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

Archive for September 2018


This article is written by Peevesie’s Mom, 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.

Blog Day :

3726 Post No. : 14665 Movie Count :

4008

Hullo to all in Atuldom

Todays’ song has Anand Bakshi and Anand Milind get together to give the movie goers Anand (joy!). it is from a movie which was directed by Hrishikesh Mukherjee for GP Sippy’s production – ‘Jhooth Bole Kauwa Kaate’ (1998). The movie stars Anil Kapoor, Juhi Chawla, Amrish Puri, Anupam Kher, Reema Lagoo and Sajid Khan.

The screenplay for thid movie is written by Hrishikesh Mukherjee and Sachin Bhowmick, based on a story by Bimal Kar. It has a lot of inspiration from many of Hrishida’s earlier successful movies. Remember “shifting pain” in ‘Anand’ (1970) – well the character of Shankar’s (Anil Kapoor) bhabhi has “shifting pain” in her knee. Remember “mooche mundawana” in ‘Golmaal’ (1979)? Here Shankar has to cut his hair “baal mundwana”. Remember the strict Jija ji who used to judge a person “soongh ke”; here we have a father (Amrish Puri) who has similar powers.  Then we had David in ‘Chupke Chupke’ (1975) who was in tandem with the pranksters; here we had a mamma (Anupam Kher). And also, there is a passing reference to the joke about identical twins (Golmaal) and Amrish Puri (who is called Bhayankar behind his back) goes- “Steve Waugh, Mark Waugh Wah Wah!!” I know all this about the movie as I have seen it a few times on TV of course. And I thoroughly enjoyed it.  There are many songs in the movie which are good.

There was a song in Hrishida’s “Naram Garam’ (1981) which had a girl ask her chacha (Shatrughan Sinha) to get ready for a wedding. Today’s song has a bhaanji (Juhi Chawla) asking her mamma why he was still a bachelor.  The song is sung by Vinod Rathod and Alka Yagnik. This song is similar in thought with what I had presented a few days back- a bachelor loving his bachelorhood. 🙂

Any idea why this song and movie today? Well it was the last movie to be directed by the Hrishikesh Mukherjee. He returned to direction of films after a gap of 10 years.

Starting his life as teacher of mathematics and science before venturing into filmdom as a cameraman and then an assistant film editor in the late 40s, in Calcutta (now Kolkata) he went on to work with Bimal Roy as film editor and assistant director in movie like ‘Do Bigha Zameen’ and ‘Devdas’. He debuted as director with ‘Musafir’ in 1957 and followed it up with movies that are a class in themselves – ‘Anari’, ‘Anuradha’, ‘Chhaya’, ‘Asli Naqli’, and the list goes on to include a few movies that gave Dharmendra his first comedy – ‘Chupke Chupke’; Amitabh his big break in ‘Anand’; introduced Jaya Bhaduri to Bollywood – ‘Guddi’. I am not a critique of his work, I am a fan. I might have seen all the movies he made in the late 70s through to the 80s. so when ‘Jhooth Bole Kauwa Kaate’ released I saw that too but not in the cinema hall as the movie had a poor audience reception. But the songs of the movie keep replaying in my head.

Here is one to remember Hrishida on his birth anniversary.

Song – I Love You, Bhaanji Thank You (Jhooth Boley Kauwa Kaate) (1998) Singer – Alka Yagnik, Vinod Rathod, Lyrics – Anand Bakshi, MD – Anand Milind

Lyrics

pihu pihu bole papiha
koyal bole kuhu kuhu
[bird sounds]
pihu pihu bole papiha
koyal bole kuhu kuhu
mama I love you
bhaanji thank you
bhaanji I love you
mama thank you

mama kar lo shaadi
le aao meri maami
mujhe kisi ladki ki
karni nahi gulaami
mai bhi to ladki hoon
mat karo meri badnaami
ladki nahi tu meri bhaanji
meri jaan hai tu..uu
mama I love you
bhaanji thank you
bhaanji I love you
mama thank you

bolo mamma sa re ga ma
main kyon bolu sa re ga ma
topi kurta aur pyjama
maami ke bin kya hai mama
maami ke bin kya hai mama
chup kar mat kar meri bhaanji
beech sadak tu hungama
hat ched na mujhko tu..uu
mamma I love you
bhaanji thank you
bhaanji I love you
mama thank you

