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

Udaas udaas fizaaon mein…aanaa hi padegaa

Posted on: May 14, 2011


“Lala Rukh”(1958) is a movie that had Shyama, Talat Mehmood, Vikram Kapoor, Radhika, Lotan, Jagdish Kamal, Tuntun, Ranibala etc in it. Yes, those were the day when Talat Mehmood, like Mukesh, was trying to become an actor-singer. Both of them suffered financially as well as in their singing careers, before they finally reconciled themselves to opt for just singing careers.

Here is a lovely song sung by Talat Mehmood in “Lala Rukh” (1958). Here he is seen singing this song for Shyama. And Shyama finds herself attracted by the magic in the voice. Yes, this song has that kind of a magic and ***spoiler*** Shyama actually gets drawn towards Talat Mehmood at the end of the song ***end spoiler***

Kaifi Azmi is the lyricist and Khayyam is the music director of this gem. I have included the audio (full) as well as the video (slightly incomplete) links of this song.

And here are Sudhir’s comments on this song and its picturisation.

The song is such an authoritative exhortation by “ishq”, the male protagonist for “husn”, the female counterpart, to break all the bindings and the rules of society, and to come to him. The verse “khoon ro ke jawaani ne sadaa maang bhari hai” represents weeping tears of blood – a figure of speech that expresses an extreme sacrifice to attain the destiny of love.
And note the music; there is an underlying drumbeat almost akin to an army march, declaring an all out war against all oppressors of love.
What esoteric words and what a perfect expression of the feelings. And what a commanding composition. Love that is not feeble and destitute, but love that is confident and belligerent.

But there is a big downside on this song, that is dissatisfying. Although the background singing by Talat is just perfect, his presentation on screen does not represent the intensity and aggression that is flowing in the voice. The intensity of purpose and expressions is more evident on the face and in the actions of Shyama. And that is where the rub is. As Shyama apparently is risking it all to respond to his call, Talat’s mannerism and his shrugging shoulders are a let down to the virtue that he is singing about.

Regardless, what a wonderful gem, and the ocean never ceases to surprise. 🙂

Audio

Video

Song-Udaas udaas fizaaon mein…aanaa hi padegaa (Lala Rukh) (1958) Singer-Talat Mehmood, Lyrics-Kaifi Azmi, MD-Khayyam

Lyrics

udaas udaas fizaaon mein noor chhalkaao
bujhe bujhe huye taaron ko hans ke chamkaao
guroor-e-husn salaamat na raah dikhlaao
rabaab doob gayaa khoon mein, ab to aa jaao

aanaa hi padegaa,
aa aa aa
aanaa hi padegaa
sar ishq ke kadmon pe jhukaanaa hi padegaa
aanaa hi padegaa
aanaa hi padegaa
aa aa aa

naghmaa meraa har saans mein ras ghol rahaa hai
is saans ke parde mein Khudaa bol rahaa hai
naghmaa meraa har saans mein ras ghol rahaa hai
is saans ke parde mein Khudaa bol rahaa hai
chhedaa hai agar saaz to gaanaa hi padegaa
aa aa
chhedaa hai agar saaz to gaanaa hi padegaa
sar ishq ke kadmon pe jhukaanaa hi padegaa
aanaa hi padegaa
aanaa hi padegaa
aa aa aa

tapkegaa lahoo dard bhare raag se kab tak
khelegi teri mast adaa aag se kab tak
tapkegaa lahoo dard bhare raag se kab tak
khelegi teri mast adaa aag se kab tak
is khel mein ab haath jalaanaa hi padegaa
is khel mein ab haath jalaanaa hi padegaa
sar ishq ke kadmon pe jhukaanaa hi padegaa
aanaa hi padegaa
aanaa hi padegaa
aa aa aa

ulfat kabhi duniyaa se daregi naa dari hai
khoon ro ke jawaani ne sadaa maang bhari hai
ulfat kabhi duniyaa se daregi naa dari hai
khoon ro ke jawaani ne sadaa maang bhari hai
hansne ke liye zakhm to khaanaa hi padegaa
sar ishq ke kadmon pe jhukaanaa hi padegaa
aanaa hi padegaa
aanaa hi padegaa
aanaa hi padegaa
aanaa hi padegaa

4 Responses to "Udaas udaas fizaaon mein…aanaa hi padegaa"

Atul ji,
What a wonderful post, have been waiting for this song to appear on this blog. 🙂

Please check, a couple of corrections.
The line in the lead in couplet
“rabaab doob gayaa, khoone ab to aa jaao”
should read
“rabaab doob gayaa, khoon mein ab to aa jaao”

Further down, in the last antaraa, the line
“pooron(?) ke jawaani ne sadaa maang bhari hai”
should read
“khoon ro ke jawaani ne sadaa maang bhari hai”

Youth has always wept tears of blood to consummate love.

In the both the corrections above, the word “khoon” is pronounced with very little emphasis on the last syllable “n”; it is better written in Hindi, as the letter “kh” with “oo” sound and a dot on the top indicating half “n”.

The song is such an authoritative exhortation by “ishq”, the male protagonist for “husn”, the female counterpart, to break all the bindings and the rules of society, and to come to him. The verse “khoon ro ke jawaani ne sadaa maang bhari hai” represents weeping tears of blood – a figure of speech that expresses an extreme sacrifice to attain the destiny of love.
And note the music; there is an underlying drumbeat almost akin to an army march, declaring an all out war against all oppressors of love.
What esoteric words and what a perfect expression of the feelings. And what a commanding composition. Love that is not feeble and destitute, but love that is confident and belligerent.

But there is a big downside on this song, that is dissatisfying. Although the background singing by Talat is just perfect, his presentation on screen does not represent the intensity and aggression that is flowing in the voice. The intensity of purpose and expressions is more evident on the face and in the actions of Shyama. And that is where the rub is. As Shyama apparently is risking it all to respond to his call, Talat’s mannerism and his shrugging shoulders are a let down to the virtue that he is singing about.

Regardless, what a wonderful gem, and the ocean never ceases to surprise. 🙂

Rgds
Sudhir

Like

Atul ji,
Re-correcting the correction, a comma was still misplaced. The correct correction is

The line in the lead in couplet
“rabaab doob gayaa, khoone ab to aa jaao”
should read
“rabaab doob gayaa khoon mein, ab to aa jaao”

Rgds
Sudhir

Like

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