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

Lut jaa o lut jaa

Posted on: November 11, 2013


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

= = = = = = = = = = = ==
She is all of 16 years when she makes her debut on the silver screen. The year is 1952, and the film – a Bangla production ‘Roshnara’, directed by Ardhendu Bose. Fast forward to couple of decades later. The year is 1971, and she is romancing Raj Kumar, Rajesh Khanna, Sanjeev Kumar, Jeetendra, Amitabh Bachchan on screen. A graceful on screen presence, with an impressive portfolio of powerful performances behind her, she belongs to that extra special club of leading ladies that ruled the silver screen from 1950s to the 1970s – Meena Kumari, Nutan, Sadhna, Asha Parekh, Waheeda Rehman, Vijayntimala. . . – all an exclusive group.

A thousand wonderful greetings to Mala Sinha on her 77th birthday today (11 november 2013).

Ardhendu Bose chanced to see her perform at a school play, and approachedher father for his permission to cast her in his film. That was the start of Mala ji’s career in films, that lasted more than four decades during which she has performed in over one hundred Hindi films and about dozen and a half Bangla films. And yes, one Nepali film – the assignment that brought her the love of her life and matrimony.

Born in 1936 in Nepal, the family first moved to Calcutta in 1951/52 when the ‘Roshnara’ assignment was offered, and then move to Bombay in 1954, as the famous director Amiya Chakravarty offered her the lead role in his film ‘Badshah’ (1954), opposite to Pradeep Kumar. Her rise in the Hindi film world has been exemplary and the career graph has been very stable. The splash year in Hindi cinema for her was 1957, three years and 10 films after
her debut. She had eight releases that year, which included benchmark films like ‘Pyaasa’, ‘Nausherwan e Adil’ and ‘Ek Gaon Ki Kahaani’ that established her as an emotive performer to watch for. Her role in ‘Pyaasa’ was an underplay of muted emotions, and yet she held her own opposite to the likes of Guru Dutt, Rehman and Waheeda Rehman.

The subsequent years only get better, as we sample her performances for films like ‘Phir Subah Hogi’ (1958), ‘Dhool Ka Phool’, ‘Ujaala’ and ‘Love Marriage’ all in 1959, ‘Dharamputra’ and ‘Maya’ in 1961, ‘Anpadh’ and ‘Hariyali Aur Rasta’ in 1962. The subsequent years saw her pull off the most difficult and sterling performances of her career – ‘Gumraah’ in 1963 and ‘Jahaan Ara’ in 1964. The list of films given so far will remind the
readers of the power of her roles and the life that she put into them. The poor man’s daughter in ‘Phir Subah Hogi’ caught in the vortex of the misery of her social standing and the dreams promised by a dreamer, who is not an achiever. The unwed mother of ‘Dhool Ka Phool’ who abandons her child for the fear of social stigma. The deserted wife of ‘Dharamputra’ who is forced to part with her own son. The illiterate widow of ‘Anpadh’ who becomes a social outcast.

And then the towering performance in ‘Gumraah’, of a young lady whom the circumstances lead into a marriage with her own widowed brother in law, after her sister’s demise – the predicament of her suddenly transformed life versus her dreamy love life is oh so well portrayed on screen. And then came the role of a royalty, caught in between the love for a father, and the nasty and ruthless machinations of a brother, in ‘Jahaan Ara’. Mala ji
recalls that this role was first offered to Meena Kumari, who declined it and suggested Mala ji’s name instead. The latter was hesitant – the role demanded proficiency with Urdu, which she did not have. But Meena ji talked to her and encouraged her to take up the role.

Beyond ‘Jahaan Ara’, she continued to put up wonderful accomplishments with films like ‘Himalay Ki God Mein’ (1965), ‘Aasra’, (1966) and ‘Bahaaren Phir Bhi Aayengi’ (also 1966). She continued to rule with the top layer of leading ladies for another decade and a half and her stint as a leading lady lasted till well into the end 1970s. Despite so many sterling performances, she never got recognized with a Filmfare award, although she was nominated
multiple times for it. She transitioned to senior and character roles in 1980s, and has been active till mid 1990s, after which she settled for a semi retired life with family.

