Barrister Premchand (Raj Bishwas), the executor of the will, comes to the city and stays in a hotel where his son, Shyam (Shyam) escorts Geeta to the hotel room. However, Geeta suspects Shyam to be a crook without knowing that he is the son of Barrister Premchand. Instead, she relies on Pratap, the crook who kidnaps her. However, Shyam rescues her.

Thakur Ajit Singh (Randhir) who is a regular guest in the hotel gets attracted towards Geeta though he already has Rani (Saroj Borkar) as his mistress who is a disgraced wife of Barrister Premchand and the mother of Shyam. Neither Rani nor Shyam is aware that they are mother and son.

In Geeta’s room, Thakur Ajit Singh tries to molest her and, in this milieu, Thakur is shot dead. Thinking that Geeta must have shot him, Shyam takes the crime on himself and runs away from the police. However, he is arrested and put on trail for the murder of Thakur Ajit Singh. Based on the evidence given by Rani, Shyam is sentenced to death by hanging.

Barrister Premchand appeals to the high court for the review of the lower court’s verdict. In the court, he produces the childhood photograph of Shyam with his mother Rani. The mother in Rani makes her to confess that she had shot dead Thakur Ajit Singh in that fateful night. Shyam is acquitted and there is a happy end to the film.

The film had 8 songs, all written by Nakshab Jarchvi and set to music by Rashid Attre. As mentioned earlier, two songs have been covered in the Blog. I am presenting the 3rd song ‘tum iss nigaah se dekho na baar baar mujhe’ sung by Mohammed Rafi.

The song is written in a ghazal format and it is one among Rafi’s early dozen odd solo renditions. From his rendition, I can guess that Rafi has mastered the art of voice modulation for particular actors as early as 1946. The moment I heard the song, I got a feel that he was singing for Shyam.

Audio Clip:

Song-Tum is nigaah se dekho na baar baar mujhe(Room number 9)(1946) Singer-Rafi, Lyrics-Nakshab, MD-Rashid Atre

Lyrics

rahe to kaise rahe ae
dil pe ikhtiyaar mujhe ae ae ae ae
haan aan aan
rahe to kaise rahe ae ae
dil pe ikhtiyaar mujhe ae ae ae ae ae
tum iss nigaah se dekho na baar baar mujhe
tum iss nigaah se dekho na baar baar mujhe

jo mujhse bachte thhe
pahlu mein aaye baithen hain
jo mujhse bachte thhe
bachte thhe
pahlu mein aaye baithen hain
bahut dinon se thha iss din ka intzaar mujhe
bahut dinon se thha iss din ka intzaar mujhe
tum iss nigaah se dekho na baar baar mujhe

hamesha aapne
hamesha aapne
haan aapne
gairon pe ki nigaah e karam
hamesha aapne
haan aapne gairon pe ki nigaah e karam
hamesha aapne rakha hai bekaraar mujhe
hamesha aapne rakha hai bekaraar mujhe
tum iss nigaah se dekho na baar baar mujhe

wohi to ho
jo meri ek bhi na sunte thhe
wohi to ho jo meri ek bhi na sunte thhe
wohi to ho jo meri ek bhi na sunte thhe
ab ikhtiyaar tumhen hai ke ikhtiyaar mujhe
ab ikhtiyaar tumhen hai ke ikhtiyaar mujhe
tum iss nigaah se dekho na baar baar mujhe
tum iss nigaah se
dekho na baar baar mujhe…e


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.

Blog Day:

4681 Post No. : 16362

———————————————–————————————
Blog 10-Year Challenge (2011-2021) – Song No. 22
———————————————————————————–
———————————–
This Week, That Year – 5
———————————–
09May – 15May, 2011

It has been a long gap. The previous post in this series had come on 23rd Sep, 2020. And the post number was 15911. About seven and a half month’s worth of waterflow has passed under all the bridges. That was 231 days ago. And 450 posts ago. The blog has clocked four more century milestones, and is close to a fifth now.

An understatement it is – that life has changed in these past months. A lot of ideas and motivation for writing has been numbed. Even with the time and inclination both pointing in the right directions, the flow of writing is simply not coming together. Every week for the past 5 or 6 weeks, I scrutinize the 10 year challenge lists. Ideas form in the mind, but somehow do not get on to paper. For this week’s analysis and this post, I have been checking on the week status from a decade ago, for past couple of days. And then today, just decided to start off with this inability to articulate. Let’s see where it will lead to.

Maybe start with numbers. The week that was – 9th to 15th May of 2011. We saw two dot days that week – 11th and 13th May. Something was in the air during those days. Between April and May of that year, we see 10 dot days, that do not seem customary. We had 28 songs posted in that week, and given two dot days, the average productivity would be approximately 5.6 posts per day.

The 28 songs belonged to 27 different films, and only one film made a repeat appearance that week – the film ‘Pugree’ of 1948.

Considering the decades – the thirties and seventies had just one song present. In between we had 8 songs for the 1940s, 11 songs for the 1950s and 7 songs for the 1960s.

The week saw 5 debut films come on board. And the film ‘Parasmani’ of 1963 completed its run and made the Yippeee status. Of the 27 films that got featured that week, a whopping 19 films have since been Yippeee’d over the past decade. And 8 films are still awaiting more songs to complete their run on our blog. All the films have between 2 to 5 songs pending, which means none of them is one song away from being Yippeee’d.

Coming to milestones, the week saw the century milestone for music director Anil Biswas. On 10th May, with the song “Paise Ka Mantar Paise Ka Jantar“, from the 1956 film ‘Paisa Hi Paisa’, Anil Biswas clocked his first 100 songs posted on our blog.

The day by day break up and details of posts on daily basis is given in the table below.

Blog Ten Year Challenge (2010-2020) Series
Sl.No. Movie Name Year HFGK NoS ASAD NoS Possible UT Deb/Yip Milestone Film Status Pending
9-May-11
1 Pardesi 1957 8 5 Pending 3
2 Jalti Nishaani 1957 8 6 Pending 2
3 Chaar Dil Chaar Raahen 1959 7 7 Yippeee’d
10-May-11
1 Kismat 1943 9 9 Yippeee’d
2 Milan 1946 8 5 Pending 3
3 Pugree 1948 9 9 Yippeee’d
4 Meena Baazaar 1950 12 12 Yippeee’d
5 Paarasmani 1963 6 6 Y Yippeee’d
6 Paisa Hi Paisa 1956 10 6 AC – 100
(Anil Biswas)
Pending 4
11-May-11
[No Posts]
12-May-11
1 Pugree 1948 9 9 Yippeee’d
2 Chaalis Din 1959 8 5 Pending 3
3 Faraar 1965 6 6 Yippeee’d
4 Namaste Jee 1965 8 4 D Pending 4
5 Uski Kahaani 1966 2 2 D Yippeee’d
6 Hindustan Ki Kasam 1973 4 4 D Yippeee’d
13-May-11
[No Posts]
14-May-11
1 Buzdil 1951 6 6 Yippeee’d
2 Lala Rukh 1958 7 7 Yippeee’d
3 Apna Haath Jagannaath 1960 8 8 Yippeee’d
4 Zindagi 1956 8 3 D Pending 5
5 Faisla 1965 7 4 D Pending 3
15-May-11
1 Chandidas 1934 9 9 Yippeee’d
2 Dil e Naadaan 1953 9 9 Yippeee’d
3 Mirza Saahiban 1947 10 10 Yippeee’d
4 Kaneez 1949 12 12 Yippeee’d
5 Zameendaar 1942 10 10 Yippeee’d
6 Kaaghaz Ke Phool 1959 7 7 Yippeee’d
7 Shama 1961 11 12 Yippeee’d
8 Bahaaren Phir Bhi Aayengi 1966 6 6 Yippeee’d

Ten years ago, this day six songs were posted from six films. Of the six films, the following four have since been Yippeee’d – ‘Pugree’ (1948), ‘Faraar’ (1965), ‘Uski Kahaani’ (1966) and ‘Hindustan Ki Kasam’ (1973). The two pending films are ‘Chaalis Din’ (1959) and ‘Namaste Ji’ (1965). For today’s post, I have picked this fun wooing song in the voice of Rafi Sb from the film ‘Namaste Ji’.

This film has an interesting background, from a collector’s perspective. For almost two decades, this film has been on the fringe of becoming available in public domain. There are collectors who have been declaring the availability of this film with tantalizing promises of making it available ‘shortly’. But that shortly has never really materialized. To the extent that there are folks who have uploaded doctored videos, i.e. songs of this film overlaid on a video sequence of another film with the same lead actors. Ah yes, we do see many an example of such shady presentations. And to tell you – the world is so full of believers, that the comment sections of such uploads contains profuse thanks for being able to see the video clip of the song. There are rare comments that point out this insidious jugglery, but such statements of accusatory truth are lost in the bevy of praises.

One of my very close and dear friends, has shown me photographs of the library shelves of another collector in Bombay, where the Betamax tape of this film, ‘Namaste Ji’ is very much visible. But no, we have had no success in being able to view or acquire this film. And so we are also not 100% certain that the titles that are sitting in the library of this other collector, whether these just blanks, to impress others. Do not know. This, and actually many other titles, have been doing rounds of collector circles and communications – that they are imminent to be released to public domain shortly.

Another very interesting variation to this scenario is the case where the original film has been dubbed into another language. Case in point is the film ‘Qaidi’ from 1957, very well known for its musical score by OP Nayyar. Now this film, as many others, was later dubbed into Tamil and other south Indian languages. The current scenario with this film is that the Hindi original of this film is not available (yet) in public domain. However the Tamil version is very much available in public domain. Some technically astute and enterprising collector has picked the video sequence from the Tamil version and has overlaid the audio of the song in Hindi. He has posted a couple of such ‘manufactured’ videos with the claim that they are the original and that he has the full film in original Hindi. After much explorations and discussions, it has been determined that the claim is spurious.

