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

Aaya bahaar ka zamaana

Posted on: May 14, 2013


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

Greetings to Waheeda ji, on her birth anniversary today.

Waheeda ji’s presence on screen is always an illustration of dignity and propriety. The era of 1950s and 60s was such, and she belongs to that select band of leading ladies, who will always be listed as exceptional in the annals of Indian cinema. Exceptional, as in talent and histrionics, and also exceptional as in poise and temperament. A highly skilled exponent of Bharat Natyam, she made her debut in Tamil and Telegu films in the early 50s, and then very soon moved to the Hindi films. On the Hindi screen, she has spent all her life, from mid fifties onwards, with a time out from 1991 to 2002, being devoted to her family during those years.

The mention of Waheedaji’s name brings to my mind, two of the most powerful feminine expressions that I have seen on the Hindi film screen. They are from the iconic films ‘Pyaasa’ (1957) and ‘Guide’ (1965).

Gulabo, the stray girl of ‘Pyaasa’ is drawn to Vijay, the idealist poet, in a tangled and undefined affiliation, that defies all norms of social association. But neither of them care. And worse, Vijay actually does not care for her either, not yet. He has not yet let go of Meena, his college sweetheart, who is now the wife of a rich man. At one of the many turns in life that pitch them together and takes them apart, Vijay is at Gulabo’s place, with his usual nonchalance and indifference, that so far, has not mattered for her. She is content with whatever affiliation is accorded to her. But tonight, there is a baul singer in the street below whose word will change her life forever. In a voice that so beseechingly and poignantly calls out to her lover and begs of him “. . .Prem Sudha, Morey Saanwariyaa, Itni Barsaa Do, Jag Jal Thal Ho Jaaye”. he agonizing pleas and the heartrending words of the lost singer on the roadside, opens up Gulabo to her own self for the first time, and she is drawn by unseen strings, to the roof, where Vijay is casually smoking and viewing the scene on the street below with a distant interest. And the storm that rages inside Gulabo. . .

The intensity of this storm is so powerfully expressed in the two minutes that Gulabo takes to ascend the stairs, and walk towards Vijay. Blissfully oblivious of the furious tempest raging behind him, Vijay is unaware of how close Gulabo has come and has almost touched him. And yet, the storm within Gulabo is no comparison to the pain with which she silently withdraws – a pain that is so utterly writ in her eyes and her face, as she forces herself away. Not a single word escapes her lips, yet her whole being is as if weighed under the burden of the entire song “Aaj Sajan Mohey Ang Lagaa Lo, Janam Safal Ho Jaaye”. The intensity and the severity of the fulfillment desired, and passionate agony of fulfillment denied, self denied – I cannot recall any other more vivid manifestation than these two minutes on screen.

Rosie, of ‘Guide, is the un-fathered progeny of a call-house madame. She finds herself married to Marco, a man of reputation, an effort by the mother to dispatch her daughter away from her grisly roots. But Marco is not a man that he is supposed to be. Choosing to have flings with any available dame, may it be even a maid, he has no time to visit the passions and desires of his own wife. The film has more than one episodes as Rosie’s frustrations get better of her sowing seeds of marital discord, the most memorable one being a late night encounter between the couple in the then recently discovered historical caves. The sounds of Rosie’s voice echoing from the nether chambers in the cave, and bouncing off the stone figurines as she screams, “Marco, main jeena chaahti hoon”, can still send a shiver down the spine.

But in the film, there is a more potent, a more compelling display of this frustration that manifests itself, when Marco is nowhere near Rosie. The setting is a small hamlet of snake charmers. And the scene – the snake dance by Rosie. The physical intensity of this (once again) silent agony is felt through the exertion that is articulated through the progressive dishevelment of the character, as she dances her heart out in front of the cobra. Her hair and raiment in disarray, the drops of sweat trickling down her forehead and face, a labored breathing, and a look in the eyes that simply cuts out the entire world around her. For those few moments, it is only herself, her burning passions, and the cobra that exist in this universe.

“Guide” (1965) is also director’s film, just like “Pyaasa” (1957). The interplay of the emotions and passions, of the agony and the insurgence, was probably well conceived by the directors Vijay Anand (“Guide”) and Guru Dutt ( “Pyaasa”). But it is not the directors who have to live the concept. It is the artist in front of the camera that provides the muscle, the emotion, and the grit to the expression, to bring it alive, and to actually live it for those few moments. These episodes are the two most unforgettable affairs in which the buried mystifying unfulfilled passions of the feminine being have been cast in stone. Not a single word uttered, not the slightest impropriety. The femina burns inside, but never, never does she cross the boundaries of her own limitations. And yet, the expression could not have been more forceful, ever.

The artist behind both events- Waheeda ji.

As I searched for a song for her, I was so taken up with the evidence that the blog list of songs by movies presented to me. As I progressively checked her films starting from “C I D” (1956), I am amazed to see that most of her films from 1956 to 1963 have attained the status of all songs posted. Except for some non solo performances, this song from the 1963 film “Kaun Apna Kaun Paraaya” seems to be the first non posted solo song performed by her, for which the video clip is available. That says a lot about the quality of the artist, the quality of the films she has been associated with, and the quality of the music that is associated with her films.

