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

Dekhaa hai sapnaa koi

Posted on: April 6, 2011

This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The movie, Yaadein (1964), is an Ajanta Arts production directed by Sunil Dutt. This movie is a superlative theatrical experience, and one of its kind, at least in the era to which it belonged. This movie is a very daring experimental endeavor created by an actor/producer/director of mainline cinema, for the mainline audience. And yet it is an off-beat movie, of the first water. And believe me, nothing can get more off beat than this.

The entire action of this two hours plus of this movie is shot almost entirely on a single set, with only one actor, playing out a whole spectrum of situations and emotions single handedly. When it was released, it was a commercial success on a small scale, primarily for its curiosity value; but my, what rave critical acclaim it received from the press and industry, both in India and abroad.

In 1964, this movie was more off-beat than anything else that had come before it. It is a very daring attempt that was far, far ahead of its time.

Anil (Sunil Dutt) is apparently a happily married person, with a normal middle class lifestyle. His wife’s is Priya, and they has two kids, Geeta and Pawan. The storyline begins with Anil reaching home, apparently late, on a seemingly normal day, to find no one home. He is apprehensive, he is cross, he is apologetic, he is defiant, he is worried; and he starts to conjure up rational reasons for the absence of his family. In a brief interlude of relief, he goes to the bar for a drink, and finds an envelope. After a drink, he reads the message to find that Priya, no longer able to tolerate his habits, temperament and demands, has left home and has decided to go away for good, taking the children with her. Just prior to this, there are indications, about Anil being unfaithful.

The discovery of the letter initiates a chain of emotional outbursts, starting with shock and anger. Anil re-lives his entire relationship with his wife, beautifully presented through dialogues, shadows, characters in paintings and line drawings, imaginations, and every other such virtual device that the director can conjure up, going through the entire set of experiences and emotions – his fancy for Priya on the first meeting, a challenge to woo her which turns into a passion; their wedding, the parties, their married life, the coming of children, the changes and adjustments that continue to happen along the way, the funny interludes, the angry and defiant exchanges – in short a wonderful trip down the entire spectrum of a domestic relationship, that is unknowingly turning sour and decaying from the inside. The pressures of household and children, the sensing of infidelity issues, the accusations and war of words, the angry threats – all interspersed with the longing and passion, the mischief with the kids, the family celebrations and what not.

In his loneliness, going through the entire relationship of years in a couple of hours, Anil is filled with anguish and remorse, so much so that in the end he attempts suicide. Here it gets melodramatic; Priya returns home just at that moment, and is able to rescue Anil before he is gone forever; there is apologies and reconciliation, and the movie ends on a “happily ever after” note.

Despite the ending, the movie is a superb visual treat, and in my opinion, Sunil Dutt has pulled off a memorable performance of his life; the way life is when no one else is watching. Sunil Dutt is the only actor that appears on screen; everyone else is either a voice or a shadow.

But there is another very important presence in the movie. It is the music. One can only imagine, and maybe view the movie to realize the important role played by music in accompanying the plethora of emotions that are performed by the protagonist. And Vasant Desai proves himself to be wonderfully equal to this task. The use of various instruments through the movie, and using music as an accompaniment to expressions, one is simply captivated as the narrative unfolds on screen.

Another not well known aspect of this movie is that actually there are two songs in this movie, both of them sung by Lata. And given the format of the movie, both songs are performed in the background, as Sunil Dutt trudges through his grief and emotions of loss, remembering his times with his wife and kids. This song is a lullaby that is apparently sung by Priya for her son Pawan, one night when he is disturbed in his sleep and wakes up afraid and crying. The words of the song capture the image and description of the father figure, as the mother makes a effort to calm down a disturbed child, assuring him that his father is a very brave and powerful person, who protect him and defend him.

It is a very lovely song penned by Anand Bakshi, and so beautifully composed by Vasant Desai. Enjoy this unknown gem of a song.



Song-Dekha hai sapnaa koi (Yaadein) (1964) Singer-Lata, Lyrics-Anand Bakshi, MD-Vasant Desai


aaaa aaa
aaaa aaaa
dekha hai sapna koi
tu kyun roya hai sotey huye
tu kyun roya hai sotey huye
aisa na hoga kabhi
tere papa ke hotey huye
tere papa ke hotey huye

tere khilaune jo mainey bhi todey
rokenge mujhko wo aayenge daudey
aayenge daudey
dekhenge kaise bhalaa
apne munne ko rotey huye
apne munne ko rotey huye

kyaa wo akelaa hamen chhod dengey
main kaise maanoon wo dil tod dengey
dil tod dengey
maanjhi to dekhe nahin
apni naiyyaa dabotey huye
apni naiyyaa dabotey huye

kyaa tere dukh sukh se anjaan hain wo
ye ghar hai mandir to bhagwaan hain wo
bhagwaan hain wo

aaaa aaaa
aaa aaa
beta hamen darr hai kyaa
un ke mandir mein hotey huye
un ke mandir mein hotey huye
aaa aaa aaa
un ke mandir mein hotey huye

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

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