A very enticing and also tormenting situation is when actually we have real and true clips of songs and short video sequences posted online, but the entire film is simply not surfacing anywhere. Years have passed in waiting but simply no word of real existence has surfaced. Maybe I shall take this up in another post – it is getting very lengthy.

So back to ‘Namaste Ji’. The film has been produced under the banner of DM Films, Bombay (now Mumbai) and is directed by Daljeet Krishan. Is Daljeet the ‘D’ in the banner name? Not sure. The star cast as per the Geet Kosh is Ameeta, Mehmood, IS Johar, Nalini Chonkar, Ulhas, Manorama, Mridula, Rajan Haksar, Kundan, Baij Sharma, Brahmdutt, Helen, Sumita, Arti, Manjula, Vinod, Ramesh, Ajeet, Meena, Baijnath, and Nazeer.

The film has 8 songs listed. The music boasts of such all time favorites as “Mere Do Naina Matwaale Kis Ke Liye“, “Bahaaron Thaam Lo Ab Dil Mera Mehboob Aata Hai“, and “Hamen Kya Jo Har Su Ujaale Huyen Hain”. Interesting to note that so far 4 songs of this film have made their appearance on the blog. Three of them appeared in 2011, the fourth came on board in 2014. And then, a long radio silence. Yes, the fifth song makes its appearance today, after a gap of seven years.

The music composition is by GS Kohli and the song writing is shared between Anjaan and Anand Bakshi. However sadly, the song being presented today has no lyricist identified for it. Could this be a traditional or a folk song that has been reused? Yes, quite possible, from the sound of it. The language of the song sounds like Awadhi or Bhojpuri, and so it could be folk song that has been brought into this film. I request other knowledgeable friends and readers to please comment on this observation.

From the rendering of this song, it may be not wrong to surmise that this song is picturized on Mehmood. It sounds similar in rural tones, to some other songs that Mehmood had performed on screen, e.g. the song “Pipra Ke Patwa Sareekhe Doley Manwa” from the 1963 film ‘Godaan’.

So, wrapping up today’s write up, with a forlorn hope that this film shall make its appearance in the public domain, sooner than later.

Let us see.

Song – Kahaan Jayi Ho Najariya Churaaye Hum Se  (Namaste Ji) (1965) Singer – Mohammed Rafi, Lyrics – [Unattributed], MD – GS Kohli

Lyrics (Provided by Prakashchandra)

kahaan jayi ho  o o o
kahaan jayi ho
najariya churaaye
hum mmmm mm mm mm
hum mmm mm mm se..e

o kahaan jayi ho oo oo
 
kahan jayi ho o o
o kahan jayi ho najariya churaaye hamse
kahan jayi ho o o

gori gussey mein ho
gori gussey mein haayye
gori gussey mein
daaman chhudaaye hamse ae
oye
oye oye oye
kahan jayi ho o
kahan jayi ho
najariya churaaye hamse
kahan jayi ho

naagan si goriyaa chalai chaal aisey ae ae
lotey karejwaa pe haaye saanp jaise
lotey karejwaa pe haaye saanp jaisse
qaabu karee hum jeeyara pe kaise
kauno jatan to batai ho batai ho batai ho re
kahaan jayi ho
o kahan jayi ho
najariya churaaye hamse
kahan jayi ho o
oo ooo ooo
aaaa aaa aaa aaa
ooo ooo oooo ooo ooo
haaye haaye
haaye haaye
haaye

tohre basai deen o duniya bhulai bey ae
tohri duwaaree pe dhooni ramayi bey
tohri duwaaree pe dhooni ramayi bey ae
jab ban ke jogi
o jab ban ke jogi
alakh hum jagayi bey
phir kaisey bas mein
na ayi ho
na ayi ho
na ayi ho rey
kahaan jayi ho o
o kahaan jayi ho
najariya churaaye hamse
kahaan jayi ho o o

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

कहाँ जई हो ओ ओ ओ
कहाँ जई हो
नजरिया चुराये
हम्म म्ममम म्म म्म म्म
हम्म म्ममम म्म म्म से॰॰ए

ओ कहाँ जई हो ओ ओ

कहाँ जई हो ओ ओ
ओ कहाँ जई हो नजरिया चुराये हमसे
कहाँ जई हो ओ ओ

गोरी गुस्से में हो
गोरी गुस्से में हा॰॰य
गोरी गुस्से में
दामन छुड़ाए हमसे॰॰ए
ओय
ओय ओय ओय
कहाँ जई हो ओ
कहाँ जई हो
नजरिया चुराये हमसे
कहाँ जई हो

नागन सी गोरिया चलै अइसे॰॰ए॰॰ए
लोटे करेजवा पे हाय साँप जइसे
लोटे करेजवा पे हाय साँप जईस्से
क़ाबू करी हम जियरा पे कइसे
कौनौ जतन तो बतई हो
बतई हो
बतई हो रे
कहाँ जई हो
ओ कहाँ जई हो
नजरिया चुराये हमसे
कहाँ जई हो ओ
ओ ओss ओss
आsss आss आss आss
ओs ओss ओsss ओss
हाय हाय
हाय हाय
हाय

तोहरे बसइ दीन ओ दुनिया भुलई बे॰॰ए
तोहरी दुवारी पे धूनी रमइ बे
तोहरी दुवारी पे धूनी रमइ बे॰॰ए
जब बन के जोगी
ओ जब बन के जोगी
अलख हम जगइ बे
फिर कइसे बस में
न अइ हो
न अइ हो
न अइ हो रे
कहाँ जई हो॰॰ओ
ओ कहाँ जई हो
नजरिया चुराये हमसे
कहाँ जई हो ओ ओ ओ


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 :

4681 Post No. : 16361

We all are witnessing a once in a century pandemic that is taking a heavy toll of precious human lives. There is information overload on this topic. Much of the “information” that we are being bombarded with is not useful, and may even be harmful.

I have been observing all this. I have tried to figure out what is going on. I have tried to piece together useful information about this virus. Here I would present my take on this pandemic and how I think we should deal with the situation.

It seems that very few people actually have an idea how covid infection takes place and how it spreads. Awareness about how to protect oneself against this virus also seems low among people. The outcome of low awareness about this virus has led to disastrous consequences as we all have seen.

In a situation where most people are pressing the panic button and losing their heads, we need to take a calm look at things so that we know how to deal with this situation. I will try to keep it as simple and easy to understand as is possible.

covid 19 virus can be likened to a well trained terrorist group. It is trained and armed and indoctinated outside our borders. Then they are sent across the border to create terrorist acts within our border. Here terrorists are equivalent to covid 19 virus, whereas our country is like our body.

How do these terrorists cross the border ? If they find no security across the border, then they just sneak in unchallenged. If security is tight then they try to sneak in while their army resort to shelling across the border to divert the attention of our security forces. These terrorists then try to sneak in.

These terrorists, if they sneak in, try to create terror attacks wherever they can. If security is tight, then their attempts are foiled most of the time. If security is slack or the terrorists get local support then they are able to create serious damage.

If the terrorists are able to fan out inside the whole country then they can create terror attacks all over the country. All this happened in India with regularity not too far back. This is the most severe kind of terror attacks that India has seen.

With this background, that all Indians can readily identify with, I will try to explain how covid 19 virus acts in a similar way.

Covid 19 virus tries to gain entry into human body. It is a respiratory virus, so it can only enter our body through the external respiratory parts, viz nose and mouth, and also through eyes. So if our body is a country then nose and mouth and eyes are our border posts through which this virus tries to gain entry. When this virus was unknown, it had a free passage into the human body through nose and mouth of unsuspecting victims. When its existence became known then people began wearing masks. It is as if earlier the borders were unmanned but now they need tight security. Face masks are the border security force that that guard our entrances (nose and mouth).

If nose and mouth are guarded then still the virus may lurk in, seeking to enter when the guard is down, viz when the face mark is removed. People do remove face masks when they feel that there is no virus around. Virus lurks in the air, on the person, on clothes, exposed part of the body etc. If a person touches something (on his person or any object containing virus) and then touches his nose or mouth, this is the opening that the virus needed. It then enters the respiratory tract of the body. Now you know why there is so much stress on sanitising objects, hands etc. This also shows us what is the importance of six feet distance. If people stand far off, then the chances of virus getting transmitted from one person to another reduces considerably.

If despite all precautions, some virus enters the respiratory system, its quantity (viral load) will be low. If we are outright careless (no mask, no social distancing) then our respiratory system may receive a heavy viral load.

What happens when the virus manages to enter the respiratory system dodging the mask? It depends on the preparedness near the border.

Masks at the nose are like BSF who guard the border. If the terrorists cross the border, then they have to face the army, who are stationed near the border. In case of covid infection, the army that confronts the virus is known as body’ immunity system. It is basically white blood cells of blood. These WBC are the army soldiers to deal with the infiltrators. These WBCs are trained to tackle known viruses that they have tackled in the past. As soon as they come across a previously known virus, they are immediately able to mobilise anti bodies to tackle that virus. The antibodies can be readily and rapidly deployed. On the other hand, when a new virus, viz covid 19 virus enters about which the WBCs have no previous information, then WBCs take some time to get prepared. As WBCs gather more information about the new virus, they begin to create anti bodies to tackle the virus. But for a new virus, especially if a heavy viral load had entered the respiratory system, the WBCs response may turn out to be slow and inadequate. In the meanwhile the virus is able to do considerable damage to the respiratory system. By the time the WBCs begin to create antibodies, it may be too late.