So now coming to the song for this occasion. The film ‘Aankhen’ (1968) was a path breaking movie in some ways. The theme of spies and cloak-and-dagger stuff is a fairly seasoned theme. Not that there were no films created on this theme, before ‘Aankhen’. But yes, this one stands out as probably the first one that that took this theme from B/C grade categories, and put this up on the screen with a big budget and an A grade star cast. Ramanand Sagar pulled all stops including trips to foreign lands, no matter how implausible
that made the entire plot. Beirut at one time was a haven for arms dealers and others of such ilk who indulge in international skullduggery. So, to ferret out the secrets of the enemy at the border, this spy team from a extra-constitutional and autonomous group of patriots, is sent to Beirut. A lot of street action in real locations was shot, including the famous begging song De daata ke naam tujhko allah rakkhe. And yes, the film story borrowed heavily from James Bond type action films, including the concept of a tracking transmitter embedded surgically into the shoulder of Dharmendra, the hero of the film.

Another daring step that Ramandand Sagar took was virtually a complete makeover of some actors, that were presented in very unexpected roles, or presenting unexpected performances. One was Lalita Pawar. I have written about this earlier in one of the posts about her. The director presented her as a traitorous, villainous madam, complete with her appearance in male
attire. And the second unexpected thing that one saw in this film is Mala Sinha performing a belly dance. Yes, this was in complete contrast to the image that she had created for herself in the decade and half of being in the industry till that point. But in this film, she comes on to the screen with a performance that one generally would expect a Helen or a Faryal or a Bela Bose to do.

The setting is a nightclub that is owned by the Indian spy team in Beirut (sic). They run this club to be able to gather intelligence from all kinds of people who visit the club. The mike that is so prominently changing hands during the song, has a hidden camera. And the flatboard table that Mehmood wears in his neck carrying cigarettes etc. has a small voice
recorder installed. One can see Mehmood fiddling with the controls, as he moves around in between the tables.

Other actors on the scene – one of the two accompanying dancers is Madhumati. I am not able to place the name of the second dancer and request readers and friends to help with identification. There is Dhumal, who is part of the Indian team and is the manager of the club. Amongst the guests, there are some familiar faces, especially the gentleman with dark glasses who looks very familiar. Once again, request to readers and friends to help identify.

The film has six songs, all from the pen of Sahir Ludhianvi. And the music is by Ravi. This song is a hallmark, both from the perspective of lyrical content as well as the melody it has been tuned in. The pace is perfect –it is Ravi at his best. The verses immaculate for the occasion, the singing voices of Asha Bhosle, Usha Mangeshkar and Kamal Barot are tied in so well, and the choreography is wonderful. Maybe if Helen had been one of the accompanying dancers, would certainly have overshadowed Mala Sinha. Still, Mala ji has done a fantastic job of this dance. The dresses worn by the dancers are somewhat more conservative than actual belly dancers, and for good measure maybe. It was still the 1960s and the producer had an eye on the audience back home in India. All is just perfect about this song and its picturization. Except the one nagging thought. Are the security departments of Indian government so well endowed that they will foot the expenses for such a club in Beirut, that also puts up dance shows as this one. Wow, is that what they do with taxpayer’s money? 🙂 🙂

With the posting of the bhajan from this film “Meri Sun Le Araj Banwaari” earlier in the day today itself, this film has now reached the all songs posted status on the blog, and can be painted red.

