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

Raahi naye naye rasta naya naya

Posted on: July 24, 2013


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

My first introduction to Uttam Kumar was way back in the childhood years when, for a long time, I used to confuse a lot between him and Biswajeet. It was in the years when watching television was a new adventure every day. One would scour around the neighborhood and get inside a friend’s or a familiar person’s home. Of course, as an uninvited intruder, one had to watch whatever was being telecast. In any case, Doordarshan was the only channel and there was no other option :). Some known programs would be a fixture that everyone watched. At other times, one would just intrude into whatever was playing on the screen.

On one such evening, I got to see a Bangla film. I surmised later on that some kind of a Satyajit Ray series was being telecast that week. I chanced upon the film ‘Naayak’ (1966). That is the earliest memory of Uttam Kumar on screen, for me. Being in Bangla, the film really meant nothing to me at that time, but there is one sequence in there, which is etched in my memory, as probably my first encounter with a scene bordering on being frightening. Uttam Kumar is standing amidst a rain of currency notes. He is very happy. He is frolicking and playing with the mounds of money all around him. Slowly, the rain of money ceases, and the scene becomes calm, very calm, almost dreadful. He looks around with trepidation as the brightness fades away, and it seems like dusk. He really starts getting afraid, and his movements are quicker, as if trying to run away from this endless piles of money. Suddenly, he sees a skeletal hand rising above one of the mounds of currency notes. And in fear, a he looks around, everywhere skeletal hands appear to rise from the pile of money. Now he is really terrified and starts to run. Next thing he knows, the surface beneath his feet gives away, and he is pulled in, as if standing on quicksand. He calls for help, but there is none. Slowly, he is sucked in into the quicksand of money, till only his hand is visible above the piles of money.

This scene terrified the tiny me, for probably that was my first view of a skeletal hand. It was frightening. I remember that I ran away from the neighbor’s house and just went home at breakneck speed, afraid that the bony hand would be following me. I never could forget that scene, and that first memory of Uttam Kumar is an introduction, before even I knew so many of my other favorite stars by name.

I would see the film ‘Naayak’ again after many years, and understood the context of that scene. It is a dream sequence in the film, as Uttam Kumar is taking a cross country train journey. The memory of my childhood experience so connected me to this actor, that I would be drawn to him, and to his films, be they in Hindi or Bangla.

Remembering Uttam Kumar today (24th July), on the anniversary of his passing away in 1980.

Once, in an interview he had remarked that he would prefer to die on the studio floor, doing what he liked best – acting. This prophetic remark turned into real life, thirty three years ago, as he had a severe cardiac arrest on the studio floor, while shooting of the Bangla film ‘Ogo Bodhu Shundori”. He was rushed to the hospital, but after a struggle of many hours, the doctors, and the life, gave up on him, and he passed away in the night. The funeral procession next day, is probably the largest that was seen in Calcutta till then, as the city came to a standstill to pay tribute to this larger than life icon that represented the Bangla culture, where he is still referred to as the ‘Mahanaayak’ – the great performer.

Known as a one man industry, he towered above all his peers, both in terms of his accomplishments as well as his contributions to the Bangla cinema and theatre. Born on 3rd September, 1926, as Arun Kumar Chatterjee, he came from a family that had theatrical influence and participation. The extended joint family had their own theatre troupe called the ‘Suhrid Samaj’ that staged amateur plays. After his studies, he joined as a clerk in Calcutta Port Trust, and simultaneously became active with his family theatre group, as well as he came in touch with the ‘Gan Natya Sangh’, the name by which IPTA was popular in Bengal. The transition from theatre to films was natural for this suave and urbane young man, who once and forever changed the image of the hero in Bengali films. ‘Drishtidaan’ is his debut film in 1948. His success and popularity can be gauged by the fact that in the 1950s, there were as many as 3 years that 13 of his films hit the cinemas, and there is not a single year that saw less than 8 releases of his films. In a career that lasted a little over three decades, he appeared in more than 200 films, establishing a continuous average of about seven films per year – a sustained fantastic record for a mainline lead actor that is probably unique in the annals of cinematic history anywhere.

It is not that he always appeared as the hero in his films. Probably never fully satisfied as an acknowledged icon in the mold of a hero, he experimented with character roles fairly early in his career. He played roles with strong negative colors – as a mentally disturbed man, as a suave businessman who has murdered his wife, as a thief, as a villain. In the times when deviating from the established star image was considered risky, such experiments with performing roles brought an early recognition to Uttam Kumar as an accomplished actor of substance, besides being a superstar.