So, If the viral load is less, then the virus is stopped there itself. If viral load is heavy and the person is not vaccinated then the virus may overwhelm the immunity system and enter further into the body, namely the lungs. Lungs are like the different states of the country. The terrorists have now spread throughout the country, and now they can wreak severe damage. The security in the interior of the country is in the hands of police, which is far too ill equipped to deal with such security threats than the army. Same is the case with the immunity system of the body, which is helpless if the virus gains access to the lungs.

Let us say that the person was already vaccinated. In that case, the immunity system was familiar with this virus. So as soon as the virus entered the respiratory system, the WBCs, being already aware about the nature of the virus, will be able to deploy antibodies immediately. So a vaccinated body is like a country with a strong well trained and well prepared army near the border. In that case most of the infiltrating virus would get neutralised there itself.

If the immunity is weak and person is not vaccinated, then the virus overwhelms the resistance at the entrance and invades the lungs. In that situation, the virus starts rapidly infecting the lungs that are unprotected and are now at their mercy. The virus damages the alveoli (tiny air sacs). The function of the alveolus is to transfer oxygen to the blood vessels. These blood vessels or capillaries carry the oxygen to the RBCs (Red blood cells). It is the RBCs that finally deliver the oxygen to all the internal organs in the body.

The virus works by damaging the wall and the lining of the alveolus and capillaries. The debris from the damage(exudate) , which is plasma protein accumulates on the alveolus wall and thickens the lining. As the walls’ thicken, the transfer of oxygen to the red blood cells is impaired. The thicker the wall gets, the more difficult it gets to transfer oxygen to the red blood cells, which causes difficulty in breathing as the body is running short of oxygen. And the lack of oxygen to the internal organs results in a deficit in the body and impairs the functioning of the organs. At this juncture, the body fights to increase oxygen intake.

And the first response of the body is to destroy the virus and prevent its replication, but if the individual has weaker immunity then the body is unable to stop the virus, and this aggravates the crisis.

As the air sacs are damaged, there is an influx of liquid which is mostly inflamed cells and protein and this fluid build-up leads to pneumonia. This further impairs the oxygen intake by the lungs and hinders the oxygen exchange. Due to the novelty of the Covid 19 strain, there is no immediate treatment to directly cure pneumonia in Covid 19 patients and they are mostly given supportive care.

There are some key indicators that the doctors use to judge the onset and severity of this severe condition called Acute Respiratory Distress Syndrome (ARDS) in infected individuals:

(1)Hypoxia – Low oxygen levels in the blood, due to damage to the alveolus

(2)Breathing difficulties and shortness of breath

(3)Chest x-rays of the lungs exhibit an opaque and glassy look against the black background

(4)Worsening symptoms over the course of time, from the day of detection of the virus

Is there no hope if the virus reach the lungs ? There is ! And it is this fact which is the most important thing to understand about this virus. The ammunition of the virus gets exhausted in nine days and so the virus gets ineffective nine days after it enters the body. If the damage to the body can be kept as low as possible though medication and other means then after nine days the recovery process begins. So the patient must be kept alive for nine days. If it can be achieved then he or she will survive. Forget low damage, even patients who suffered over 80% damage to their lungs have survived !

Virus may have become ineffective but it may have taken a heavy toll on the lungs by that time. The patient must lie prone on his/ her tummy and try to clear the contents of the lungs by coughing them out. Coughed up exudate (phlegm) would be variously coloured when the infection is severe. After a few days the colour would keep changing, from catechu colour (most severe) to black color (less severe)and finally as the infection reduces, the phlegm would become white. Finally phlegm would stop.

As the phlegm comes out, space is created in the lung and that makes breathing easier. Patients who are hospitalised and they have oxygen fitted on them mistakenly believe that they only have to keep lying down passively without doing anything. Not taking any proactive action to clear up the phlegm in their lungs is a mistake because in that case the situation will keep getting worse because the oxygen being pumped into their lungs will have no place to go in the lungs. If oxygen cannot reach the lungs then naturally they cannot be sent to RBC and from there to various parts of the body, and that would lead to serious complications.

It is seen that not just patients, even medical practitioners are often not very helpful (mainly because of their lack of experience). For instance, when a patient goes for chest x ray or HRCT, the report just states the facts, without any expert and helpful comments. A typical (and actual) HRCT report stated- “CT severity score of -36/40”

What will a normal patient do on reading the above ! He/ she will most probably die of shock if not covid because it indicates that the damage to the lung is over 80 %. Fortunately, the above patient happened to be the sister of my wife. My wife told her sister that she did not have to worry. The virus had done all it could and now the lung condition was only going to improve. To make space in the lungs, she advised her sister to do exercises that would expel the phlegm (technical term for this substance is exudate) stuck in her lungs. My wife’s sister followed the advice scrupulously. There was noticeable improvement in her condition. After a couple of weeks, her scan showed perfectly clear lung condition !

It was not the first case where my wife helped save a life. Last year, her brother too had suffered from covid and he too had delayed getting himself checked and treated, leading to a lung condition that was even worse. Even there, correct and timely advice by my wife helped save the life of her brother.

In my wife’s opinion, Rohit Sardana, the news anchor faced a similar situation as faced by her brother and sister and he could have been saved if he had received correct medical advice of the kind that she gave to her brother and sister. In Rohit Sardana’s case, he was in home isolation and he was making good recovery and was feeling better. It was on the advice of some well meaning colleague that he got his HRCT done. The HRCT showed similar severity as in case of my sister in law. But Rohit Sardana did not have the advantage of a good doctor’s advice who would tell him that the worst was over for him. Looking at the severity of his lung report, he went into shock and got himself admitted to a hospital, where he died soon thereafter.

So, to summarise all the above discussion, it can be said that the best protection against covid 19 is a properly worn mask. Do all in your ability to ensure that the virus cannot enter your respiratory system. The virus can enter your respiratory system only through nose and mouth (and in exceptional cases through eyes). Protect these entrances to your respiratory system with your life. If in rare cases virus does get in, only a light load of virus gets in if you have taken precautions, so that your present immunity system can deal with it. Do not be foolhardy to offer a free passage to the virus by going around without mask. Allowing a huge viral load to enter your respiratory system believing that you have a great immunity system is nothing but suicide. Such people will be mercilessly shown their mortality by the virus. Once the virus attacks your lung, then you will be forced to run around from pillar to post, but all these efforts will largely be fruitless. A mask costing a few rupees, and a disciplined lifestyle is more effective in preventing covid than all that desperate scramble clamouring for hospital beds, oxygen, remdesivir etc, and all that at black market prices.

And please get yourself vaccinated at the first opportunity available. India is one of the few countries that can produce its own vaccines and so India is not dependent on foreign supplies (which are difficult to come by). Most people are getting it for free in government facilities. but if some private hospitals are offering it against payment, then pay for it, avoid long waiting lists of government hospitals and get yourself vaccinated. Paying a few hundreds, or even a couple of thousands of rupees for the doses of this vaccine is fully worth it as will protect you from this deadly virus.

While discussing this deadly respiratory disease, I had decided that this article should be accompanied by a song dealing with “Saans”. The first “saans” song that I was reminded of was this song of “Aashiqui”(1990) but I thought that this song was already covered. On checking up, I heaved a sigh of relief (pun unintended) because this song was not yet covered in the blog.

Produced by Gulshan Kumar and Mukesh Bhatt and directed by Mahesh Bhatt, “Aashiqui”(1990) had Rahul Roy, Anu Agarwal, Reema Lagoo, Deepak Tijori, Avtar Gill, Tom Alter, Mushtaq Khan, Javed Khan, Sunil Rege, Homi Wadia, Anang Desai etc in it. Two songs from the movie have been covered in the past.

This movie turned out to be a musical blockbuster. The story of the movie was quite run of the mill and no great shakes, but the music made the movie a super duper hit.

The song under discussion has two versions. THe movie begins with the male version sung by Kumar Sanu. This song is picturised as a hotel/ club song. Rahul Roy lip syncs the song. Sameer is the lyricist. Music is composed by Nadeem Shrawan.

The female version song is sung by Anuradha Paudwal. Its video does not seem to be available. I had watched this movie in New Delhi and I vaguely recall having seen the female version also. But its video does not seem to be available now. In any case, it was the male version which was the more popular.

The song likens the need for a “sanam” to the need for “saans”. We take “saans” for granted, but not any longer, seeing the clamour of medical oxygen in these times. One never imagined that a time may come when one would be willing to pay money to be able to breath oxygen artificially. God has given us the ability to breathe this air for free. Let us hope that we will continue to be able to avail of this gift of being able to breathe naturally.

Today (12 May 2021) is also International Nurses’ day. On this occasion, let us all hail and appreciate the great service that they and other medical personnel are rendering in combating this pandemic.

