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

Dekh idhar dekh tera dhyaan kahaan hai

Posted on: August 18, 2014


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a 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.

This is a song sung by Asha Bhosle-for I.S.Johar ! Yes,don’t get surprised. She has given playback to a Male-in woman’s clothes. This is not the first time she has done it. Earlier too she sang for Kishore kumar in film ‘ Baap re Baap ‘-1955.

Asha is Asha. There is no one like her. None can match the oomph,sensuality,innocence,ebullience and all those things that are so synonymous with her voice. her mimicry skill too has helped her in adapting her voice to suit the actresses or the situation of song in the film. Rafi was another singer who could sing in a special voice for Johnny Walker. This is an unique quality which sets the singer apart from other singers.

To call Asha the most ‘Versatile’ singer is to do a grave injustice to her. In her music, as in her own life, Asha stands for questioning impositions, challenging and redefining boundaries. She made choices in personal life and career, which went against her again and again. She achieved success and glory on her own terms. She has worked with four generations of composers, singers and lyricists, using her experience to adapt for success.

Forced to seek work at a time when Lata was getting to be a sensation, she had to swallow whatever came her way. Many times, it was not even the second Best( Geeta was rated next to Lata ), but she gave her best to those songs. She had no choice but to survive during 1948 to 1956, accepting whatever came her way. Her luck changed in 1957. O.P.Nayyar made her the lead singer in ‘Naya Daur’-57. Same time, the rift between S D Burman and Lata too came to her rescue as Burman opted for her as a replacement for Lata (Burman, however, wanted Geeta-not Asha, but Geeta was entangled in her family affairs during that time).

With the help of Burman and Nayyar, Asha made a conscious effort to come out of Lata’s shadow. The results were visible instantly. Asha proved that given a half chance, she could do wonders. During 1958 to 1963, Asha’s best songs were for these two composers. Some of those films were, Nau do gyarah, Kala Pani, Sone ki chidiya, Raagini, Howrah bridge, Phagun, Phir wohi dil laya hoon, Sujata, Lajwanti, Bandini etc. By 1963, Lata returned to Burman and he discarded Asha immediately. Sachin da left Asha, but Nayyar supported her fully and they,together shook the HFM. Cleverly, Asha also held on to Ravi, and from 1966 she sang for R D Burman also. After splitting with Nayyar in 1970, she stuck to R D Burman, even married him.

The story of Asha is inspiration for anyone who wants to fight for success !

The film Bewaqoof-60 was one of those films films from a period when film makers used to run after Kishore Kumar with rolls of money and roles to offer. Stories were written specially for him. His films rarely had a strong storyline, but Kishore had the ability to carry the entire film on his shoulders alone. Many of his films became popular due to their music. Bewaqoof-60 also heralded an age in which films were made with titles with adjectives like Aflatoon, Aklamand, Awara(abdulla),(Banarasi)Thug, Band Master, Bluff master, Budtameez, Chaalbaaz,(chaar)Darvesh, (chaar) Chakram, Dada, Dagabaaz, Ganwaar, Jaalsaaz, Jhumroo, Junglee, Laatsaheb, Lutera, Matlabi(duniya), Mujrim, Mulzim, Naughty Boy, Ziddi etc.

The film was produced and directed by I.S.Johar, known for his overacting and superiority complex. The lead pair was Kishore and Mala Sinha. The film had additional comedians like Mehmood, Asit Sen, Jerry,and Mukri. Mala Sinha was an educated,hard working actress. Though she worked with leading Banners and was Heroine to wellknown Heroes, she was never counted among the Class I Heroines of her Times. She worked with many newcomers, like Dharmendra etc. Her career spanned a long time but she never got a single Filmfare Award, though she was nominated 4 times.

Mala Sinha was born in a Bengali descent Nepalese Christian family in Calcutta, on 11-11-1936. Mala Sinha claimed herself a Bengali descent Nepali many years ago in a T.V. interview. They named her Alda. Her friends at school used to tease her by calling her Dalda (a brand of vegetable oil), so she changed her name to Mala. In her childhood she learnt dancing and singing.

Although she was an approved singer of All India Radio, she has never done playback singing in films. But as a singer she has done stage shows in many languages from 1947 to 1975.