The 1966 film ‘Naayak’, is generally considered to be his best career performance. In later discussions, Satyajit Ray has revealed that he wrote the script of this film with Uttam Kumar in mind. In case the actor had refused this role, Ray said that he would have abandoned the project itself.

The hero of ‘Naayak’, Arindam Mukherjee, and his story, bears a remarkable parallel to the real life Uttam Kumar himself. The restlessness and disquiet of the insecurities related to his phenomenal success in the world of cinema, were as much the real life story of Uttam Kumar himself, besides being the theme of Arindam’s life.

Uttam Kumar is the first recipient of the National Film Award for Best Actor, when these awards were instituted in 1967. The films cited for his award are ‘Chiriyakhana’, a Satyajit Ray production, and ‘Anthony Finrangee’ directed by Sunil Bandopadhyay.

Uttam Kumar’s foray into the Hindi film world has been very brief in comparison. He did just about 10 films in Hindi, two of which were released after his passing away – ‘Desh Premee’ in 1982 and ‘Mera Dharam Mera Karam’ in 1987. The song that I have selected for this post today, is from the film ‘Anand Ashram’ , a 1977 film by Shakti Samant. The star cast of this film is impressive – Uttam Kumar, Ashok Kumar, Sharmila Tagore, Maushumi Chatterjee, Rakesh Roshan, Utpal Dutt, Asit Sen, Anita Guha, Manik Dutt, Chandrima Bhadudi, Master Alankar, Manik, CS Dubey, Samar Rai, Amal, Mukund, Ratan, Jyoti, Kumari Mausumi, Baby Sweta, Master Rabi, Prema Narayan.

The music is composed by Shyamal Mitra and the lyrics for the six songs in the film are from the pen of Indeevar. This song is sung by Kishore Kumar. On screen, the song is performed by Uttam Kumar, driving a horse carriage, accompanied by Sharmila Tagore.

Enjoy this lovely hoof tapping song – tribute to one of the greatest icons of the cinema in India.

Audio

Video

Song-Raahi naye naye rasta naya naya (Anand Ashram)(1977) Singer-Kishore Kumar, Lyrics-Indeewar, MD-Shyamal Mitra

Lyrics

haa aahaa haa
lala lalalalala
aa haa haa

raahi naye naye ae
rasta nayaa nayaa
raahi naye naye ae
rasta nayaa nayaa
tum na badleen
main na badlaa
sab kuchh badal gayaa aa aa
raahi naye naye ae
rasta nayaa nayaa

yaad suhaani bachpan ki
pathhar pe khinchi rekha aa aa
yaad suhaani bachpan ki
pathhar pe khinchi rekha aa
pehla pehla pyaar dilon se
mit’te nahin dekha
toofaan samay ke bujhaa na sakey
ye deep jalaa to jalaa
tum na badleen
main na badlaa
sab kuchh badal gayaa aa aa
raahi naye naye ae
rasta nayaa nayaa

la la la
la la la
lalalala la la la la la

waqt ke saath badal jaaye
usey pyaar nahin kehte ae
waqt ke saath badal jaaye
usey pyaar nahin kehte ae
jo har mod pe mud jaaye
usey yaar nahin kehte
yaar wohi jo saathi ban kar
dukh mein saath chalaa
tum na badleen
main na badlaa
sab kuchh badal gayaa aa
raahi naye naye ae
rasta nayaa nayaa
tum na badleen
main na badlaa
sab kuchh badal gayaa aa aa
raahi naye naye ae
rasta nayaa nayaa

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

राही नए नए
रस्ता नया नया
राही नए नए
रस्ता नया नया
तुम ना बदलीं
मैं ना बदला
सब कुछ बादल गया
राही नए नए
रस्ता नया नया

याद सुहानी बचपन की
पत्थर पे लिखी रेखा
याद सुहानी बचपन की
पत्थर पे लिखी रेखा
पहला पहला प्यार दिलों से
मिटते नहीं देखा
तूफान समय के बुझा ना सके
ये दीप जला तो जला
तुम ना बदलीं
मैं ना बदला
सब कुछ बादल गया
राही नए नए
रस्ता नया नया

वक़्त से साथ बादल जाये
उसे प्यार नहीं कहते
वक़्त से साथ बादल जाये
उसे प्यार नहीं कहते
जो हर मोड़ पे मुड़ जाये
उसे यार नहीं कहते
यार वही जो साथी बन कर
दुख में साथ चला
तुम ना बदलीं
मैं ना बदला
सब कुछ बादल गया
राही नए नए
रस्ता नया नया

3 Responses to "Raahi naye naye rasta naya naya"

Sudhir ji

Thanks for the informative and interesting post.
One of my favourite Kishore Solo.

Regards
Prakash

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