mama sabki jodiyaan
tu kaise akela rah gaya
bhaanji main aage nikal gaya
peeche wo mela rah gaya
pandrah bees baras wapas peeche tu mud ja
ho mama seeti baja
meri maami ko bula
ho seeti bajaana tujhe sikhaaya kisne ye batla
ho bhaanji seeti baja
mujhe us ladke se mila
koi kaam ka ladka hai ya
hai shehari babu
he mama I love you
bhaanji thank you
bhaanji I love you
mama thank you
mama I love you
bhaanji thank you
bhaanji I love you
mama thank you

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

पीहू पीहू बोले पपीहा
कोयल बे कुहु कुहु

[पक्षी के स्वर]

पीहू पीहू बोले पपीहा
कोयल बे कुहु कुहु
मामा आई लव यू
भांजी थैंक यू
भांजी आई लव यू
मामा थैंक यू

मामा कर लो शादी
ले आओ मेरी मामी
मुझे किसी लड़की की
करनी नहीं गुलामी
मैं भी तो लड़की हूँ
मत करो मेरी बदनामी
लड़की नहीं तू मेरी भांजी
मेरी जान हैं तू॰॰ऊ
मामा आई लव यू
भांजी थैंक यू
भांजी आई लव यू
मामा थैंक यू

बोलो मामा सा रे गा मा
मैं क्यों बोलूँ सा रे गा मा
टोपी कुर्ता और पाजामा
मामी के बिन क्या है मामा
मामी के बिन क्या है मामा
चुप कर मत कर मेरी भांजी
बीच सड़क तू हँगामा
हट छेड़ ना मुझको तू॰॰ऊ

मामा सबकी जोड़ियाँ
तू कैसे अकेला रह गया
भांजी मैं आगे निकाल गया
पीछे वो मेला रह गया
पंद्रह बीस बरस वापस पीछे तू मुड़ जा
हो मामा सीटी बजा
मेरी मामी को बुला
हो सीटी बजाना तुझे सिखाया किसने ये बतला
हो भांजी सीटी बजा
मुझे उस लड़के से मिला
कोई काम का लड़का है या
है शहरी बाबू
हे मामा आई लव यू
भांजी थैंक यू
भांजी आई लव यू
मामा थैंक यू
मामा आई लव यू
भांजी थैंक यू
भांजी आई लव यू
मामा थैंक यू

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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.

Blog Day : 3726 Post No. : 14664

“Roshni”(1949) was directed by Ramanlal Desai for Standard Pictures Corporation, Bombay. The movie had Rehana, Nihal, Mumtaz Ali, Sophia, Benjamin, Pran, Harun, Chaand Burque, Sita Bose, V H Desai, Kesri, Shyam lal, Ramlal, Kamal Krishn, Gulnar, Indira, Shyama, zarina, Ishrat etc in it.

The movie had nine songs in it. Five songs from the movie have been covered in the past. Here is the fifth song from “Roshni”(1949) to appear in the blog.

This song is sung by Lalita Deulkar and chorus. P L Santoshi is the lyricist. Music is composed by C Ramchandra.

The song is a cute and interesting song where a desi lady wonders about the lifestyle of western people and dreams of copying them. 🙂 Her observation and conclusion about them is quite hilarious. She observes that these western people walk around with a “phaasi ka phanda” around their necks. 🙂 To her, a “mem” walks around holding a “chhatri” in her hard and she fantasises about doing the same, with her “beau” who would be suitably “westernised” as well, wearing a long hat. 🙂

Watching the video of the song would have been fun, but unfortunately the video is not available. Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Jiya chaahe ke ud jaayen ham (Roshni)(1949) Singer-Lalita Deulkar, Lyrics-P L Santoshi, MD-C Ramchandra