Male version (Video)

Female (Audio)

Song-Saanson ki zaroorat hai jaise zindagi ke liye(Aashiqui)(1990) Kumar Sanu/ Anuradha Paudwal, Lyrics-Sameer, MD-Nadeem Shrawan

Lyrics

—————————
Male version
—————————

ho ho ho ho
ho ho ho
ho ho ho ho
ho ho ho

saanson ki zaroorat hai jaise
saanson ki zaroorat hai jaise
zindagi ke liye
bas ek sanam chaahiye ae ae aashiqui ke liye
jaam ki zaroorat hai jaise
jaam ki zaroorat hai jaise
bekhudi ke liye
haan ek sanam chaahiye ae ae aashiqui ke liye
bas ek sanam chaahiye ae ae aashiqui ke liye

waqt ke haathhon mein sabki taqdeeren hain
waqt ke haathhon mein sabki taqdeeren hain
aaina jhoothha hai
sachchi tasveeren hain
jahaan dard hai wahin geet hai
jahaan pyaas hai wahin meet hai
koi na jaane magar r
jeene ki yahi reet hai
saaz ki zaroorat hai jaise
saaz ki zaroorat hai jaise mausiqui ke liye
bas ek sanam chaahiye ae ae aashiqui ke liye ae
haan ek sanam chaahiye ae ae aashiqui ke liye

Dialogues
————————————-
ladies and gentlemen
aaj hamaare beech mister and mrs Peston jee
apni shaadi ki pachcheesvin saalgirah mana rahe hain
let us give them a big hand

—————————————
ho ho ho ho
ho ho ho
ho ho ho ho
ho ho ho

manzilen haasilen hain
phir bhi ek doori hai
manzilen haasilen hain
phir bhi ik doori hai
bina humraahi ke
zindagi adhhoori hai
milegi kahin koi rehguzar
tanha katega
kaise ye safar
mere sapne ho jahaaan aan
dhhoondhhoon main aisi nazar
chaand ki zaroorat hai jaise
chaand ki zaroorat hai jaise chaandni ke liye
bas ek sanam chaahiye ae ae aashiqui ke liye
saanson ki zaroorat hai jaise
saanson ki zaroorat hai jaise zindagi ke liye
bas ek sanam chaahiye ae ae aashiqui ke liye
bas ek sanam chaahiye ae ae aashiqui ke liye
aashiqui ke liye
aashiqui ke liye
aashiqui ke liye

——————————-
Female version
——————————–
hmm hmm hmm hmm
hmm hmm hmm
aa aa aa aa
aa aa aa

saanson ki zaroorat hai jaise
saanson ki zaroorat hai jaise zindagi ke liye
bas ik sanam chaahiye ae ae aashiqui ke liye
shama ki zaroorat hai jaise
shama ki zaroorat hai jaise raushni ke liye
haan ik sanam chaahiye ae ae aashiqui ke liye
bas ik sanam chaahiye ae ae aashiqui ke liye

baaghbaan ke dil mein har kali khilti hai
baaghbaan ke dil mein har kali khilti hai
har lahar saahil se ik din milti hai
jahaan chain hai wahin bebasi
jahaan ashq hai wahin hai hansi
gham ke kaanton se chune ae usiko milti khushi
honthon ki zaroorat hai jaise
honthon ki zaroorat hai jaise baansuri ke liye
bas ik sanam chaahiye ae ae aashiqui ke liye
bas ik sanam chaahiye ae ae aashiqui ke liye

hmm hmm hmm hmm
hmm hmm hmm
laa laa laa laa
laa laa laa

har haseen dhadkan mein pyaar ki baaten hain
har haseen dhadkan mein pyaar ki baaten hain
har jawaan mehfil mein yaar ki baaten hain
jahaan nazm hai wahin hai ghazal
jahaan dhoop hai wahin hai kanwal
seene se lipte rahe ae kisi ke yaadon ke pal
dost ki zaroorat hai jaise
dost ki zaroorat hai jaise dosti ke liye
haan ik sanam chaahiye ae ae aashiqui ke liye
saanson ki zaroorat hai jaise
saanson ki zaroorat hai jaise zindagi ke liye
bas ik sanam chaahiye ae ae aashiqui ke liye
bas ik sanam chaahiye ae ae aashiqui ke liye
aashiqui ke liye
aashiqui ke liye
aashiqui ke liye


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.

Blog Day:

4680 Post No. : 16360

This post is coming two days late. Talat Sb’s anniversary of passing away was two days ago (9th May). In preparation and delayed, this post remembers Talat Sb, the velvet voiced wonder who is one of the mainstays of the fond memories of the golden age of Hindi film  music – an era when melody was the queen.

A rare and opportune gathering of talented stars, singers, music makers and writers once came together at the coordinates of a place called Bombay (now Mumbai).  Fortune has a timing of its own, and blessed are those who witnessed this gathering, and also those who continue to enjoy their creations and their histrionics. An august assembly that pulled together in 1940s, it continued gathering momentum along with the fervor of the newly independent India.

But as all good things, this assembly waned and started to fade away after three decades of having held spellbound a young nation, with a full spectrum of emotional flavors. The resonance of those times still rings in the ears and flows with the wind and water of this land. The echoes still entertain, still charm and engross multiple generations of music lovers.

Introduction to Talat Sb is not necessary. But the memories are. And more importantly, it is the celebration of the memories that is essential. Celebrities and performers abound in every generation, every century. But the history remembers only them who are remembered by later generations.

Searching for a song from his earlier films, I chanced to find this one which has not yet been posted on our blog. The film is ‘Ratnadeep’ from 1952. As I check the lists, I find that the film has 8 songs listed in the Geet Kosh. Of these, 5 songs are already showcased on our blog. Talat Sb has sung three songs for this film. Two are duets with Geeta Dutt, and one solo. The two duets are already present here. I bring on the solo song of Talat Sb today.

The film ‘Ratnadeep’ is a production of Chitramaya, Calcutta (now Kolkata) and is produced and directed by Debaki Kumar Bose.  The film is based on the famous novel of same name by Prabhat Kumar Mukhopadhyay (1873-1932). Prabhat Kumar was a barrister by profession and later a professor of law at University of Calcutta. He started writing while still studying at school, and his poems were published in Bangla magazines. He became famous for his short stories which looked at life using a light-hearted lens. As an author he has published more than 100 short stories and 14 novels. ‘Ratnadeep’ is the most well known of his novels.

The cast of actors of this film is listed as Anuva Gupta, Manju Dey, Molina Devi, Chhaya Devi, Tangamani, Harini, Bakul Ghosh, Abhi Bhattacharya, Pahadi Sanyal, Niteesh Mukherji, Tulsi Chakravarty, Kamal Mishra, Raj Kumar Soni, Sudheer  Chakraborty, Gokul Mukherji and Gauri Shankar.

Music for this film is composed by Robin Chatterji. Two songs of this film are traditional verses, one by Vidyapati and another by Meerabai. The remaining six songs have been penned by Pt Madhur and Pran Mahendra. However, the sharing of songs between these two lyricists is not known. So the tag for lyricist is indicated as ‘Unattributed’.

This is a true vintage Talat song – the perfect voice picked by the music director to render it. The words in the song tells about unfulfilled love, expressing aspirations and longing for things that could have been. The words are lovely, and the rendition by Talat Sb touches the strings of the heart inside.

Listen and enjoy this lesser known, lesser heard wonderful song of Talat Sb.

 

Song – Agar Dil Ke Taaron Pe Main Chhed Sakta (Ratnadeep) (1952) Singer – Talat Mehmood, Lyrics – [Unattributed], MD – Robin Chatterjee

Lyrics

agar dil ke taaron pe
main chhed sakta
nai zindagi ka naya sa taraana
agar dil ke taaron pe

na manzil ki chaahat
mere dil mein hoti
na manzil ki chaahat
mere dil mein hoti
meri pyaas ulfat ke
naghmon mein khoti
mere naqsh e paa hi
mere naqsh e paa hi
bataate thikaana
agar dil ke taaron pe

main lehron ke haa..aathon mein
patwaar de kar
jo baste hain dil mein
unhen saath le kar
bahut door saahil se
le jaata kashti
na wo rehte wo
aur na main meri hasti
na wo rehte wo
aur na main meri hasti
magar haa..aaye
adhoora rahega apna fasaana
nai zindagi ka naya sa taraana
nai zindagi ka naya sa taraana
agar dil ke taaron pe

————————————————————
Hindi Script Lyrics
(Provided by Sudhir)
————————————————————
अगर दिल के तारों पे
मैं छेड़ सकता
नई ज़िंदगी का नया सा तराना
अगर दिल के तारों पे

ना मंज़िल की चाहत
मेरे दिल में होती
ना मंज़िल की चाहत
मेरे दिल में होती
मेरी प्यास उलफत के
नग़मों में खोती
मेरे नक़्श ए पा ही
मेरे नक़्श ए पा ही
बताते ठिकाना
अगर दिल के तारों पे

मैं लहरों के हा॰॰थों में
पतवार दे कर
जो बसते हैं दिल में
उन्हें साथ लेकर
बहुत दूर साहिल से
ले जाता कश्ती
ना वो रहते वो
और ना मैं मेरी हस्ती
ना वो रहते वो
और ना मैं मेरी हस्ती
मगर हा॰॰य
अधूरा रहेगा अपना फसाना
नई ज़िंदगी का नया सा तराना
नई ज़िंदगी का नया सा तराना
अगर दिल के तारों पे


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 :

4680 Post No. : 16359 Movie Count :

4442

Writing on old films, its people and its music is an unusual hobby. Such people are very few and what they write is read by a limited but a large circle. This group of people are exclusive and generally they are not recognised by the society. Funnily, ” writing on old films” is mainly ( and wrongly) equated with old songs only. people are not aware that there is a world beyond old songs and music as far as old films are concerned.

Whenever I tell people that ‘ I write on old films’, their immediate reaction is to start praising old songs which they know. Depending on the age of the person, the period of ‘ old films’ differs. For an young man of, say 20-25 years old films may mean films which came in the 80’s and 90’s. For people of 30-40 years, films of the 6o’s and 70’s are old films. For people of 45-60 years of age, old films are from the 50’s. Only people in the age bracket of 65 to say 80/85, it is films of the 30’s and 40’s which are old films !

Irrespective of the age group and their definition of old films, people unanimously equate films with songs only. That is why I say films have 2 parts…..
1. Poetry – It consists of the songs, the lyricists, the Music Director, the arrangers, instruments used and its players, how songs are presented, who is the singer etc etc.
2. Prose – It consists of information of the producing studios,producers, directors, actors, film stories, locations, cinematography and all those who help make a film-other than songs and music.