And so, wishing Mala ji very good health, lots of happiness, and peace. We pray there be many, many more such opportunities to write for you and greet you. Live long and be well. 🙂


Song-Lut jaa o lut jaa (Aankhen)(1968) Singers-Asha Bhonsle, Usha Mangeshkar, Kamal Barot, Lyrics-Sahir Ludhianvi, MD-Ravi
Chorus
Asha Bhonsle + Usha Mangeshkar + Kamal Barot

Lyrics

aaaaa aaaaa aaaa aaaa
aaaaa aaaaa aaaa aaaa
aaaaa aaaaa aaaa aaaa

aaaaaaa aaaaaaa aaaaaaaa
aaaa aaaa aaa
aaaaaa aaaaaaa
aaaaaaa
aaaaaaa aaaaa

jaa ke ye raat suhaani nahin aane waali
aarzu’on pe jawaani nahin aane waali
aa bhi jaaye to meri jaan
lahoo mein tere
phir ye garmi
ye rawaani nahin aane waali
ooooooo oooooooo oooooooo
aaaaaaa
aaaaaaaa
aaaaaaa aaaa

lut jaa
ho lut jaa
yehi din hai kisi pe lut jaa
tere saamne hain pyaare
kai jhoomte sahaare
chhut paaye to ghamon se chhut jaa
lut jaa
hai lut jaa
yehi din hai kisi pe lut jaa

tere saamne hain pyaare
kai jhoomte nazaare
chhut paaye to ghamon se chhut jaa

lut jaa
o lut jaa

ho ooo ooo ooo
aaa aaa aaa aaa
ho ooo ooo ooo
aaa aaa aaa aaa

ooo oooo
aas teri
ho pyaas teri
bhadkegi dabaane se
oo ooo
chhed gesu
thhaam baazu
kisi dilkash bahaane se
hoo ooo
aas teri
ho pyaas teri
bhadkegi dabaane se

oo ooo
chhed gesu
o thhaam baazu
kisi dilkash bahaane se

mere habib aa jaa
dil ke kareeb aa jaa
ae khush naseeb aa jaa
mat sharmaa
lut jaa
o lut jaa
yehi din hai kisi pe lut jaa
tere saamne hain pyaare
kai jhoomte sahaare
chhut paaye to ghamon se chhut jaa
lut jaa. . .aaa
o lut jaa

aaaa aaaaa aaaaa aaaaa aaaaaa
aaaa aaaaa aaaaa aaaaa aaaaaa
aaaa aaaaa aaaaa aaaaa aaaaaa
aaaa aaaaa aaaaa aaaaa aaaaaa

haa haa haa
haa haa haa
haa haa haa
haa haa haa

aaaaa aaaaaaaaaa aaaa aaaaaaa
aaaaa aaaaaa aaaaaaaa

oooo raat baaki
aur saaqi
badi naazuk haseena hai
oooo chhod taubaa
ho tod taubaa
aaj peena hi jeena hai
oooo raat baaki
aur saaqi
badi naazuk haseena hai

oooo chhod taubaa
ho tod taubaa
aaj peena hi jeena hai

lehraa ke jaam le le
naam e khayaam le le
jurrat se kaam le le
mat ghabraa
lut jaa
o lut jaa
yehi din hain kisi pe lut jaa
tere saamne hain pyaare
kai jhoomte sahaare
chhut paaye to ghamon se chhut jaa
lut jaa
o lut jaa
yehi din hain kisi pe lut jaa
tere saamne hain pyaare
kai jhoomte sahaare
chhut paaye to ghamon se chhut jaa

lut jaa
(aaaa aaaa)
o lut jaa
(aaaa aaaa aaaa)
aaaaaa aaaaa aaaa aaaa
(aaaa aaaa aaaa)
aaaaa aaaa aaaa
aaaa aaaaa
(aaaa aaaa aaaa)
aaaaaaaaa aaaaaaa aaaaaa
aaaaaa aaaaaa aaaaa aaaaaa
(aaaa aaaa aaaa)
aaaaa aaaaaa
aaaaaa aaaaaa aaaaaa
(aaaa aaaa aaaa)

lut jaa. . .
—————————————————–
Hindi script lyrics (Provided by Sudhir)
—————————————————–
आsss आsss आsss आsss
आsss आsss आsss आsss
आsss आsss आsss आsss
आsss आsss आsss आsss