Lyrics

jiya chaahe
aa ha ha
jiya chaahe
ke ud jaayen ham
haan ud jaayen ham
jahaan chamke bijaliyaan cham cham cham
jiya chaahe
aa ha ha
jiya chaahe

suna hai shahar mein
sab kuchh hai bikta
aa aa aa
suna hai shahar mein
sab kuchh hai bikta
dikhne mein mahanga
lene mein sasta
dikhne mein mahanga
lene mein sasta

khareedengen dil mein jo aaye hamaare
khareedengen dil mein jo aaye hamaare
ham kya kisi se kam
ham kya kisi se kam
cham cham cham
jiya chaahe
aa ha ha
jiya chaahe
ke ud jaayen ham
haan ud jaayen ham
jahaan chamke bijaliyaan cham cham cham
jiya chaahe
aa ha ha
jiya chaahe

lambi lambi sadken
oonche oonche bangle
ae ae ae
lambi lambi sadken
oonche oonche bangle
sair karen saahab
mem ko sang le
sair karen saahab
mem ko sang le

ham bhi ghoomenge leke
chhoti si chhatri
ham bhi ghoomenge leke
chhoti si chhatri
bada sa hat pahne mera sanam
bada sa hat pahne mera sanam
cham cham cham
jiya chaahe
aa ha ha
jiya chaahe
ke ud jaayen ham
haan ud jaayen ham
jahaan chamke bijaliyaan cham cham cham
jiya chaahe
aa ha ha
jiya chaahe

shahar waale hote hain aashiq niraale
ae ae ae
shahar waale hote hain aashiq niraale
phirte hain gale mein phaansi si daale
phirte hain gale mein phaansi si daale
bajaate hain seeti wo
karte ishaare
bajaate hain seeti wo
karte ishaare
dekha ki koi chali
chham chham chham
dekha ki koi chali
chham chham chham
jiya chaahe
aa ha ha
jiya chaahe
ke ud jaayen ham
haan ud jaayen ham
jahaan chamke bijaliyaan cham cham cham
jiya chaahe
aa ha ha
jiya chaahe


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.

Blog Day : 3726 Post No. : 14663

Today’s song is from film ‘Shahkaar’ (1947). Very few people must have heard about this film. That is probably because, it was made in 1947- the year of India’s partition. As the year 1947 began, news was circulating about the partition. Like many other industries, film industry was also worried. There was an air of uncertainty. Who will stay and who will migrate was hotly debated in the privacy of homes, studios and clubs. People looked at each others with suspicion. Muslims were worried about their safety in India, in spite of the assurances by Gandhi and Nehru.

Crores of rupees were invested in films. After the second world war started in 1939, lot of Black money was generated and much of it came to film industry. Investors, financiers and producers were worried about half made films. Everybody seemed to be in a hurry to finish his assignment on hand. Due to this the quantity of films increased, sadly at the cost of quality. 1947 saw a record number of films made in 1947- 181 Hindi films, the highest ever since films were made. It took another 40 years to break this record in 1988, when 185 films were made.

Almost 75 to 80 % films of 1947 were obscure and forgotten within a short time.Films like ‘Aisa Kyun’, ‘Atom Bomb’, ‘Barrister’, ‘Beete Din’, ‘Chalte Chalte’, ‘Chandrahaas’, ‘Dehati’, ‘Daulat Ke Liye’, ‘Extra Girl’, ‘Farz’, ‘Gaurav’, ‘Gudiya’, ‘Heera’, ‘Janata’, ‘Jhalak’, ‘Khandaani’, ‘Lalat’, ‘Manmaani’, ‘Mere Bhagwan’, ‘Mohan’, ‘Nai Baat’, ‘Pehla Pyar’, ‘Paro’, ‘Riwaaz’, ‘Shabari’, ‘Shahkaar’, ‘Tohfa’, ‘Toote Di’l, ‘Veerangana’ are some of the films made in 1947. How many of us even know about them? Actually, some of these were films in which well known and major stars of the times had acted. For example, ‘Mohan’ had Dev Anand as hero, ‘Lalat’ was the debut film of Usha Kiran (as Usha Marathe), Prem Adib and Vanmala had acted in ‘Chandrahaas’ etc.