Most Social Media sites and groups centre around film music, songs, singers and related topics. I would guess that about 95 % groups and sites belong to this category. However, the remaining 5% groups and sites, Blogs loyally give importance to people connected with film making. They collect and provide information on the old films, production houses, biographies of artistes, producers, directors, cinema stories,filmographies, interviews with people etc etc. These sites and groups are exclusive and known only to people who are interested in this aspect of films, for whatever reasons.

However, I strongly believe that the 2 parts, i.e. Prose and Poetry of films are incomplete without each other. One may specialise in knowledge of one part, but he can not do without having a sufficient knowledge of the other part too. For example, if I specialise in the Prose part of old films, I also have a sufficient knowledge of the Poetry part of the films. Therefore,instead of specialisation, i would call it a Preference of the particular part. I have also noted that most people who write or do any kind of blogging or ‘siting’ of old Hindi films, do this as a Hobby. In a way, it is ” Love’s Labour” for them.

Another point.As is generally believed,all people connected with this hobby are not the ‘Retired ‘ people. There are enthusiastic bloggers in this field, who are professionals having either a job or a business. Some high profile bureaucrats, some doctors, educationists, professors, senior managers in Government or private enterprises or even directors of companies. They are of course in the age group of 45 and above. Not that there are no young people involved in old films. Just take a round of related pages on Fb, you will find quite young people enjoying old songs and also putting their ‘ knowledgeable’ remarks/comments.

I developed this love of old films quite early, in my early or pre teens, perhaps.As the youngest member of a big joint family, I was assigned the duty of accompanying the elders, whenever they went to see a film – which was quite often. I started liking films (mostly mythological or social films) and their songs. I branched off into seeing action and stunt films with my friends. Language was not a bar. Hyderabad being a multilingual state, I used to see films in Hindi, Marathi, Telugu, Tamil, Kannada, English (especially Republic Serials like Captain Marvel etc.)

I developed a habit of jotting down the details of the film seen, in a notebook. This habit lasted with me till about a few years till I reached my final college year in the late 50’s. Once I joined my job and then got married, my notebook writing stopped. I had carefully preserved these notebooks till I started writing articles. But by that time many notebooks had faded, some were torn, some had white ants. I salvaged many and transcribed from the spoiled ones, but some information was lost forever. Still, what remained was enough for me to write hundreds of posts and film synopsis. Good habits always help !

Believing in discipline and organised work, all my more than 1000 articles are neatly stacked in 45 Long books. More than 1100 Bio sketches of cine artistes are in my Laptop. I have 100s of books, purchased and got as gifts from the authors,in Hindi, Marathi and English. I have already written in a diary what is to be done of all these after I leave and also informed the person. The idea is not to waste all this knowledge and that the next generation should have it readymade.

Today’s post has become a different one. Once in a while, some diversion !.

Today’s song from the film Torpedo-41 is a lovely, sweet song by Rajkumari Banareswali. This was a Costume film as per HFGK, but looking at the actors it seems to be a mixture of action and stunt. The cast is Yashwant Dave, Shehzadi, Samson, Meher Sultana and others. The director was N A Mansuri, B.A. He later directed 2 more films, Soorat-47 and Sanwariya-49. I wonder what must he be doing in between ? Music was by Shyam Babu Pathak and Shanti kumar. With this song, film Torpedo makes its Debut on the Blog. Thanks to Shri Abhay Jain(US) for the rare song and Sadanand Kamath ji for uploading it for me.


Song- Chal Saajan chal saajan Ek chhoti si duniya apni basaayen (Torpedo)(1941) Singer- Rajkumari-Banareswali, Lyricist- Kabil, MD- Shanti Kumar Desai

Lyrics

Chal Saajan
Chal Saajan
Chal Saajan
Ek chhoti si duniya apni basaayen
Chal Saajan
Chal Saajan
Ek chhoti si duniya apni basaayen
Chal Saajan
Chal Saajan

is duniya se ae door kahin jaa kar
is duniya se ae door kahin jaa kar
door kahin
door
door kahin
door
Chal Saajan
Chal Saajan
Ek chhoti si duniya apni basaayen
Chal Saajan
Chal Saajan

prem ka deepak man mein jalaa kar
prem ka deepak man mein jalaa kar
kaali ghata ka parda hataa kar
kaali ghata ka parda hataa kar
duniya ki nazron o o o se
duniya ki nazron o o o se
ojhal ho jaayen
ojhal ho jaayen aen aen
Chal Saajan
Chal Saajan
Ek chhotisi duniya apni basaayen
Chal Saajan
Chal Saajan

ham tum hon wahaan
aur na ho koi
ham tum hon wahaan
aur na ho koi
bhor bhaye aji saajan ho
bhor bhaye aji saajan ho
viyog ke baadal kabhi na chhaayen
viyog ke baadal kabhi na chhaayen
Chal Saajan
Chal Saajan
Ek chhoti si duniya apni basaayen
Chal Saajan
Chal Saajan


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.

Blog Day :

4679 Post No. : 16358

#The Decade of Seventies – 1971 – 1980 #
———————————————————–———-
# Bhoole-Bisre Geet # 139 # HAMSHAKAL- 1974 #
———————————————–

Today’s song is from the ‘1974’ movie ‘Hamshakal’.

This movie made its debut on the blog on 23.05.2009 with its most known song i.e.,Kaahe ko bulaaya mujhe balmaa, pyaar mein naam se. So this movie will complete twelve years on the blog 😊 hile still managing to stay unyippeeee’ed.

Another song from this movie, a male lullaby – Rastaa dekhe tera vyakul man mera was posted on the blog exactly a week after the first song. (i.e., on 30.05.2009).

The third song, another nice song Ham tum gum sum raat milan ki, aaja gori sun le baat… of this movie was posted on the blog next year in May’2010 on 10th May.

After this the movie was forgotten for almost ten years. Next song from the movie was posted on 29.12.2019, viz on the birth anniversary of Rajesh Khanna. This song was Aao bachchon main tumhe ek bahut achchhi kahaani sunaata hoon.

By this time the ‘blog ten-year challenge’ was already launched on the blog. The fifth song from the movie was covered under this challenge on 10.05.2020. The song was Phans gayi… udti chidiya, udte udte phans gayi.

By the way, the movie is eligible for both ‘11 year’ and ‘12 year’ challenge today. Taking this opportunity we will listen to the sixth and penultimate song of this movie.

This movie, inspite of being released when Kaka was at the peak of his career, having some beautiful music scored by Pancham Da, and lyrics written by Kaka’s favorite lyricist Anand Bakshi, failed at the box office. (And in this case the ‘Wikipedia’ also correctly mentioned this and not like other movies which were not much successful are now mentioned as ‘super-hit’ movies.

‘Hamshakal-1974’ was directed by Jambu for ‘Olympic Pictures, Madras’. It was produced by T. Govindarajan. It had Rajesh Khanna, Tanuja, Moushumi Chatterjee, Rajesh Behl, Asrani, Meena T., Uma Dhawan, Baby Sonu, Jankidas, Prem Kumar, Madhukar, Pahalwan, Kumud Chhugani, Jagdeep and others.

David, Aruna Irani, Manmohan and Asit Sen make special appearance in this movie.

Story of this movie was written by Poovai Krishnan. Dialogues were written by Inder Raj Anand. Editing of this movie was done by C.P. Jamboolingam.

This movie was passed by Censor Board on 10.04.1974.

(‘Hamshakal-1974’ was a remake of the 1970 Kannada film ‘Baalu Belagithu’, which was also remade in Telugu as’ Manchivadu’ (1973) and in Tamil as ‘Oorukku Uzhaippavan’(1976).)

‘Hamshakal-1974’ had seven songs in it and all were written by Anand Bakshi. Music for this movie was composed by R.D. Burman.

Asha Bhonsle, Kishore Kumar, Lata Mangeshkar, Mohammed Rafi and Sushma Shreshtha had given their voices to the songs in this movie.

Here is the list of songs of this movie ‘Hamshakal-1974’.

S.No. Song Title Posted On
01 Phans gayi… udti chidiya, udte udte phans gayi 10.05.2020
02 Ham tum gum sum raat milan ki, aaja gori sun le baat… 10.05.2010
03 Mujhe sab paagal kehte hain, dekho main kaisi deewaani hoon
04 Main tumko doongi sainyya pyaar ki nishaani, raaja, nahin raani Being discussed today
05 Rastaa dekhe tera vyakul man mera 30.05.2009
06 Kaahe ko bulaaya mujhe balmaa, pyaar mein naam se 23.05.2009
07 Aao bachchon main tumhe ek bahut achchhi kahaani sunaata hoon 29.12.2019

I had not watched this movie until now, but I was aware of a few of its songs since my ‘Kaka fan days’. I liked ‘kaahe ko bulaaya mujhe balmaa’, ‘rastaa dekhe tera vyaakul man mera’, ‘ham tum gum sum raat milan ki’.

Other songs of this movie were rarely heard. But I became aware of them after I get associated with this blog and started sending lyrics contributions. I sent one such song last year for the ‘blog ten-year challenge’. Our dear Prakash ji had also sent a song that time and luckily both of us had sent different songs and not the same one 😊.

Today I am presenting that song which was noted last year.

Also, from the above table we can see that majority of the songs of this movie got posted in the month of May (four songs earlier plus today’s one), so ‘May’ had turned out to be a ‘favorable’ month for this movie. And I wish the movie gets Yippeeee’ed in this ‘May’ itself.

This song is sung by Asha Bhonsle and Kishore Kumar, and on the screen, it is lip-synced by Rajesh Khanna and Moushumi Chatterjee.