I chose this song for another important reason also. It presents her in her native milieu, as a Bharat Natyam dancer.

The lyrics are by Shakeel Sb and the music is composed by Ravi. The setting is a party, and the protagonist is making explicit efforts to catch the attention of the leading man, played by Vijay Kumar.

The song, once again, has an intriguing variation in its film version as compared to the record version. As I was checking for the song in my audio collection, something caught my attention. In the film version the one line in the mukhdaa of the song is

deewaana koi rok na le

used in this form throughout the song. And in the audio version from the 78 rpm record, the same line very clearly appears as

deewaana koi loot na le

used with the word “loot” in place of the word “rok”, throughout the song. My mind once again goes back to the censor episodes we have discussed earlier. The likely explanation could be as follows. The song was originally recorded with the word “loot”. On account of the censor objections to the ideas behind use of the word “loot”, the song was re recorded with the word “rok”, and that is how it is filmed.

Enjoy this lilting dance number from the baton of Ravi. And wonderful dance by Waheeda ji. Long live.

Audio

Video

Song-Aaya bahaar ka zamaana(Kaun Apna Kaun Paraaya)(1963) Singer-Asha Bhonsle, Lyrics-Shakeel Badayuni, MD-Ravi

Lyrics

aaya bahaar ka zamaana
chaman mein na jaana
deewaana koi loot na le
deewaana koi loot na le
aaya bahaar ka zamaana
chaman mein na jaana
deewaana koi loot na le
deewaana koi loot na le

doobi doobi har nazar
hai kisi ki chaah mein
doobi doobi har nazar
hai kisi ki chaah mein
kho na jaaye dil kahin
bekhudi ki raah mein
patli kamar meri lachke
main chaloon bach bach ke
begaana koi loot na le
deewaana koi loot na le
aaya bahaar ka zamaana
chaman mein na jaana
deewaana koi loot na le
deewaana koi loot na le

behki behki aankh mein
mastiyon ka josh hai
behki behki aankh mein
mastiyon ka josh hai
mere dil se pooch lo
kisko kitna hosh hai
nazren kisi se jo milaaun
to darr darr jaaun
anjaana koi loot na le
deewaana koi loot na le
aaya bahaar ka zamaana
chaman mein na jaana
deewaana koi loot na le
deewaana koi loot na le
aaya bahaar ka zamaana
chaman mein na jaana
deewaana koi loot na le
deewaana koi loot na le

——————————————-
Hindi script lyrics (Provided by Sudhir)
——————————————
आया बहार बाहर का ज़माना
चमन में न जाना
दीवाना कोई रोक न ले
दीवाना कोई रोक न ले
आया बाहर का ज़माना
चमन में न जाना
दीवाना कोई रोक न ले
दीवाना कोई रोक न ले

डूबी डूबी हर नज़र
है किसी की चाह में
डूबी डूबी हर नज़र
है किसी की चाह में
खो न जाये दिल कहीं
बेखुदी की राह में
पतली कमर मेरी लचके
मैं चलूँ बच बच के
बेगाना कोई रोक ना ले
दीवाना कोई रोक न ले
आया बाहर का ज़माना
चमन में न जाना
दीवाना कोई रोक न ले
दीवाना कोई रोक न ले

बहकी बहकी आँख में
मस्तियों का जोश है
बहकी बहकी आँख में
मस्तियों का जोश है
मेरे दिल से पूछ लो
किसको कितना होश है
नज़रें किसी से जो मिलाऊँ
तो डर डर जाऊँ
अंजाना कोई रोक ना ले
दीवाना कोई रोक न ले
आया बाहर का ज़माना
चमन में न जाना
दीवाना कोई रोक न ले
दीवाना कोई रोक न ले
आया बाहर का ज़माना
चमन में न जाना
दीवाना कोई रोक न ले

5 Responses to "Aaya bahaar ka zamaana"

Sudhir ji

Simply loved your post on the occasion of My favourite Waheeda ji`s Birthday. Thanks a lot for the post and the beautiful song.

And Waheeda ji
God bless you, aur aapko meri taraf se
“Janam din ki Shubhkaamaayein”

Like

She was from Rajamundhry. Vijay is the brother of Johny Walker who had co-produced the movie.
Waheeda had a grace all of her own. Her carriage and bearing is unique. She is growing old gracefully without the help of hair-dye. Except for Guru Dutt affair her career was w/o blemishes.

Like

Happy birthday to Waheeda Rehman who is an exceptional actress. She is an epitome of grace. She was fortunate to have worked in an era when exceptional films were being made that amply showcased her talent.

Like

“Waqt ne kiya kya haseen sitam…”, “Piya tose naina laage re….”, “Bhanwara bada naadan hai….” “Tere bachpan ko jawaani ki duaa deti hoon…”, “Tu chanda main chaandni…” and many more songs in the list to prove the versatility of this actress. Nutan ji and Waheeda ji proved that “Beauty lies in the simplicity”.
Thank you Sudhirji for the b’day wish post. 🙂

Like

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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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