Not that ALL films were bad. Certainly some famous and excellent films providing some milestones of Hindi cinema  were also made in 1947, like ‘Aapki Sewa Mein’ (first playback song of Lata Mangeshkar), ‘Bela’ (all 10 songs by Zohrabai Ambalawali), ‘Dard’ (debut song of Umadevi), ‘Elaan’ (a bold Muslim social film by Mehboob Khan), ‘Jugnu’ (the only film of Dilip Kumar and Noorjehan), ‘Meera’ (all 18 songs by MS Subbulaxmi), ‘Mirza Sahibaan’ (last film of Noorjehan in India), ‘Neel Kamal’ (debut of Raj Kapoor and Madhubala as lead pair), ‘Parwaana’ (last film of KL Saigal), ‘Shadi Se Pehle’ (first duet of Rafi and Lata) and ‘Shehnai’ (epoch making music by C Ramchandra).

Nevertheless partition did have an impact on the film industry, due to the migration of artistes from both countries. Lahore, an important city in the undivided Punjab in the pre-independence days was one of the major film making centres in India. Talented actors and musicians from all Punjab and Sindh area tried their luck in the Cine Industry at Lahore. Nevertheless, the biggest centre of film production was Bombay and it was every aspiring artist’s dream to go to Bombay and shine there.

The film activity at Lahore increased considerably in the early 1940s in terms of film production and music. Those days Lahore was called a supply source for Bombay, as many actors and musicians shifted their base to Bombay from there. In reality, a large number of star performers and music directors of Bombay film industry had their roots in the undivided Punjab. Many started careers in Lahore, some started from Calcutta and some even from Bombay itself. Most who were in Calcutta shifted to Bombay in early 40s ( but it had nothing to do with Partition). The list of such people is very long, but suffice to mention some well known names.

Noorjehan, Pran, KL Saigal, Prithviraj Kapoor and his sons, Shyam, Dilip Kumar, Surinder, Karan Dewan, Dev Anand, Balraj Sahni, Singer Khursheed, Mumtaz Shanti, Veena, Begum Para, Meena Shorey, Suraiya, Manorama, Kamini Kaushal, Shyama (Khursheed Akhtar), AR Kardar, M Sadiq, Suresh (Nazim Ahmed), Amar, Chetan Anand, Jhande Khan, Ghulam Haider, Pt Amarnath and his brothers Husnlal-Bhagatram, Hansraj Behl, S Mohinder, Feroz Nizami, Khursheed Anwar, Khayyam, Vinod, Shyamsunder, Kidar Sharma, Krishna Chander, OP Dutta, Saadat Hasan Manto, Qamar Jalalabadi, DN Madhok, Tanvir Naqvi, Prem Dhawan etc.

Many of the actors and producers used to shuttle between Lahore and Bombay for their work.

And then the PARTITION took place in 1947.

In the communal frenzy, polarisation of artistes took place. Hindus shifted to Bombay and Muslims left for Lahore. But there were some reverse migrations also in this period. One example each is of Sahir Ludhiyanvi who migrated to India, and Deebo Bhattacharya from Calcutta migrated to Karachi and prospered in Pakistan as a successful music Director.

Some of the families got divided, like Mehboob Khan opted to remain in India, but his brother MR Khan remained in Pakistan and worked as a well known producer. Juhi Chawla’s grandfather JC Anand and uncle Satish Anand stayed in Lahore. Consequently they became the pioneers of Pakistan Film Industry. After the divorce, Rafi’s wife also migrated to Pakistan with her children.

At the actual time of Partition some artists were in Lahore for film work. They were BR Chopra, Ramanand Sagar, IS Johar, Gulshan Rai, Omprakash, Jeevan, OP Nayyar, Rajinder Singh Bedi, Naqsh Lyallpuri, Surinder Kaur, Prakash Kaur and Pushpa Hans. They all left Lahore hurriedly and reached Bombay safely.

However this journey was not so safe for one actor – comedian Durga Prasad, known as Durga Mota. He was very fat. In the melee, he reached the Lahore station and somehow entered the train to Bombay. Suddenly a group of mad rioters entered the Lahore station and started killing the travellers. Most people ran helter skelter, but due to his heavy body, Durga Mota could not run and was cut into pieces on the Lahore station platform itself !

Same way many artists from Bombay left for Lahore and ALL of them reached safely.

