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

Le gayaa le gayaa dil mera le gayaa

Posted on: December 18, 2015


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.

SHANKAR-JAIKISHEN IN THE 50s…..Song No. 10…Last song of the series
————————————————————————
We have come to the end of this series.

Shankar-Jaikishen gave us tremendous pleasure by providing some exceptional melodies and iconic songs during the decade of 1950s. All in all, Hindi film music could be considered to be at its zenith during 1950s. Masters like Naushad, C.Ramchandra, Shankar Jaikishan, Hemant Kumar, Ravi, Roshan, Chitragupta and many more composers regaled us with their best songs during this decade. The dream run of the decade of 50s ended like all dreams and the HFM started going downwards from then onwards. HF M Somehow kept up thefreshness and sweetness of their melodies till the latter half of the 60s. With the changing pattern of the public taste and the sociological changes in the Indian societies, thestress became more on instant satiation rather than lasting satisfaction. This led to songs which became popular for a few months and were then forgotten after that. The period of remaining in public memory went on reducing and today’s songs hardly stay in memory for a month or so ( exceptions excepted).

One of the most successful pairs of composers for a longer period broke up internally. With Jaikishen’s death in 1971, the PRO of the team was gone and Shankar found himself alone and without any help. Shanker and Jaikishan had personally and professionally split due to certain reasons – more speculated upon than accurate -around the mid-1960s.

Creatively independent, they worked under the common tag of Shankar Jaikishan as producers latched on to one or the other. And very often the rift proved to be just a technical parting of ways, as they would still contribute to the same film (Arzoo, Mera Naam Joker) just as in their days together. Strangely enough, it was after Jaikishan’s death that Shanker began to go downhill. His obsession with Sharada led to deterioration in his music. He had a long-standing problem with Lata Mangeshkar, which worsened matters for him.

Frustrated at the way he was losing banners, Shanker’s creativity went awry, and his only flash of brilliance in the post-Jaikishan era was Lal Patthar. He patched up with Lata in Sanyasi, but the old resonance was missing in the film. Towards the end, only one loyalist – Sohanlal Kanwar – stuck by him till “Paapi Pet Ka Sawaal Hai” (1984). The last trickle was pathetic and towards the end, Shanker, a titan by any standards, became desperate enough to compose songs on television for a TV programme which mainly spotlighted new, struggling or has-been talent – AAROHI.

With Shankar Jaikishan’s exit from the musical scene, a glorious chapter in the HFM came to an end.

Film Baadshah-54 was a production of Mars and Movies, a production company floated by Amiya Chakrawarty, after he left Bombay Talkies-where he belonged to Devika Rani’s group.

Born on 30-11-1912 Bogra,Rangpur District in East Bengal (now Bangladesh), he worked as a child actor and singer on local stage. Later he joined freedo struggle and courted arrest during Gandhiji’s salt Satyagrah. Then he came over to Bombay and being a Bengali, joined Bombay Talkies owned by Bengalees, first as a Tutor for Bangla for the children of Niranjan Pal. Niranjan Pal had spent all his life in UK and came to India with friend Himanshu Rai ( within few years they fought bitterly and separated). Amiya firsy started as a Canteen manager and then worked as assistant to Himanshu Rai. After Himanshu Rai’s death, there were two groups. Amiya joined Devika Rani’s group,being her favourite. She gave him the reward by allowing him to direct film Anjaan-41, a Devika-Ashok kumar love story.

Though, for director Naqvi’s film Punarmilan, Amiya and Gyan Mukherji wrote the screen play together, they were never comfortable with each others. After the split in Bombay talkies,when Gyan mukherjee went with the opposition group, their competition increased since now both were directors. When the other group started work on Kismet, with Anil Biswas as MD, Amiya also started Basant, with the same Heroine- Mumtaz Shanti- and Anil Biswas incognito with Pannalal Ghosh as a Front.

Even after Bombay talkies closed down , their competition continued. When Amiya did Baadal-51, on the same story, Gyan mukherjee made the film Shamsheer-53 ( originally this film was made by Sargam films, but Bombay Talkies purchased its rights and released it.) Further in 1957, both started a film each with the same Heroine-Vyjayantimala. Amiya did Kathputli-57, but he died before this film was completed and Nitin Bose completed the remaining film. Similarly Gyan mukherjee started the film Sitaron se aagey, but he too died before the film was completed. After some time Satyen Bose was commissioned to complete the film, thus delaying its release in 1958. Their competition ended only after their deaths !

During his Bombay Talkies days, Amiya directed Anjaan-41,Basant-42 and Jwar Bhata-44. For his own Mars and Movies, he directed Daag-52,Patita-53,Baadshah-54, Seema-55,Dekh kabira Roya-57 and Kathputli-57. For other producers,he directed films like Mera Suhag-47,Girls school -49, Gauna-50, Baadal-51 and Shehenshah-53. In a career spannig 16 years he directed only 14 films. He also wrote story and screenplays for films lie Bandhan-40, Anjaan-41, Baadal-51,Daag-52, Dekh kabira roya-57 and Kathputli-57.