Let us now listen to this beautiful song …

Video

Audio

Song-Main tumko doongi sainyya pyaar ki nishaani (Hamshakal)(1974) Singer –Asha Bhonsle, Kishore Kumar, Lyrics-Anand Bakshi, MD-R D Burman

Lyrics

main tumko doongi sainyya
pyaar ki nishaani
main tumko doongi sainyya
pyaar ki nishaani ee
raaja
nahin
raani ee ee ee
main tumko doongi sainyya
pyaar ki nishaani
main tumko doongi sainyya
pyaar ki nishaani ee

tum jhoothhe ho
kyon
main hoon sachchi
achchhaa
gudde se hai
haan haan
guddi achchhi ee
tum jhoothhe ho o
main hoon sachchi
gudde se hai
guddi achchhi ee
chupke chupke
hmm hmm hmm hmm
chori chori
aan aan aan aan
chupke chupke
chori chori
tum le aao jhoola dori
thhode dinon mein sunaaungi
main jaani
afsaanaa aa
nahin
kahaani ee ee
main tumko doongi sainyya
pyaar ki nishaani
main tumko doongi sainyya
pyaar ki nishaani ee

tere dil ko
haan
jo bhaayegaa
kya
ghar mein mehmaan
wo aayegaa

sach
tere dil ko o
jo bhaayegaa aa
ghar mein mehmaan
wo aayegaa
ham donon ke

hmm hmm hmm hmm
dil dolenge
hmm hmm hmm hmm
ham donon ke
dil dolenge
kaise us’se ham bolenge
achchha saa naam koi dhoondho hindustaani

haan
tansen
na na na
taani

aa aa aa aa
main tumko
main tumko
main tumko
main tumko doongi sainyya
pyaar ki nishaani
raja
naa naa naa
raani ee
raani ee
hmm hmm
hmm hmm


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 :

4679 Post No. : 16357

Yearwise discussion of Lata Mangeshkar songs in HFM: Part XXXIII: Year 1979
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In this episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 1979.

In 1979, 113 Hindi movies containing 578 songs were released. Lata Mangeshkar got to sing in 42 of these movies and she sang 66 songs in these movies. So Lata Mangeshkar’s voice was heard in 37.2 % of the movies released in 1979. Her voice was heard in 11.4 % of the songs appearing in the movies of 1979.

Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 1979 :-

S N Movie Music director Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Lyricists
1 Aangan Ki Kali Bappi Lahiri 1 2 1 1 0 0 Shailly Shailendra
2 Aatish Ravindra Jain 0 1 0 1 0 0 Ravindra Jain
3 Ahsaas Bappi Lahiri 1 1 1 0 0 0 Indeewar
4 Amar Deep Laxmikant Pyarelal 0 1 0 1 0 0 Anand Bakshi
5 Atmaraam Shankar Jaikishan 1 1 0 1 0 0 Vishweshwar Sharma
6 Aur Kaun Bappi Lahiri 0 1 1 0 0 0 Amit Khanna
7 Baaton Baaton Mein Rajesh Roshan 1 1 0 0 0 1 Amit Khanna
8 Chambal Ki Kasam Khayyam 4 5 4 1 0 0 Sahir Ludhianvi
9 Chambal Ki Raani Naushaad 2 4 3 1 0 0 Jaan Nisaar Akhtar (2) Majrooh Sultanpuri (2)
10 Chhat Maiyya Ki Mahima Bhupen Hazarika 0 1 1 0 0 0 Kavi Pradeep
11 Chunaoti Laxmikant Pyarelal 0 1 0 0 1 0 Verma Malik
12 Desh Drohi Kalyanji Anandji 0 1 1 0 0 0 Gulshan Baawra
13 Dil Ka Heera Laxmikant Pyarelal 0 2 1 1 0 0 Anand Bakshi
14 Do Hawaldaar Bappi Lahiri 0 1 0 1 0 0 Shailly Shailendra
15 Duniya Meri Jeb Mein Rajesh Roshan 0 1 0 1 0 0 Gulshan Baawra
16 Gautam Govinda Laxmikant Pyarelal 0 1 0 1 0 0 Anand Bakshi
17 Golmaal R D Burman 1 1 1 0 0 0 Gulzar
18 Hamaare Tumhaare R D Burman 0 1 0 1 0 0 Yogesh
19 Iqraar Bappi Lahiri 2 2 2 0 0 0 Kulwant Jaani
20 Jaan e Bahaar Bappi Lahiri 0 1 0 1 0 0 Gauhar Kanpuri
21 Jaani Dushman Laxmikant Pyarelal 0 1 1 0 0 0 Verma Malik
22 Janta Hawaldaar Rajesh Roshan 1 1 0 1 0 0 Majrooh Sultanpuri
23 Jeena Yahaan Salil Chaudhary 2 2 1 1 0 0 Yogesh
24 Jurmaana R D Burman 3 3 2 1 0 0 Anand Bakshi
25 Kaala Patthar Rajesh Roshan 4 4 1 2 0 1 Sahir Ludhianvi
26 Kaali Ghata Laxmikant Pyarelal 1 1 1 0 0 0 Anand Bakshi
27 Kartavya Laxmikant Pyarelal 1 3 3 0 0 0 Kafeel Azar (2) Verma Malik (1)
28 Khaandaan Khayyam 1 1 1 0 0 0 Naqsh Llayalpuri
29 Lahu Ke Do Rang Bappi Lahiri 1 1 1 0 0 0 Farooque Kaiser
30 Maan Apmaan Laxmikant Pyarelal 0 1 1 0 0 0 Bharat Vyas
31 Manzil R D Burman 1 1 1 0 0 0 Yogesh
32 Meena Kumari Ki Amar Kahaani Khayyam 0 1 0 0 1 0 Afzal Shadab
33 Meri Biwi Ki Shaadi Usha Khanna 0 1 1 0 0 0 S H Bihari
34 Mr Natwarlal Rajesh Roshan 1 1 0 1 0 0 Anand Bakshi
35 Naukar R D Burman 1 1 1 0 0 0 Majrooh Sultanpuri
36 Noorie Khayyam 2 2 1 1 0 0 Jaan Nisaar Akhtar
37 Prem Vivaah Laxmikant Pyarelal 1 2 2 0 0 0 Anand Bakshi
38 Salaam Memsaab R D Burman 0 2 1 1 0 0 Majrooh Sultanpuri
39 Sargam Laxmikant Pyarelal 3 3 0 3 0 0 Anand Bakshi
40 Suhaag Laxmikant Pyarelal 1 2 1 1 0 0 Anand Bakshi
41 Suraksha Bappi Lahiri 0 1 0 1 0 0 Ramesh Pant
42 Zaalim Laxmikant Pyarelal 0 1 1 0 0 0 Anand Bakshi
Total 42 movies 11 MDs 37 66 37 25 2 2 23 lyricists

Lata Mangeshkar worked with 11 music directors and 23 lyricists in these 42 movies released in 1979. This year, Laxmikant Pyarelal the most prolific music directors with Lata, had composed 503 songs in HFM with Lata Mangeshkar by the end of 1978. Shankar Jaikishan with 450 songs in the voice of Lata Mangeshkar were in the second position. Kalyanji Anandji with 293 songs and C Ramchandra with 274 songs were the next most prolific. Other top music directors for Lata Mangeshkar were Chitragupta (239), R D Burman (204), Madan Mohan (193), S D Burman (179), Roshan (144), Naushad (140), Hemant Kumar (127), Anil Biswas (120), Husnlal Bhagatram (108), Vasant Desai (104, Salil Chaudhary (106) and Vasanr Desai (104). Together these fifteen music directors composed 3184 songs out of 4341 songs that Lata Mangeshkar had sung in Hindi movies till end of 1979. The top ten lyricists till end of 1979 for Lata Mangeshkar were Rajinder Krishan (552),Anand Bakshi (481), Shailendra (361), Majrooh Sultanpuri (359), Hasrat Jaipuri (297), Prem Dhawan (201), Bharat Vyas (192), Shakeel Badayuni (189), Sahir Ludhianvi (156 and Indeewar (102). These ten lyricists had penned 2890 songs sung by Lata Mangeshkar till that time.

Lata Mangeshkar did not collaborate with any new music director in movies of 1979. LyricistRamesh Pant got to collaborate with Lata Mangeshkar for the first time in movies released this year. One lyricist called Afzal Shadab penned a song for Lata Mangeshkar. Is he the same lyricist as Shadab who worked with her in 1969 and 1971 ? I request our knowledgaeble readers to throw light on him.

Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 1979 :

Year Movie count Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Remarks
1946 3 movies 4 4 4 0 0 0
1947 3 movies 5 5 3 1 0 1
1948 16 movies 50 50 37 6 4 3
1949 38 movies 134 157 103 35 12 7
1950 36 movies 114 143 93 32 14 4
1951 49 movies 189 223 158 52 10 3
1952 43 movies 149 177 138 31 4 4
1953 45 movies 170 195 149 35 5 6
1954 43 movies 140 172 144 23 4 1
1955 50 movies 165 218 177 30 10 1
1956 49 movies 168 204 153 35 13 3
1957 47 movies 129 160 110 38 7 5
1958 35 movies 102 132 95 25 10 1
1959 58 movies 188 211 130 68 12 1
1960 48 movies 139 166 102 50 12 1
1961 44 movies 125 152 88 55 5 4
1962 40 movies 118 129 84 40 5 0
1963 37 movies 103 111 62 38 8 3
1964 46 movies 122 133 91 31 8 3
1965 42 movies 83 91 71 17 1 2
1966 49 movies 104 133 110 14 8 1
1967 44 movies 92 106 67 38 8 3
1968 33 movies 83 84 59 19 5 1
1969 43 movies 77 97 67 27 2 1
1970 54 movies 86 130 84 39 3 4
1971 52 movies 105 126 71 52 3 0
1972 62 movies 96 151 86 60 3 2
1973 60 movies 92 138 94 37 3 4
1974 55 movies 69 104 66 33 0 5
1975 45 movies 60 90 50 35 3 2
1976 41 movies 57 97 53 39 1 4
1977 50 movies 44 96 59 27 8 2
1978 46 movies 58 90 48 34 3 5
1979 42 movies 37 66 37 25 2 3
Total upto 1979 1448 movies 3474 4341 2953 1121 196 90

It can be seen from the table of 1979 that Lata Mangeshkar sang 66 songs in 42 movies released in 1979.