I have full lists of who migrated, but to put it in short, some of the directors who migrated were,

Syed Shaukat Hussain Rizvi, SM Yousuf, Najam Naqvi, Munshi Dil, Nakshab Jarchavi, M Sadiq, Zia Sarhadi, Sibtain Fazli (of Fazli Brothers), ST Zaidi , Zahoor Raja, Wali Saheb and Manto.

Some of the heroes were- Nazeer, Sadiq Ali, Masood, Sudhir, Santosh, Ratan Kumar, Najmul Hussain, Suresh and Nasir Khan (both came back to India later), Sheikh Mukhtar.

Some of the actors were- M Ismail, Ajmal, Gulam Mohd, Kumar, Ghori, Majeed, Shahnawaz, Himalayawala, Shyam Kumar, Allauddin, Shah Shikarpuri, Charlie, Nazar Faizi etc.

Some of the Heroines were- Noorjehan, Meena Shorey, Khursheed, Zeenat Begum, Asha Posley, Najma, Kalawati, Rehana, Swarnalata, Ragini, Bibbo, Renuka Devi, Geeta Nizami, Maya Devi etc.

Some from the music field were- Khursheed Anwar, Inayat Hussain, Rafiq Gaznavi, GA Chisti, Ghulam Haider, Feroz Nizami, Nissar Bazmi, Nashaad, Tufail Faruqi, Tanvir Naqvi, Faiyaz Hasmi, Iqbal Bano, Premlata etc.

With so many people migrating to Pakistan at a time and the condition of Pakistan Film Industry then, it is a moot question, whether all these migrants could get work there and shine ?

There were 2 types of people who migrated-

  1. Those who had achieved their peaks already in India and
  2. Those who had just started their careers.

Obviously the second group, at least some of them, could do well there eventually.

Some of the successful migrants there were- Noorjehan, Khursheed Anwar, GA Chisti, Nissar Bazmi, Feroz Nizami, Najam Naqvi, Nakshab Jarchavi, Sibtain Fazli, Wali Saheb, Manto, Rashid Atre, Sudhir, Santosh, Asha Posley, Shameem, Najma, Yasmeen, Ragini, Zahoor Shah, Shaikh Iqbal, Himalayawala, Nazar, Rafiq Gaznavi, Tanvir Naqvi, Iqbal Bano etc.

The unfortunate ones were (some of them) – Meena Shorey, Ratan Kumar, M Sadiq, Charlie, Ghori, Kumar, Sheikh Mukhtar, Najmul Hussain, Neena, Kalavati, Maya Devi, Gulam Haider, Nashaad, Premlata etc.

Almost all the artists who shifted to Bombay prior to Partition did very well here.

There was a second wave of Migration in 1955-56, during which many artistes like Veera, Rattan Kumar, Rehana, Mumtaz Shanti, Meena Shorey, Wali Sahib, K Anwar etc migrated to Pakistan.

Partition did some damage to India, but as there was a second line waiting to take over, the impact was negligible. However, Pakistan had to build a new film industry with the help of the migrant artistes in almost all departments of film making. Once this generation ended their career, unfortunately there was not much of a second line to take over in Pakistan.

Here is an excerpt from a book “The Travels of Bollywood Cinema ” by Anjali Geeta Roy, in this connection…….

The rioting of 1947 set in motion irreversible, irrevocable migration. B R. Chopra and I S Johar were planning films in a big way for Lahore but had to run for their lives. Ramanand Sagar left in July, so did Gulshan Rai. Character actor Om Prakash (of Fateh Din fame, an all-time favourite skit relayed for years by Radio Lahore), comedian-bad man Jeevan and many others also left Lahore for Bombay. O P Nayyar recorded his immortal song Preetam Aan Milo/ Dukhia Jiya Bullai, Aan Milo at the His Master’s Voice studio in Lahore. He left Lahore only in 1948 when it became clear that people with the wrong religion were not going to return to their homes on either side of the Punjab. Writer Rajinder Singh Bedi escaped, sitting on top of a railway carriage carrying loads of Hindus and Sikhs out of Lahore. Song-writer Naqsh Lyallpuri began his literary career in Lahore as a journalist but had to leave in 1947. Punjabi singers, the sisters Surinder Kaur and Prakash Kaur, and Pushpa Hans also left Lahore.

