Goya ke chunaanche
Posted on: May 15, 2013
This article is written by Pamir Harvey, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Manoranjan (1974) was Shammi Kapoor’s first film as a director. He roped in R D Burman the reigning music director of that time to give music to his debut film as a director. Shammi Kapoor had in fact given Pancham his first biggest hit with Teesri Manzil (1966). But unfortunately Manoranjan flopped. The songs of this film were hits all the same.
This is a funny song with a seemingly abstruse use of the words goyaa ke (as if) and chunaanche (that is). The reason behind is that Sheru (Sanjeev Kumar), an ex-policeman, doesn’t like the fact that his girl-friend, Nisha, (Zeenat Aman) provides for him by walking the streets. His friend (Shammi Kapoor) asks him to play the role of a Nawab and acquire the services of Nisha and thus she won’t have to sleep with anybody else than him. And to enact his role authentically, he peppers his lines with the words goyaa ke and chunaanche. This amuses Nisha no end, which leads to this song.
Audio
Video
Song-Goyaa ke chunaanche (Manoranjan)(1974) Singer- Lata Mangeshkar, Kishore Kumar, Manna Dey, Lyrics-Anand Bakshi, MD-R D Burman
Chorus
Lata + Kishore Kumar
Lata + Kishore Kumar + Manna Dey + Chorus
Lyrics
goyaa ke chunaanche
goyaa ke chunaanche
goyaa ke chunaanche
goyaa ke chunaanche
ho naache gaayen jhoomke
aa goyaa ke chunaanche
naache gaaye jhoomke
aa goyaa ke chunaanche ho o o
goyaa ke chunaanche
goyaa ke chunaanche
kitnaa pyaaraa geet hai ae ae
ye goyaa ke chunaanche
kitnaa pyaaraa geet hai ae
ye goyaa ke chunaanche ho o
goyaa ke chunaanche
goyaa ke chunaanche
kiyaa maine pyaar
yoon to kai baar
dil ka saudaa
tujhse pehli baar kiyaa
kiyaa maine pyaar
yoon to kai baar
dil ka saudaa
tujhse pehli baar kiyaa
andheraa kho gayaa
saweraa ho gayaa
main teri ho gayi
tu meraa ho gayaa
ban gayi meri zindagi ee
bas goyaa ke chunaanche ho o
goyaa ke chunaanche
goyaa ke chunaanche
waa waa waa waa wa waa waa
waa waa waa waa wa waa waa
lab pe teraa naam
dil me teri yaad
aankhon mein teri tasveer basi
lab pe teraa naam
dil mein teri yaad
aankhon me teri tasveer basi
ye dil kyun ho gaya
deewaana kya kahun
deewaane dil ka main
fasaanaa kya kahoon
mujhko apnaa hosh nahin
bas goyaa ke chunaanche
goyaa ke chunaanche
goyaa ke chunaanche
aashiq uska naam
haath jo le thaam
duniyaa chhode yaar
yaari naa tode
aashiq uska naam
haath jo le thaam
duniyaa chhode yaar
yaari naa tode
khushi ke din ho yaa
gamon ki shaam ho
usi ki yaad ho
usi kaa naam ho
sau baaton ki ek baat
ye goyaa ke chunaanche
naachen gaaye jhoomke
aa goyaa ke chunaanche
ho o o
goyaa ke chunaanche
goyaa ke chunaanche
goyaa ke chunaanche
goyaa ke chunaanche
laa laa la laa
laa la laa laa
laa laa la laa
laa la laa laa
ha haa haa
ha haa haa
ha haa
ha haa
ho ho
26 Responses to "Goya ke chunaanche"
May 15, 2013 at 9:32 pm
Indeed Manoranjan was fun. Shammi Kapoor played a wonderful role as the cheerful bartender – I think the movie flopped because India was still quite conservative at that time.
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May 15, 2013 at 9:47 pm
Raja ji,
I think the film flopped because of the handling of the film.
A very serious subject was treated like a comedy,additionally the westernised zeenat Aman and Shammi kapoor’s role was probably not digested by the public.
Just imagine, the same subject was handled in Prabhat’s AADMI-1939,in a very sensitive way and it took India by storm.The times
were 75 years ago and the people were quite traditional that time,
but the film was presented with due seriousness of the topic and so was accepted by people.
Here is a comment on Aadmi-1939-
V. Shantaram’s films are always cast in the furnace of social problems. Aadmi released in the year 1939 deals with the issue of sex workers, its morality and social acceptance. The narrative forwards through the life of a simple-minded policeman who tries to give social acceptance to the life of an innocent sex worker by marrying her. Despite his sincere efforts he is unable to fulfill his wish for the society in which they live is reluctant to forget and forgive her for her undesirable past.
