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

Bade khoobsoorat ho tum naujawaan

Posted on: October 2, 2016


This article is written by Raja, 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.

After a gap of a few months, I am back here to present a post.

This time the occasion is the birthday of one of India’s most popular leading ladies of yesteryear, Asha Parekh. On this day (2 october 2016), we, on this blog, wish her a very happy birthday!

Asha Parekh was one of the most recognized faces in Hindi cinema through the decade of the 1960s. Not only did she act opposite most of the leading male actors of the time, she probably had the maximum number of hits for a leading lady in that period.

Starting with Dil Deke Dekho (1959), Asha Parekh’s career as leading lady went from strength to strength with Ghunghat (1960), Gharana (1961), Jab Pyar Kisi Se Hota Hai (1961), Phir Wohi Dil Laaya Hoon (1963), Ziddi (1964), Mere Sanam (1965), Love In Tokyo (1966), Aaye Din Bahar Ke (1966), Teesri Manzil (1966), Do Badan (1966), Upkar (1967), Kanyadaan (1968), Shikar (1968), Sajan (1969), Pyar Ka Mausam (1969), Aaya Sawan Jhoom Ke (1969), Chiraag (1969), Aan Milo Sajna (1970), Kati Patang (1970), Mera Gaon Mera Desh (1971), Caravan (1971), Samadhi 1972), Heera (1973), Zakhmee (1975).

Now that is a STAGGERING number of hits for any actor, male or female. I’ve just listed 25 films – and I’ve probably missed a few. If Rajendra Kumar was called Jubilee Hero in the 60s for his string of jubilee hit films, Asha Parekh deserves that sobriquet for the female lead.

And yet, for all her success, Asha had to wait till Kati Patang (1970) for her first Filmfare Award. In fact, this was the only one she won as leading lady. She had been nominated for Chiraag (1969) but didn’t win. And later, she did win a Filmfare Award for Main Tulsi Tere Aangan Ki (1978) but that was in the category of Best Supporting Actress. She had also been nominated in this category for Udhar Ka Sindoor (1976).

I remember Asha’s reaction to winning that Filmfare Award for Kati Patang. She felt FINALLY redeemed. For years, she’d been considered a bankable heroine (which was why producers lined up to sign her) but never been rated quite as an actress in the league of, say, a Waheeda Rehman or Meena Kumari. It bothered her, because for any actor, in addition to just delivering hit films, appreciation of his or her performance is highly valued.

To be fair to Asha Parekh, most of the films of the 60s were hardly heroine-dominated, or requiring too much of acting skills from the heroine. Not for nothing was the decade known internationally as the “Swinging Sixties”. Even in Hollywood, the Rock Hudson-Doris Day type “light” romantic films were the order of the day. Or Bond films, where the focus was mainly on the action, and the female actors were largely just accessories to the film.

In India too, this syndrome was very much prevalent. Possibly even more so, because colour films suddenly burst onto the scene, triggering a trend of outdoor location shootings. In this scenario, the emphasis was on everything other than acting. 🙂

Most of these films had typical, clichéd storylines. Hillstations, romance, songs in exotic locales, a misunderstanding and a reconciliation. Escapist possibly, but the audience lapped this up, film after film. And where there is demand, producers will be happy to supply.

In this scenario, Asha Parekh just went with the flow, like other actors of the time. It is unfair to expect an exceptional performance from a role that doesn’t have room for this at all. I have therefore always found criticism of Asha Parekh’s acting unfair.

In Kati Patang, where her role was, for once, not quite so glamourous, she managed to bag the Filmfare Award.

I also liked her in Pagla Kahin Ka, another film where she doesn’t have a glamourous (read “going on a picnic with sahelis” 🙂 ) role. But the film bombed badly at the box office and that was that.

I remember a Madhuri magazine article of 1970 on the top 3 heroines of the time. The magazine mentioned Waheeda Rehman, Sharmila Tagore and Asha Parekh. So whatever her critics might say, Asha Parekh was recognized in the top league at the time.

Besides, it is upto producers to take a chance and give an actor a role different from one that he/she is typecast in. Shakti Samanta did that with Asha in Kati Patang. But possibly producers preferred Waheeda, Sadhana, Mala Sinha or Sharmila Tagore for roles which demanded depth – and left Asha out of contention for these. Hardly her fault.

All I will say is, even today, I’m happy to watch an Asha Parekh film. Most of her films are high on entertainment. They have lovely, fun, melodious songs – whether it is “bade hain dil ke kaale” or “o mere sona re”. Or the songs of Caravan that are fultoos entertainment – I just love “daiya re main kahaan aa phasi” picturised on Asha.

Finally, it is what you give back to society (in any form) that is your legacy. Beyond her acting career, Asha Parekh will be remembered for the Asha Parekh hospital in Santa Cruz, Mumbai. She also runs a dance academy. She was the first female chairperson of CBFC (Censor Board). So her influence goes well beyond her acting career. So there’s more to her than just her acting career.

We therefore take this opportunity to thank Asha Parekh also for all she has done.

Now onto the song.

This is from Mahal (1969) – the murder mystery, starring Dev Anand and Asha Parekh. The film has some lovely (and popular) songs. I remember seeing this film a long time ago. But as usual, I don’t remember too much of it now, except that it was worth a watch.