37 songs sung by Lata Mangeshkar in movies of 1979 have been covered in the blog. That leaves us with 29 songs from movies of 1979 that are yet to be covered.

All Lata Mangeshkar songs from 17 movies of 1979 are already covered in the blog. So 29 Lata Mangeshkar songs from 25 movies of 1979 are still available to be discussed.

Alphabetically “Aangan Ki Kali”(1979),the very first movie of 1979 offers us a Lata Mangeshkar song to cover in the blog.

“Aangan Ki Kali”(1979) was produced and directed by Harsh Kohli for Indu Pictures, Bombay. The movie had Rakesh Roshan, Lakshmi (South), Prema Narayan, Baby Geeta (ne discovery), Abhi Bhattacharya, Leela Chitnis, Madhup Sharma, Shaukat Kaifi, Birbal, Murad, Subrat Mahapatra, Paro Devi, Manmauji, Vimal Chopra, Shankar Bhake, Ravinder Jaiswal, Dev Sharma, Natasha, Jyotsna, Poornima, Vidhya etc in it.

The movie had seven songs in it. Two of these songs were sung by Lata Mangeshkar. To songs from the movie, including a Lata Mangeshkar song ( a duet) has been covered in the past. One solo song sung by Lata Mangeshkar is available for us to discuss.

Here is that Lata Mangeshkar solo song from “Aangan Ki Kali”(1979). The song is penned by Shailly Shailendra. Music is composed by Bappi Lahiri.

The song is picturised on Lakshmi and Rakesh Roshan playing a couple here Laksmi is seeking to give Rakesh Roshan the “good news” through this song.

Lyrics of the song and other details were sent to me by Prakashchandra.

audio link:

video link:

Song-Tumhen kaise kahoon main dil ki baat (Aangan Ki Kali)(1979) Singer-Lata, Lyrics-Shailly Shailendra, MD-Bappi Lahiri

Lyrics(Provided by Prakashchandra)

tumhein kaisey kahoon
main aen aen dil ki baat
kehte huye main sharmaaoon
ankhiyon se tumko samjhaaoon
bolo samajh gaye
hmm
bolo samajh gaye na
ho o o
tumhein kaisey kahoon
main aen dil ki baat
kehte huye main sharmaaoon
ankhiyon se tumko samjhaaoon
bolo samajh gaye
bolo samajh gaye na
ho o o o
tumhein kaisey kahoon main aen dil ki baat

tumne piyaa
kya na diyaa
phir bhi jeevan mein hai kuchch kamee
aisi kali tumse chaahoon
mehak uthhey ye zindagi
aashaa ye mann ki ee pooree ho o
aaj mitaa do dooree ko
tumhein kaisey kahoon
main aen aen dil ki baat
kehte huye main sharmaaoon
ankhiyon se tumko samjhaaoon
bolo samajh gaye
bolo samajh gaye na
ho o o
tumhein kaisey kahoon main aen dil ki baat

saawan aaye
barkhaa laaye
pyaasi dharti ki pyaas bujhaaye
saath teraa paa ke sajan
mera jeevan bhi khil jaaye
aashaa ye mann ki pooree ho o
aaj mitaa do o dooree ko
tumhein kaisey kahoon
main aen dil ki baat
kehte huye main sharmaaoon
ankhiyon se tumko samjhaaoon
bolo samajh gaye
bolo samajh gaye na
ho o o
tumhein kaisey kahoon
main aen dil ki baat


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 :

4678 Post No. : 16356

Hullo Atuldom

The last time I had written a post for Mother’s Day was in 2016 – Mere chehre mein chhupa hai meri maa ka chehra . In that post I had mentioned how the idea of mother’s day came about. This day has been celebrated in the USA since 1914 as per a proclamation by Woodrow Wilson declaring the second Sunday of May as Mother’s Day.

As far as Indians are concerned everyday is Mother’s Day. Only thing is in the last few decades, with the increase in number of youngsters staying away from their families for studies or work or whatever reason, Mother’s Day is another day that we have started aping the west. We find youngsters definitely calling their mothers to wish, and some even send her some gifts.

There are numerous messages that will flood the social media on Mother’s Day. But a Mother will normally wait only for her children’s messages i.e. if it is not possible for the children to be physically present with her. Then there will be some somber message that will say “learn to appreciate your mother, for some are not as blessed as you”. And still others will say “what does she ask for, only a smile or a message that you are fine”. In all these years of being active on social media, I have not come across any message whose wordings have remained in my memory. But what I have stated above is the general gist of messages that will be in our INBOX on this Sunday, it being the second Sunday of May 2021.

And we must salute the mothers of the modern era. The amount of juggling that they need to do so that the schedule of the family is not upset. And most mothers also are earning members of the family. Till atleast a generation before us, these women who were working to earn, so as to supplement the family income, were seen preparing all meals for the family before they themselves left for their work. And on returning home head straight to the kitchen to make dinner and also engage the children with their studies and attend to whatever other responsibilities that she was meant to do. Being a mother had become a though job, and any lady who was not an expert at that kind of juggling was looked down upon.

In my student days, I used to commute by the Mumbai local trains and I have seen ladies shelling PEAS, cleaning coriander etc in the train. There were (don’t know if this is still happening in the trains) enterprising hawkers who used to sell vegetables and fruits, procured from the markets on the local trains of Mumbai. And to be honest, it must have been helpful to the lady travelers as it may have saved them shopping time.

I also know of mothers who have given up on well paying jobs so that they can devote all their attention to the family and children. These ladies doubled up as private tutors so that they didn’t waste their free time and could still contribute monetarily to the family.

And let me not miss talking about a generation of mothers, who are currently in their 80s and beyond. These ladies may not have been as fortunate, as say even the current 50/60 – year old mothers, in terms of getting beyond class 10 in education. But these ladies too, have reared a generation of individuals and instilled values of humanity, taught their children the importance of education and being good citizens – gender no bar. My mother would not have felt proud of her children’s achievements if my grandmother had not encouraged her to study and complete her graduation in spite of being married and a mother to 4 growing up children.

If my mother had been there she would have wished my grandmother just as me and my siblings would have fussed over our mother and my children pamper me on mother’s day. This is the day I also thank the mother in my mother-in-law for being my go-to person whenever I am in trouble, upset or celebrating. I simply love to be around her and learn how she has lived 74 years of her life as a mother.

Mothers have a special place in Indian stories and as an extension of these stories in Indian cinema too. We have movies titled “Maa” (three in our blog itself), “Maa Beta”, “Maai Baap”, “Maa aur Mamta”, “Maa Baap” (two movies with this title in our blog) etc.

In addition we have the classic “Mother India” where the lady had a powerful place in the life of her family members. Saw this movie, recently, with a conscious mind. I was amazed at the strength of the character that Nargis played. This lady could plough her field along side her husband and sons. She wielded a lathi when her son went out-of-line and her teachings; as also on the mean-money minded- lala (moneylender) when he misbehaved with her. This mother-character was a lady made of steel and didn’t tolerate when her son went on to abduct a bride of the village and didn’t hesitate to shoot him in spite of him being her son.
I have seen and read interviews of actresses of the next generation and they all used to say that they want at least one role in there life like the one Nargis played in “Mother India” and realized only now the full meaning of the wish of all these later year actresses.

But that is another story, let us get to today’s song. It is from the 1970 release “Mastaana”. This movie was directed by A. Subba Rao, produced by Premji, had seven songs penned by Anand Bakshi and composed by Laxmi-Pyare. It had a cast headed by Mehmood- Padmini- Bharati- Vinod Khanna and had Shyama, Rehman, Mukri, Leela Mishra, Manorama, Jayshree T., Ramesh Deo, wonder- child (that is how it was in the movie’s titles) Bobby etc. It was an emotional movie showing the bond between a poor-honest man Satya (Mehmood) and Naintara (Baby Bobby) a child of rich parents who misses having her parents when she needs them the most. The movie is a must-see for all Mehmood fans as he was too good in the emotional scenes. This is one of the movies (the other being ‘Lakhon Mein Ek’) where he makes his audience shed a tear or two in addition to making us laugh.

This song is sung by the child Naintara as a stage song at her school’s Parents Day. The parents don’t have time to attend the programme and depute the child’s nanny (Manorama). The child, on her part, takes Satya along for the program and Satya on his part sits in the aisle. The playback for this song is by Lata Mangeshkar.
Salutation and Best wishes to all mothers. Awaiting Father’s Day (in about a month).

Editor’s note-With this song, Anand Bakshi silently completes 1100 songs in the blog as a lyricist. Only the third lyricist (after Rajinder Krishan and Majrooh Sultanpuri) to touch this mark in the blog.