Mala started her career as child artist in Bengali films Jai Vaishno Devi followed by Shri Krishan Leela, Jog Biyog and Dhooli. Noted Bengali director Ardhendu Bose saw her acting in a school play and took permission from her father to cast her as a heroine in his film Roshanara (1952)-Bangla film, her cinematic debut.
After acting in a couple of films in Calcutta, Mala had to go to Bombay for a Bengali film. There she met Geeta Bali, a noted Bollywood actress, who was charmed by her and introduced her to film director Kidar Sharma.

It was Sharma who cast her as a heroine in his Rangeen Ratein. Her first Hindi film was Badshah opposite Pradeep Kumar, then cameEkadashi, a mythological film. Both failed, but her lead role in Kishore Sahu’s Hamlet, paired opposite Pradeep Kumar, fetched her rave reviews in spite of it failing at the box office. Films like Lai Batti (ac­tor Balraj Sahni’s only directorial venture), Nausherwan-E-Adil where she starred as the fair maiden Marcia in Sohrab Modi’s romance about forbidden love and Phir Subah Hogi, which was direc­tor Ramesh Saigal’s adapta­tion of Dosteovsky’s Crime and Punishment established Mala Sinha’s reputation as a versatile actress who took the maximum career risks by accepting unconventional roles.

Mala was a singer of some repute and used to sing for All India Radio; she was not allowed to sing playback (even for herself) in the movies with the lone exception being 1972’sLalkar.[5] In the 1950s, she had string of hits opposite Pradeep Kumar like Fashion (1957), Detective (1958), Duniya Na Mane (1959) though their first two ventures had failed. The films she did with Pradeep Kumar were men-oriented. In 1957, noted Bollywood actor and film director Guru Dutt (the husband of Geeta Dutt) cast Mala in his film Pyaasa(1957) in a role originally intended for Madhubala. Mala gave a memorable performance as the relatively unsympa­thetic part of an ambitious woman who chooses to marry a rich man (played by actor Rehman) and have a loveless marriage rather than a poor, unsuccessful poet and her impoverished lover (played by Guru Dutt) whom she ditches. Pyaasa remains to this day a classic in the history of Indian cinema and a turning point for Sinha.

After Pyaasa her major success were Phir Subah Hogi(1958) and Yash Chopra’s directorial debutsDhool Ka Phool (1959) that elevated her into a major dramatic star. There was no looking back for Sinha then as she was part of many successful movies from 1958 to the early ’60s like Parvarish (1958), Ujala, Main Nashe Main Hoon, Duniya Na Mane, Love Marriage (1959), Bewaqoof (1960), Maya (1961), Hariyali Aur Rasta and Dil Tera Deewana (1962), Anpadh, Bombay Ka Chor (1962). Critics believe her career best performance was in Bahurani (1963), Gumrah, Gehra Daag, Apne Huye Paraye and Jahan Ara. Apart from pairing with Pradeep Kumar, her pairing opposite Raaj Kumar, Rajendra Kumar,Biswajit and Manoj Kumar in woman-oriented films were appreciated by audiences, with her films opposite Biswajit being the most popular. With Raaj Kumar, she gave box office hits like Phool Bane Angaare, Maryada and Karmayogi and opposite Manoj Kumar, gave commercial successes like Hariyali Aur Rasta, Apne Huye Paraye and Himalaya Ki God Mein. The hits with Rajendra Kumar were Devar Bhabhi, Dhool Ka Phool, Patang, Geet and Lalkar.

With Biswajit her popular movies include Aasra, Night in London, Do Kaliyaan, Tamanna, Nai Roshni and critically acclaimed films Pyar Ka
Sapna, Paisa Ya Pyaar, Jaal and Phir Kab Milogi (1974 film). She did 10 films with Biswajit. In 2007, they won the Star Screen Lifetime Achievement Award, calling them on stage together giving due respect to their popularity as a pair who have tasted box office success.