Here’s “bade khoobsoorat ho” from the film. The lyrics have been provided here by Avinashji. But this time, not remotely, but sitting right next to me. 🙂 But hey, that’s a story for another post – watch this space. 🙂

Audio

Video

Song-Bade khoobsoorat ho tum naujawaan (Mahal)(1969) Singer-Lata, Lyrics-Anand Bakshi, MD-Kalyanji Anandji

Lyrics(Provided by Avinash Scrapwala)

Bade khoobsoorat ho tum naujawaan
Bade khoobsoorat ho tum naujawaan
Tumhen log kehte hain jaan e jahaan
Magar maaf karna hamen meharbaan
Ham kahaan
Tum kahaan
Tum kahaan
Ham kahaan
Ham kahaan
Tum kahaan
Tum kahaan
Ham kahaan

Suna aa hai ke tum ho deewaane bade
Sune hain tumhaare fasaane bade
Haseenon mein mash’hoor ho tum bahot
Ke aashiq ho tum to puraane bade
Tumhaare
Oye hoye
Tumhaare hain charche
Yahaan aur wahaan
Tumhen log kehte hain jaan e jahaan
Magar maaf karna hamen meharbaan
Ham kahaan
Tum kahaan
Tum kahaan
Ham kahaan
Ham kahaan
Tum kahaan
Tum kahaan
Ham kahaan

Churaaya hai hamne bahaaron ka dil
Fidaa aa ham pe hai chaand taaron ka dil
Zara muskuaaraa ke jo ham dekh len
Machal jaaye tauba hazaaron ka dil
Machal jaaye
Haaye Haaye
Machal jaaye dil to nikal jaaye jaan
Tumhen log kehte hain jaan e jahaan
Magar maaf karna hamen meharbaan
Ham kahaan
Tum kahaan
Tum kahaan
Ham kahaan
Ham kahaan
Tum kahaan
Tum kahaan
Ham kahaan

Kabhi tumse nazren milaayenge ham
Nigaahon se bijlee giraayenge ham
Zaraa yaad rakhna
naa ye bhoolna
Tumhen ek din aazmaayenge ham
Tumhaara
Oye hoye
Tumhaara kabhi lenge ham imtihaan
Tumhen log kehte hain jaan e jahaan
Magar maaf karna hamen meharbaan
Ham kahaan
Tum kahaan
Tum kahaan
Ham kahaan
Ham kahaan
Tum kahaan
Tum kahaan
Ham kahaan

———————————————-
Lyrics in Devnagri Script(Provided by Avinash Scrapwala)
———————————————-
बड़े खूबसूरत हो तुम नौजवान
बड़े खूबसूरत हो तुम नौजवान
तुम्हे लोग कहते है जान ए जहां
मगर माफ़ करना हमें मेहरबान
हम कहाँ
तुम कहाँ
तुम कहाँ
हम कहाँ
हम कहाँ
तुम कहाँ
तुम कहाँ
हम कहाँ

सूना आ है के तुम हो दीवाने बड़े
सुने हैं तुम्हारे फ़साने बड़े
हसीनों में मशहूर हो तुम बहोत
के आशिक हो तुम तो पुराने बड़े
तुम्हारे
ओये होए
तुम्हारे है चर्चे
यहाँ और वहाँ
तुम्हे लोग कहते है जान ए जहां
मगर माफ़ करना हमें मेहरबान
हम कहाँ
तुम कहाँ
तुम कहाँ
हम कहाँ
हम कहाँ
तुम कहाँ
तुम कहाँ
हम कहाँ

चुराया है हमने बहारों का दिल
फ़िदा आ हम पे हैं चाँद तारों का दिल
ज़रा मुस्कुराके जो हम देख लें
मचल जाए तौबा हज़ारों का दिल
मचल जाए
हाये हाये
मचल जाए दिल तो निकल जाए जान
तुम्हे लोग कहते है जान ए जहां
मगर माफ़ करना हमें मेहरबान
हम कहाँ
तुम कहाँ
तुम कहाँ
हम कहाँ
हम कहाँ
तुम कहाँ
तुम कहाँ
हम कहाँ

कभी तुमसे नज़रें मिलायेंगे हम
निगाहों से बिजली गिराएंगे हम
ज़रा याद रखना
ना ये भूलना
तुम्हे एक दिन आजमाएंगे हम
तुम्हारा
ओये होए
तुम्हारा कभी लेंगे हम इम्तिहान
तुम्हे लोग कहते हैं जान ए जहां
मगर माफ़ करना हमें मेहरबान
हम कहाँ
तुम कहाँ
तुम कहाँ
हम कहाँ
हम कहाँ
तुम कहाँ
तुम कहाँ
हम कहाँ

6 Responses to "Bade khoobsoorat ho tum naujawaan"

She was hardly 16 in Dil Deke Dekho.

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Asha Parekh was one of the top heroines when I was growing up. I caught her at the end of her career. I loved Sajan. She carried off the bouffant and the flirty eye makeup perfectly. Most times the romance started with the hero doing a bit of ched chaad with the heroine. At such times Asha would look angry and say ‘You Stupid’ or some such thing. My mother commented, after seeing some films, that people burst into English only when they had to abuse. English gaalis were really popular. If you could give a gaali in English, you were REALLY educated.

Watching Asha Parekh is always a delight. Love in Tokyo is one of my all time favorite films.

I remember being surprised to see a small role by Asha in ‘Asha’. I am glad she burst into the big scene and made it to the top.

Like

Atul ji, kindly correct the year as ‘1959’ for ‘Dil Deke Dekho’ please. We had realized our mistake later. However due the ‘gang-out’ and ‘travels’ I am late in sending you this request.

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audio

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video

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missing video link:

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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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