Migration in the other direction also took place. Nazir and his wife Swarnlata, Noorjahan and her husband Shaukat Husain Rizvi, character actor Alauddin and many others headed for Lahore. Manto came in January 1948, music directors Ghulam Haider and Khurshid Anwar followed some years later and director M. Sadiq probably in 1969 or 1970. Meena Shori, Khurshid and Mumtaz Shanti also immigrated to Lahore. Some Pakistani actors in Lahore continued to use Hindu filmic names. Santosh Kumar (Musa Raza) and Sudhir (Shah Zaman), the two most famous heroes of the 1950s and 60s represented such practice. On both sides, initially considerable goodwill existed between the two film communities.

Some families were divided. Thus for example, while Nazir shifted to Lahore, his nephew K. Asif stayed on in Bombay. Kardar stayed on but his brother Nusrat Kardar and son Rauf Kardar returned to Lahore. While Suraiya, her mother and grandmother settled in Bombay, many of her other relatives shifted to Lahore. Rafi stayed on to reign supreme in Bombay while his parents and siblings were in Lahore.

There were some cross-religion marriages that created peculiar challenges. Raj Kapoor’s maama (maternal uncle) Mr Mehra married a Muslim, converted to Islam and stayed in Lahore. A unique case of reverse migration took place as well: poet Sahir Ludhianvi (Abdul Hai) left Lahore for India.

In the context of partition and its effect, if one sees, the film ‘Shahkaar’ was an ordinary film. The director of the film, the hero Shah Nawaz and few actors like Nazma, Majid, Mehdi Raza, Maqbool etc. migrated to Pakistan after partition. Obviously these artistes were in a hurry to complete the film, which affected the quality of the film.

The music director was K Datta aka Datta Korgaonkar. There were only 7 songs – all written by Arzoo Lucknowi. The film was directed by S Khalil, who directed 7 films in all in India. Shah Nawaz continued his career in Pakistan by acting in 41 films there (32 Urdu and 9 Punjabi). He died on 18-6-1971 in Karachi. Today’s song is sung by a young Mohd Rafi and Shamshad Begam. Rafi sounds very fresh here.

[Author’s Notes – the lists of names given here are indicative and not exhaustive. Migration period is considered as 1947 to 1970.]
[Acknowledgements – My thanks to Harish Lalwani of Hyderabad-Sindh and Rafiq Ansari of Lahore. Credits – HFGK, ‘Mourning the Nation’ by Bhaskar Sarkar, ‘Partition’ by Kavita Daiyya, “The Travels of Bollywood Cinema ” by Anjali Geeta Roy, Encyclopedia of Indian Cinema and my notes.]


Song-Ye duniya hai sab prem ki (Shahkar)(1947) Singers-Rafi, Shamshad Begam, Lyrics-Aarzoo Lucknowi, MD-K Datta

Lyrics

o o o
o o o
o o o
o o o
o o o
o o o o
o o o o

ye duniya hai sab prem ki
tu prem kiye ja
ye duniya hai sab prem ki
tu prem kiye ja
haan prem kiye ja
duniya mein jiye ja
haan prem kiye ja
duniya mein jiye ja

aa aa aa aa aa
aa aa aa
aa aa aa aa aa
o dharti ke raaja
aa aa aa aa
tere haath mein baaja
tere hath me baaja

o chaand ki raani
aa aa aa
teri mast jawaani,
teri mast jawaani
tu chaand mere dil ka hai
aankhon ka hai taara
mamta ne kiya phoolon mein chhip chhip ke ishaara
sandesh mujhe chupke se pardon mein diye ja
o chaand ki raani
o dharti ke raaja
o chaand ki raani
aaja
aaja
aaja

main aati to hoon
par tu mujhe chhed na dena
main aati to hoon
par tu mujhe chhed na dena
o baanke lutere
o baanke lutere
tu kahin loot na lena
tu kahin loot na lena
haan chhed na dena
mujhe tu loot na lena
haan chhed na dena
mujhe tu loot na lena

aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
mohabbat sharaab aur mohabbat jawaani
mohabaat jawaani
jawaani deewaani

behoshi ke mausam mein
behoshi ke mausam mein
lagaataar piye ja,
lagaataar piye ja
aur yoon hi jiye ja
aur yoon hi jiye ja
aur yoon hi jiye ja
aur yoon hi jiye ja


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.