The most remarkable feature of career of Mala Sinha was that most of her 1960s and 1970s hits were fueled by her own star power as much as the heroes and most of the times her role was more powerful than the hero. Though she was pitted opposite her seniors like Raj Kapoor, Dev Anand, Kishore Kumar, Pradeep Kumar and when she acted opposite the emerging stars from late 1950s like Shammi Kapoor, Rajendra Kumar and Raaj Kumar, she made sure her role was as good as theirs. The characters she played stood out and gave her recognition for her performances. Sinha did not mind working with newcomers as long as her role was worth it. She worked with many newcomers of her era includingManoj Kumar, Dharmendra, Rajesh Khanna, Sunil Dutt, Sanjay Khan, Jeetendra and Amitabh Bachchan. In most of her films from the 1960s, she got the first billing in the credits, even before the heroes, with exceptions being those with Guru Dutt, Raj Kapoor, Dev Anand, Pradeep Kumar and Kishore Kumar.

In 1966, Sinha went to Nepal to act in a Nepali film called Maitighar when the Nepali film industry was still in its infancy. This was the only Nepali film she did in her career. Her hero in the film was an estate owner called Chidambar Prasad Lohani. Soon after, Mala Sinha married C. P. Lohani with the blessings of her parents. From the beginning theirs was a long-distance marriage with Lohani based in Kathmandu to look after his business and Sinha living in Bombay with their daughter Pratibha. She continued acting after her marriage.

She has been a heroine in many Bengali films. In Bengali films she has acted with Uttam Kumar as well as Kishore Kumar. Her last Bengali film as a main female lead was Kabita(1977) which featured Ranjit Mullick and Kamal Hassan; it was a super-hit at the box office. She is noted for her strong women-oriented, glamorous roles fuelled by her equal star power on par with the heroes in films like Dhool Ka Phool, Suhag Sindoor,Anpadh, Phir Subah Hogi, Hariyali Aur Rasta, Bahurani, Aasra, Do Kaliyaan, Gumrah, Aankhen,Baharen Phir Bhi Aayengi, Himalaya Ki God Mein, Do Kaliyaan, Holi Aayi Re, Nai Roshni, Mere Huzoor, Kangan, Archana, Maryada amongst others.

Of her rich and varied repertoire, she mentions she is rather partial to Jahan Ara (1964), a historical movie that Meena Kumari passed on to her:
“Meenaji turned down the role saying that she would not look the part whereas I would. Given my ignorance of Urdu, I was rather sceptical but Meenaji was convinced that I could do justice to the role. Playing Mumtaz Mahal’s eldest daughter entailed gruelling Urdu classes and learning royal tehzeeb. It was hot on the grand sets erected at Ranjit Studio and the film had Madan Mohan’s haunting music. It was a film replete with lyrical moments.”

From 1974, she cut down on her assignments as the lead actresses. She accepted strong character roles in films like 36 Ghante (1974), Zindagi (1976), Karmayogi (1978), Be-Reham (1980), Harjaee (1981), Yeh Rishta Na Tootay, Babu (film) and Khel, which were popular.

In the early ’90s Madhuri Dixit was promoted as new Mala Sinha in magazines. But, after 1994, she completely withdrew from industry and has given very few public appearances. In Dhool Ka Phool and B.R. Chopra’s Gumrah, she played the first unwed mother and adulterous wife respectively in Hindi cinema. As she grew older, she gracefully moved on to doing character roles that befitted her age. She was last seen in Zid (1994). Though Mala evinced as much interest in her daughter Pratibha’s career as her father did in her career, she was unable to achieve the same success for her daughter.( courtesy-Wiki).

Being an ardent fan of Kishore Kumar,I had seen this film. The story was a routine one. I.S.Johar did not show any spark in his Direction (was it there,anytime?). The story was…

Advocate Rai Bahadur ( Bipin Gupta) is a respected lawyer, who has no children. He has an affair with a prostitute Meher ( Sabita Chatterjee ) who then becomes pregnant with his child. His wife ( Leela Chitnis) also get pregnant at the same time & both his wife and Meher give birth to babies in the same hospital and same day. Both baby boys. When Rai Bahadur came to know that Meher also gave birth to his son he went to meet her in hospital but Meher warns him of dire consequences if he will not give his son his due rights. She blackmail him and ask her to change her baby with his wife’s baby. Helpless Rai Bahadur ask a nurse to change the babies and offered money. Nurse agreed but later her conscience does not allow her to do the wrongful. She didn’t change the babies but said Rai Bahadur that she has changed the babies.