Amiya introduced Dilip Kumar in Jwar Bhata-44, Usha Kiran in Gauna-50 ( though she had acted in film Lalaat-47 in her real name-Usha Marathe) and Shubha khote in film Seema-55. He promoted jawahar Kaul, Daljeet and Anup Kumar as Heroes in film Dekh kabira roya-57. he handled problems like Alcoholism in film Daag-52,Rape victim’s rehabilitation in Patita-53, Injustice in Seema -55, and problems of an Actress in film Kathputli-57. Amiya got involved with Usha kiran during the film Gauna,but his wife sorted out the problem by meeting Usha Kiran and offering her divorce, upon which Usha kiran decided to break the affair herself to save her marriage. Later Usha kiran got married in 1954 with Dr. Manohar kher, who was given all information about this.

Amiya Chakravarty died of Heart attack on 6-3-57, at an young age of only 45 years. Till the end he donned only White Shirt and White Pants-the uniform of Bombay Talkies !

So, we come to the end of yet another series ‘Shankar-Jaikishen in the 50s’. I remember here what an author had said- “One entire generation grew on Rationing food, Dalda Ghee, Nehru’s reign and Shankar-Jaikishen songs.”- all specialities of the 50’s. Their success was not a ‘ Fluke’, which they proved year after year. They opened their giant storehouse of melodies to Music lovers unabatedly. They made film music so easy to sing that even a Coolie or a Dhobi could sing their songs. When one of them died the team collapsed. ( This was exactly opposite to the case of another pair of composers- Ram-Laxman. Ram ( Surendra Patil) died in the beginning itself, but Laxman ( Vijay Patil) continued with the name Ram-Laxman and single handedly gave many successful films like ‘Maine pyar kiya’ and “Hum aapke hai kaun” from their 100 Hindi and 40 Marathi-mainly Dada Kondke films.)

Baadshah-54 had 8 songs. Today’s song is the 7th song from the movie to appear in the blog. Only one more song from the movie remains for the movie to be YIPPEED.

This song is sung by Lata with chorus and it is written by Hasrat Jaipuri.


Song-Le gaya le gaya dil mera le gaya(Baadshah)(1954) Singer-Lata, Lyrics-Hasrat Jaipuri, MD-Shankar Jaikishan
Chorus

Lyrics

le gaya aa
le gaya aa
dil le gaya aa aa

le gaya
le gaya
dil le gaya aa
le gaya
le gaya
dil le gaya aa aa
le gaya dil mera
sapnon mein aa ke
koi le gaya dil mera
sapnon mein aa ke

sapnon mein aake
ho naina mila ke
le gaya dil mera
sapnon mein aa ke
koi le gaya dil mera
sapnon mein aa ke

aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa

nain miley main to sharma gayi
raam kasam main to ghabra gayi
haay haay
ghabra gayi
haay haay
ghabra gayi

nain miley main to sharma gayi
raam kasam main to ghabra gayi
haay haay
ghabra gayi

aankhon aankhon mein raaz keh gaya aa aa
aankhon aankhon mein raaz keh gaya aa aa
aa aa
le gaya dil mera
sapnon mein aa ke
koi le gaya dil mera
sapnon mein aa ke

teer jigar par aisa laga
soya pyaar bhi tadapne laga
ho tadapne laga
ho tadapne laga
teer jigar par aisa laga
soya pyaar bhi tadapne laga
ho tadapne laga
meethha meethha sa dard de gaya aa aa
meethha meethha sa dard de gaya aa aa aa aa
le gaya dil mera
sapnon mein aa ke
koi le gaya dil mera
sapnon mein aa ke

aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa

dil se dil mera aise mila
chaand ke sang jaise taara khila
ho sitaara khila
dil se dil mera aise mila
chaand ke sang jaise taara khila
ho sitaara khila
jaate jaate salaam keh gaya
jaate jaate salaam keh gaya aa aa
le gaya dil mera
sapnon mein aa ke
koi le gaya dil mera
sapnon mein aa ke

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3 Responses to "Le gayaa le gayaa dil mera le gayaa"

Arun Ji, very balanced content in entire series, stressing more on their strength than on their reported split. Many articles try to speculate who tuned which song or attempt to paint one better than the other. You have rightly avoided treading this line. Shankar Jaikishan had a extremely successful run during the time there were many very talented MD’s. Personally I would say they were first among equals. No doubt Shankar’s music went down hill post Jaikishan’s death. It is understandable because his team lost two members, his inspiration gone,confidence shaken & Raj Kapoor ( of all) dropped him .
Thanks for the good series

Thank you,K S Shenoy ji.

A lilting song to end the series. Thanks

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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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