Song-Maine maa ko dekha hai (Mastaana)(1970) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

maine maa ko dekha hai,
dekha hai maa ko dekha hai
maa ka pyaar nahin dekha
maine maa ko dekha hai,
maa ka pyaar nahin dekha
maine phool toh dekhe hain,
dekhe hain phool toh dekhe hain
phoolon ka haar nahin dekha
maine maa ko dekha hai,
maa ka pyaar nahin dekha
maine maa ko dekha hai

waise toh ghar mein maa ki tasveer hai ae ae
waise toh ghar mein maa ki tasveer hai
lekin meri kab aisi taqdeer hai
kabhi jo ghabraaoon,
gale se lag jaaoon
agar naa neend aaye
toh lori woh gaaye
mera mann jiska pyaasa hai
pyaasa hai jiska pyaasa hai
woh laad dulaar nahin dekha
maine maa ko dekha hai,
maa ka pyaar nahin dekha
maine maa ko dekha hai

waise meri maa ka dil toh sakht nahin ee ee
waise meri maa ka dil toh sakht nahin
par uske paas zara bhi waqt nahin
hai uska naam bada
hai usko kaam bada
woh devi mamta ki,
hai leader janta ki
maa ke photo ke bina,
bina ji photo ke bina
koi akhbaar nahin dekha
maine maa ko dekha hai,
maa ka pyaar nahin dekha
maine maa ko dekha hai

pyaari pyaari hai woh bholi aisi hai ae ae
pyaari pyaari hai woh bholi aisi hai
kal aaya se poochha baby kaisi hai
meri maa sachchi hai,
badi hi achchi hai
yeh uska dosh nahin
use kuchh hosh nahin
maa ne duniya dekhi hai,
dekhi hai duniya dekhi hai
ghar sansaar nahin dekha
maine maa ko dekha hai,
maa ka pyaar nahin dekha
maine phool toh dekhe hain
dekhe hain phool toh dekhe hain
phoolon ka haar nahin dekha,
maine maa ko dekha hai


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.

Blog Day :

4678 Post No. : 16355

# Superstar Child Artist – Junior Mehmood # 8
——————————————————–

Welcome all to this eighth post in this series where we are discussing songs performed by Junior Mehmood as a ‘superstar child artist’.

So far, the following seven songs in this series have been discussed on the blog earlier.

1) lagey koi lottery koi jackpot lagey

2) Na koi paisa na ilm banaao bambai mein film

3) Mera naam hai Mehmood

4) Birha ki rain sooni sooni sejariya

5) Aisa banoonga actor main yaaron

6) Ham hi jaanen ek torey manwa ki peer

7) Janamdin tujhko mubaraak ho

Today’s song is from the 1970 movie ‘Bachpan’.

As mentioned in the earlier posts under this series, ‘Naunihaal-1967’ was the first released movie of child artist Junior Mehmood.

He went on to act in many movies as a child artist then. He was the most loved child artist in those years of end-sixties to mid-seventies.

As a child artist Junior Mehmood achieved a ‘Superstar’ like status. He got to perform on many songs or rather many songs were picturised on him during those days.

We are going to enjoy one such song of Junior Mehmood as a child artist from the movie ‘Bachpan-1970’. The today’s wonderful entertaining song is performed by Junior Mehmood and other child artist including Sachin and Naeem (?) and many others.

This song is a different from his’ other songs as a child artist, because here he is not doing any mimicry of other actors or his guru, but in today’s song he is performing as a ‘girl’ or in a ‘female’ get-up.

In today’s song we see all the child artists (mentioned above) are singing and dancing in a police station where Sanjeev Kumar is in a lock-up. From the lyrics of this song we can guess that all these children have a plan to divert the attention of the on-duty police staff in their singing-dancing activities so that Sanjeev Kumar is able to escape from their custody.

The lyrics, music and singing of this song is very lively and entertaining to watch as Junior Mehmood, Sachin performs by lip syncing in Lata Mangeshkar’s voice and lead other children in the performance.

In an interview with Zarina Wahab (available here) Junior Mehmood had mentioned this song as his most favourite song among all the songs picturised on him.

‘Bachpan’ was directed by K.P. Atma for ‘Atma Arts Universal, Bombay’. K.P. Atma co-produced this movie with K.H. Rao. It had Sanjeev Kumar, Master Sachin, Junior Mehmood, Shahid, Anwar Hussain, Mukri, Sunder, Joginder, Baldev Mehta, Keshto Mukherji, Aruna Irani, Sulochana Chatterjee, Tabassum, Pratima Devi, Baby Gayatri, Baby Guddi, Master Alankar, Naeem and Tanuja.

Story of this movie was written by K.P. Atma. Screenplay and dialogues were written by Raj Baldev Raj. Editing of this movie was done by Shivaji Awdhut.

This movie was passed by Censor Board on 24.09.1970.

This movie had total six songs which were written by Anand Bakshi and composed to music by Laxmikant-Pyarelal.

Kishore Kumar, Lata Mangeshkar, Mohd Rafi, and P. Susheela were the playback singers for the songs in this movie.

Three songs from the movie ‘Bachpan-1970’ have been posted earlier on the blog. Today’s song is the fourth song from this movie to be posted on the blog.

Song Posted on
Aaya re khilaune waala 30.08.2010
Mother Mary maa ham tere dulaare hain 25.12.2016
Prem ka rog lagaa loon kaise jee ko main saanwariya 30.08.2020

I had not watched this movie ‘Bachpan-1970’. I would request knowledgeable readers to throw more light on the movie and its songs.

Let us now enjoy today’s rocking entertaining song in the voice of Lata Mangeshkar.

Video

Audio

Song-Parda uthhne waala hai (Bachpan)(1970) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

Pardaa uthhne waala hai
Tamaasha hone waala hai
Koyi hansne waala hai
Koyi rone waala hai
Pardaa uthhne waala hai
Tamaasha hone waala hai
Koyi hansne waala hai
Koyi rone waala hai

Ho mantar chalne waala hai
Jaadu hone waala hai
Koyi hansne waala hai
Koyi rone waala hai
Pardaa uthhne waala hai
Tamaasha hone waala hai
Koyi hansne waala hai
Koyi rone waala hai

Kaale baadal jaise udte hain
Barsaat mein
Kaale baadal jaise udte hain
Barsaat mein

Tu bhi ud jaa panchhi pinjraa
Le ke saath mein
Tu bhi ud jaa panchhi pinjraa
Le ke saath mein

Qismat jaagne waali hai
Qismat jaagne waali hai
Qismat jaagne waali hai
Shikaari sone waala hai
Koyi hansne waala hai
Koyi rone waala hai
Pardaa uthhne waala hai
Tamaasha hone waala hai
Koyi hansne waala hai
Koyi rone waala hai

Ham laaye hain sandesaa tere naam ye ae
Ham laaye hain sandeshaa tere naam ye
Tere sar pe to hai jhoothha ilzaam ye
Tere sar pe to hai jhoothha ilzaam ye
Tere daaman ke dhabbe
Tere daaman ke dhabbe
Tere daaman ke dhabbe
Naseeba dhoney waala hai
Koyi hansne waala hai
Koyi rone waala hai ae
Pardaa uthhne waala hai
Tamaasha hone waala hai
Koyi hansne waala hai
Koyi rone waala hai

Sun o bhole bhaale raahi
Tujhko kya pataa aa
Sun o bhole bhaale raahi
Tujhko kya pataa

Jisne tujhko hai bhulaaya
Tera raasta aa
Jisne tujhko hai bhulaaya
Tera raasta

Apni bhool bhulaiyya mein
Apni bhool bhulaiyya mein
Apni bhool bhulaiyya mein
Wo khud hi khonewaala hai
Koyi hansne waala hai
Koyi rone waala hai ae
Pardaa uthhne waala hai
Tamaasha hone waala hai
Koyi hansne waala hai
Koyi rone waala hai

Ho mantar chalne waala hai
O Jaadu honewaala hai
Koyi hansne waala hai
Koyi rone waala hai

——————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————————
पर्दा उठने वाला है
तमाशा होने वाला है
कोई हंसने वाला है
कोई रोने वाला है
पर्दा उठने वाला है
तमाशा होने वाला है
कोई हंसने वाला है
कोई रोने वाला है

हो मंतर चलने वाला है
जादू होने वाला है
कोई हंसने वाला है
कोई रोने वाला है
पर्दा उठने वाला है
तमाशा होने वाला है
कोई हंसने वाला है
कोई रोने वाला है

काले बादल जैसे उड़ते है
बरसात में
काले बादल जैसे उड़ते है
बरसात में

तू भी उड़ जा पंछी पिंजरा
ले के साथ में
तू भी उड़ जा पंछी पिंजरा
ले के साथ में

किस्मत जागने वाली है
किस्मत जागने वाली है
किस्मत जागने वाली है
शिकारी सोने वाला है
कोई हंसने वाला है
कोई रोने वाला है
पर्दा उठने वाला है
तमाशा होने वाला है
कोई हंसने वाला है
कोई रोने वाला है

हम लाये हैं संदेशा तेरे नाम ये ए
हम लाये हैं संदेशा तेरे नाम ये ए
तेरे सर पे तो है झूठा इलज़ाम ए
तेरे सर पे तो है झूठा इलज़ाम ए
तेरे दामन के धब्बे
तेरे दामन के धब्बे
तेरे दामन के धब्बे
नसीबा धोने वाले है
कोई हंसने वाला है
कोई रोने वाला है
पर्दा उठने वाला है
तमाशा होने वाला है
कोई हंसने वाला है
कोई रोने वाला है

सुन ओ भोले भाले राही
तुझको क्या पता आ
सुन ओ भोले भाले राही
तुझको क्या पता

जिसने तुझको है भुलाया
तेरा रास्ता
जिसने तुझको है भुलाया
तेरा रास्ता

अपनी भूल भुलैय्या में
अपनी भूल भुलैय्या में
अपनी भूल भुलैय्या में
वो खुद ही खोने वाला है
कोई हंसने वाला है
कोई रोने वाला है
पर्दा उठने वाला है
तमाशा होने वाला है
कोई हंसने वाला है
कोई रोने वाला है

हो मंतर चलने वाला है
ओ जादू होने वाला है
कोई हंसने वाला है
कोई रोने वाला है

What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has over 16300 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2021) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

16358

Number of movies covered in the blog

Movies with all their songs covered =1260
Total Number of movies covered =4440

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Active for more than 4000 days.

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