Now Rai Bahadur thinks that the boy in his house “Kishore”(Kishore kumar) is from prostitute Meher & the boy with Meher is from his wife. He start dislike his son “Kishor” in his Bungalow and star liking the other one “Pran”( Pran). He somehow throws “Kishore” with his mother out of the bungalow and bring “Pran” mistaking “Pran” as from his wife. Now “Kishore” raised in poor life with both Meher & Mrs Rai Bahadur & “Pran” raised in bungalow. Both become boxers in the same boxing club. Kishore always betters Pran but denied his right every time due to Pran’s unfair tricks.

Kishore falls in love with Pran’s assistant cum girlfriend “Mala”( Mala Sinha) who is from a rich family. A LLB student who’s the member of the boxing club becomes Kishore’s friend( I.S.Johar) and always raise his helping hand to Kishore. Dramatically Kishore somehow wins Mala fro Pran. One day Pran came to know about the reality from the same nurse & to erase his past identity or stigma to be born from a prostitute, he kills the nurse. He tricks Kishore into the trap and the conviction of murder falls on Kishore. Kishore’s friend became a lawyer by then and helps his friend Kishore. He put all his efforts to erase the false allegations on Kishore. In the end Kishore gets his right and gets his love Mala.

Now let us enjoy the song which Asha sings for I.S.Johar…..


Song-Dekh idhar dekh tera dhyaan kahaan hai (Bewaqoof)(1960) Singer-Asha Bhonsle, Manna Dey, Lyrics-Majrooh Sultanpuri, MD-S D Burman
Asha Bhonsle + Manna Dey
Unknown male voice

Lyrics

o o o
dekh idhar dekh
tera dhyaan kahaan hai
sar pe budhhaapa hai
magar dil to jawaan hai
sar pe budhhaapa hai
magar dil to jawaan hai
dekh idhar dekh
tera dhyaan kahaan hai

dil mera chaman
ise veeraan na kaho
na yaqeen ho to mere dil mein kabhi aake raho
dil mera chaman
ise veeraan na kaho
na yaqeen ho to mere dil mein kabhi aake raho
ho o
kya mastaana ye hawa hai
ye samaa hai
arre dekh idhar dekh
tera dhyaan kahaan hai

raahon mein maashooq miley koi agar
taak kar maare nishaana meri kamzor nazar
raahon mein maashooq miley koi agar
taak kar maare nishaana meri kamzor nazar
o o
tedhi kamar meri mohabbat ki kamaan hai
arre dekh idhar dekh
tera dhyaan kahaan hai

naak ?? si
naqli hai tamaan
dhale hain din jo hazaaron
to huyi aaj ye shaam
naak ?? si
naqli hai tamaan
dhale hain din jo hazaaron
to huyi aaj ye shaam
ho o
duniya to wahi hai magar
magar
magar

chaal jawaan hai
dekh idhar dekh tera dhyaan kahaan hai

ab bhi to chand saal hai
allah ka fazal

tu jo haan keh de to banwa den kayi tajmahal
ab bhi to chand saal hai
allah ka fazal

tu jo haan keh de to banwa den kayi tajmahal
mumtaz udhar hai to idhar shahjahaan hai
dekh idhar dekh tera dhyaan kahaan hai
arre dekh idhar dekh tera dhyaan kahaan hai
sar pe budhaapa hai magar dil to jawaan hai
sar pe budhaapa hai magar dil to jawaan hai
dekh idhar dekh tera dhyaan kahaan hai

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5 Responses to "Dekh idhar dekh tera dhyaan kahaan hai"

SD preferred Suman as her voice was closest to Lata. Suman could sing many songs during the rift as can be seen.

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Very interesting post about Asha’s career and Mala Sinha’s career. Thank you, Arunji.

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from cabaret to contemporary music, whatever Ashaji performs it is done with perfection and passion. She is a great artist and there is no second opinion about this.

Like

An Interesting post and an interesting picturisation.

Like

Smashing Blog , about Asha & M. Sinha …..This was hilarious film Bewaquoof reminded me of Hum sub chorhai film early years of Shammi Kapoor.. well informed in the past there were more movies made with Kishore and I.S Johar if i know …..

S.vaishnav

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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.

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15200 song posts by now.

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