आsssss आssss आssssss
आsss आsss आsss
आssss आssssss
आssssss
आssssss आssss

जा के ये रात सुहानी नहीं आने वाली
आरज़ूओं पे जवानी नहीं आने वाली
आ भी जाये तो मेरी जान
लहू में तेरे
फिर ये गर्मी
ये रवानी नहीं आने वाली
ओsssss ओsssss ओsssss
आssssss
आssssss आssss

लुट जा
हो लुट जा
यही दिन हैं किसी पे लुट जा
तेरे सामने हैं प्यारे
कई झूमते सहारे
छुट पाये तो ग़मों से छुट जा
लुट जा
हाए लुट जा
यही दिन हैं किसी पे लुट जा

तेरे सामने हैं प्यारे
कई झूमते सहारे
छुट पाये तो ग़मों से छुट जा

लुट जा
ओ लुट जा

हो ओss ओss ओss
आ आ आ आ
हो ओss ओss ओss
आ आ आ आ

ओ ओss
आस तेरी
हो प्यास तेरी
भड़केगी दबाने से
ओ ओss
छेड़ गेसू
थाम बाज़ू
किस दिलकश बहाने से
हो ओss
आस तेरी
हो प्यास तेरी
भड़केगी दबाने से

ओ ओss
छेड़ गेसू
थाम बाज़ू
किस दिलकश बहाने से

मेरे हबीब आ जा
दिल के करीब आ जा
ए खुशनसीब आ जा
मत शर्मा
लुट जा
ओ लुट जा
यही दिन हैं किसी पे लुट जा
तेरे सामने हैं प्यारे
कई झूमते सहारे
छुट पाये तो ग़मों से छुट जा
लुट जा॰॰॰आ
ओ लुट जा

आss आsss आsss आsss आsssss
आss आsss आsss आsss आsssss
आss आsss आsss आsss आsssss
आss आsss आsss आsss आsssss

हा हा हा
हा हा हा
हा हा हा
हा हा हा

आsssss आsssssss आsss आsssss
आsssss आsssss आsssssss

ओss रात बाकी
और साक़ी
बड़ी नाज़ुक हसीना है
ओss छोड़ तौबा
ओ तोड़ तौबा
आज पीना ही जीना है
ओss रात बाकी
और साक़ी
बड़ी नाज़ुक हसीना है

ओss छोड़ तौबा
हो तोड़ तौबा
आज पीना ही जीना है

लहरा के जाम ले ले
नाम ए खयाम ले ले
जुर्रत से काम ले ले
मत घबरा

लुट जा
ओ लुट जा
यही दिन हैं किसी पे लुट जा
तेरे सामने हैं प्यारे
कई झूमते सहारे
छुट पाये तो ग़मों से छुट जा
लुट जा
ओ लुट जा
यही दिन हैं किसी पे लुट जा
तेरे सामने हैं प्यारे
कई झूमते सहारे
छुट पाये तो ग़मों से छुट जा

लुट जा
(आss आss)
ओ लुट जा
(आss आss)
आsssss आsssss आssss आssss
(आss आss आss)
आsssss आssss आssss
आssss आsssss
(आss आss आss)
आsssssss आssssss आsssss
आsssss आsssss आssss आsssss
(आss आss आss)
आssss आsssss
आssssss आssssss आssssss
(आss आss आss)

लुट जा॰॰॰

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6 Responses to "Lut jaa o lut jaa"

– Wishing Happy Birthday to Mala Sinha ji…(was not aware of her birthday..but very recently shared some very nice songs from the film ‘Bahu Beti’ which are picturised on her).

– Congratulations to Sudhir ji and Atul ji on covering all songs of this movie – AANKHEN-1968 and its joining to the list of ‘Movies-All Songs Covered’…!!!

Another dancer is Sujata Bakshi aka Sujata Rubener.She is used to be actress/dancer/Assistant choreographer

Prakash ji,

Thanks so much for the identification. Yes I do see this name in the list of actors given in Geet Kosh.

🙂

Rgds
Sudhir

Mala Sinha has managed to keep her toned figure even today

YIPPEEEE!! Aankhen (1968) joins the ranks of movies where all songs from the movie have been discussed on the blog. Thank you and Congratulations Atul Ji!.

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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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