Blog Day : 3725 Post No. : 14662

“Ham Matwaale Naujawaan” (1961) was directed by L R Asthana for Rover Films Production, Bombay. The movie had Shekhar, Sayeeda Khan, Jeevan, Agha, Chaman Puri etc in it.

The movie had seven songs in it. Five songs from this movie have been discussed in the past.

Here is the sixth song from this movie. This song is sung by Lata and chorus. Majrooh Sultanpuri is the lyricist. Music is composed by Chitragupta.

Only the audio of this song is available and so it is difficult to guess how and on whom this song is picturised. I request our knowledgeable readers to throw more light on this matter.


Song-Dil ne kuchh aisa pukaara (Ham Matwaale Naujawaan)(1961) Singer-Lata, Lyrics-Majrooh Sultanpuri, MD-Chitragupta
Chorus

Lyrics

hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm hmm

dil ne kuchh aise pukaaraa
dil lene waala aa hi gaya
dil ne kuchh aise pukaara
lalalalalalala
ho
dil ne kuchh aise pukaara

dard uthha to door se
mil hi gayi usey khabar
dard uthha to door se
mil hi gayi usey khabar
keh gayi haal e dil mera
meri jhuki jhuki nazar
halka sa paa ke ishaara
dil lene waala aa hi gaya
dil ne kuchh aise pukaara
hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm
aa aa aa aa aa aa

thehri hui thhin dhadkanen
aankhen thhin intzaar mein
khwaabon ka mere aashiyaan
jalne ko thha bahaar mein
aise mein ban ke sahaara
dil lene waala aa hi gaya
dil ne kuchh aise pukaara

beet gayi wo shaam e gham
aa gaye din qaraar ke
beet gayi wo shaam e gham
aa gaye din qaraar ke
ab to ruke meri bala
kehte hain hum pukaar ke
sun le zamaana hamaara dil lene waala aa hi gaya
dil ne kuchh aise pukaara
hmm hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm

dil ne kuchh aise pukaara
dil lene waala aa hi gaya
dil ne kuchh aise pukaara
lalalala lalala
lalalala

ho o dil ne kuchh aise pukaara
lalalala lalala
lalalala

ho o dil ne kuchh aise pukaara


This article is written by Avinash Scrapwala, 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.

Blog Day :

3724 Post No. : 14661 Movie Count :

4007

 Today we remember the great son this soil Sardar Bhagat Singh (28th September 1907 – 23rd March 1931), on his birth anniversary.

We remember him for his bravery, courage, determination and supreme sacrifice made for a cause of the people, the people of this country.

He laid down his life at a young age of only 23 years, 5 months, and 25 days. He could have surrendered to the British and chosen a leisurely life enjoying the benefits and luxuries showered by the Britishers on him, had he requested to forgive him as proposed by them. However instead of choosing ‘the life of slavery’ he chose to dedicate his life for the ‘noblest cause – the freedom of his Motherland’ from the Britishers.

He will remain the inspiration for many as long as humanity exists and people read about him and realize what Bhagat Singh was and how great was he to have done so much in one single life of only 23 years.

I have earlier presented my thoughts while presenting the songs ‘Pagdi Sambhaal Jatta’ and ‘Vekho Loko Khidan To Pehlon’. Whatever will be written about him to remember him and his thoughts, is very less in comparison to the legacy he has left for us. And I am sure as the coming generations read about him will find his thoughts still relevant in terms of what his dreams of ‘true freedom’ for India was and what we have achieved after getting our ‘freedom’ – and they will find that yes, we have still miles to go to build this nation in the pursuit of those dreams.

As I have mentioned earlier in my posts the year 2002 was a special year as in that year there were as many as three movies released on the life of Bhagat Singh.

  • 23rd March 1931 Shaheed
  • The Legend Of Bhagat Singh
  • Shaheed-E-Azam

While “23rd March 1931 Shaheed” and “The Legend Of Bhagat Singh” were released on the same date the other movie “Shaheed-E-Azam” was delayed and was released at a later date.