Originally produced in Marathi as Manoos the film was widely appreciated by the audience world wide. After watching the Marathi film Charlie Chaplin praised Shantaram for his great endeavor. Shantaram’s depiction of the life of the policeman and that of the
prostitute fascinate us with the gleam of realism.
Music was done by Master Krishnarao and the cast includes Shahu Modak, Shanta Hublikar, Bai Sundrabai, Ram Marathe, Master Chotu, Buasaheb and Gauri.
-AD
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May 16, 2013 at 12:00 pm
The treatment of the issue prostitution is totally different in Manoranjan and Manoos (I prefer the Marathi version, the Hindi sounds very stunted in the latter version, Marathi was playful and serious, wherever necessary).
The message of both the films is also totally different. Manoos was more concerned with eradication of social evils. It concentrated more on the inacceptance of the society rather than prostitution itself. Manoranjan portrayed prostitution as not worse than any other job. And that it is also okay for a woman to be a prostitute and like the job as well. Though I wonder, for how many percent of the prostitutes it is really true. It also focused though on pimps abusing the girls.
The times of the films were completely Manoos came when India was in throes of freedom struggle. Gandhian values were high in demand. In the 70s on the brink to emergency, disillusionment was the mood of the nation.
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May 16, 2013 at 11:34 am
I also think the film flopped because the audience couldn’t digest the fact, that a hooker would go about her job really cheerfully and believe in it.
Furthermore she could really love her “husband” and still sleep with some other guy.
The A certificate also naturally reduced the crowd. An A certificate for a comedy is never good.
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May 15, 2013 at 10:17 pm
nice post Harvey ji! i hv not watched this film, but aware of this song and it was frequently heard on radio in those years.
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May 15, 2013 at 10:26 pm
sh.Deshmukh sir – thanks for the detailed information about the 1939 film AADMI and about V.Shantaram ji! thanks!
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May 16, 2013 at 1:33 am
OMG! So, that’s the meaning of Goya ke chunaanche…. I would never have imagined “as if” and ” that is”. Thanks Harvey ji for simplifying the confusion. Like you and everybody has said, the song was famous then. Miss Sanjeev ji and Shammi ji.
Thanks for reminding.
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May 16, 2013 at 12:07 pm
Thank you Khyati ji! I think Shammi’s character explains the menaing of those words in the film, but I’d forgotten it. I picked it up from one of hte many Urdu dicitonaries.
“Miss Sanjeev”
As far as I know, he was Mr. Sanjeev. Kumar at the end of the name does point out to that. But am curious as to any new aspects to this topic! 😉
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May 16, 2013 at 1:32 pm
I think what Khyati ji wanted to say was that she was ‘MISSING’
Sanjeev ji and Shammi(kapoor) ji.
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May 16, 2013 at 6:28 pm
Yes Arunji,
That’s what I meant by “Miss Shammi ji and Shanjeev ji”
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May 16, 2013 at 11:17 pm
Like Arunji has said, I should have written Missing instead of Miss.
Sorry Harveyji 😦
Lesson learned- Use only Missing or Mr. for a Male. 🙂
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May 17, 2013 at 12:26 am
Bas joke tha Khyatiji!
I hope you saw the emoticon 😉 at the end of the line!
🙂
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May 16, 2013 at 11:58 am
OMG! Harveyji thanks for translatng “Goya ke chunaanche”….!!!
i knew this song a long time ago & still keep singing it….
there is a shashi kapoor “goya ke chunaanche kintu parntu ” etc…….
in a not so old movie….
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May 16, 2013 at 12:09 pm
Thank you Peevesie’s Mom!
Can’t recollect the Shashi Kapoor gaanaa, though I faintly remember it!
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May 17, 2013 at 12:28 am
Miss was the write verb Khyatiji!
After all you miss him in a simple past tense way and not only past continuous. 🙂
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May 15, 2013 at 9:19 pm
This was one fun filled movie. Zeenat suited the role of Nisha to a T. Sanjeev was Sanjeev, apt for anything. Shammi slid easily into the bracket of ‘character actor’ with this moviel.
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May 16, 2013 at 11:28 am
I saw the movie some time in the 80s on a late night film show.
I still remember thought that Zeenat was very endearing as the free-spirit hooker, though her it was hard to understand what she really meant with her dialogues. But I think her body language was convincing.
I found Shammi to be a bit over-acting, but Sanjeev, flab and all, was just superb!
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