I will not go into which one amongst them was better than the other. The important thing is that they were made on the life of Bhagat Singh and to make people aware of his true story (may be with a little or more filmy touch).

Today I present a song from the Rajkumar Santoshi directed ‘The Legend of Bhagat Singh-2002’. This movie was produced by Kumar Taurani and Ramesh Taurani (of TIPS). It had the star cast of Ajay Devgan, Sushant Singh, D. Santosh, Akhilendra Mihsra, Raj Babbar, Farida Jalal, Amrita Rao, Mukesh Tiwari, Surendra Rajan, Saurabh Dubey, Kenny Desai, Sitaram Panchal, Bhaskar Chatterjee, Sunil Grover and others.

The screenplay was written by Rajkumar Santoshi, Piyush Mishra and Anjum Rajabali. It was edited by VN Mayekar. Songs for this movie were penned by Sameer and music was composed by AR Rehman.

All songs of this movie composed by AR Rehman are very very good and I liked them as they fill us with patriotic fervour and with a poignant touch, yet making us thoughtful on the life and times of the martyrs and their feelings for their motherland.

Today’s song is in two parts and is sung by AR Rehman and Sukhwinder Singh.

Let us listen to this wonderful song now …

Desh Mere Desh Mere Meri Jaan Hai Tu …

 

Video (Partial)

Audio (Full)

Audio (Part II)

Song – Desh Mere Desh Mere Meri Jaan Hai Tu (The Legend of Bhagat Singh) (2002) Singer – Sukhwinder Singh, AR Rehman, Lyrics – Sameer, MD – AR Rehman

Lyrics

des mere des mere meri jaan hai tu
des mere des mere meri jaan hai tu..u
des mere des mere meri shaan hai tu..u..u
des mere des mere meri shaan hai tu

mitaane se..ae nahin mit’te
daraane se..ae ae nahin darte
watan ke naam pe..ae
ae ae ae ae ae ae
watan ke naam pe..ae
ham sar kataane se nahin darte
mitaane se nahin mit’te..ae
des mere des mere meri jaan hai tu
des mere des mere meri jaan hai tu..u
des mere des mere meri shaan hai tu..u..u
des mere des mere meri shaan hai tu

hazaaron khwaab roshan hain
sulagati si nigaahon mein
sulagati si nigaahon mein
qafan ham baandh ke nikle hain aazaadi ki raahon mein
ae ae ae ae
kafan ham baandh ke nikle hain aazaadi ki raahon mein
nishaane pe ae jo rehte hain
nishaane se..ae..ae
nahin darte
des mere des mere meri jaan hai tu
des mere des mere meri jaan hai tu..u
des mere des mere meri shaan hai tu..u..u
des mere des mere meri shaan hai tu

hamaari ek manzil hai
hamaara ek naara hai
dharam se zaat se jyaada
hamen ye mulq pyaara hai
ae ae ae ae ae
dharam se zaat se jyaada
hamen ye mulq pyaara hai
ham is pe zindagi apni
lutaane se..ae nahin darte
des mere des mere meri jaan hai tu
des mere des mere meri jaan hai tu..u
des mere des mere meri shaan hai tu..u..u
des mere des mere meri shaan hai tu

mitaane se..ae nahin mit’te
daraane se..ae nahin darte
watan ke naam pe..ae..ae
ae ae ae ae ae ae
watan ke naam pe..ae
ham sar kataane se nahin darte
des mere des mere meri jaan hai tu
des mere des mere meri jaan hai tu..u
des mere des mere meri shaan hai tu..u..u
des mere des mere meri shaan hai tu

des mere des mere meri jaan hai tu
des mere des mere meri jaan hai tu..u
des mere des mere meri shaan hai tu..u..u
des mere des mere meri shaan hai tu

———————————-
(Part II)
———————————-
dil se ae niklegi na mar kar bhi
watan ki ulfat
meri mitti se bhi khushboo e watan aayegi

des mere des mere meri jaan hain tu
des mere des mere meri jaan hain tu
des mere des mere meri shaan hai tu u

sunaayi thi jo bachpan mein
wahi lori suna de maa..aa
sunaayi thi jo bachpan mein
wahi lori suna de maa
tu apni god mein ab chain se
mujhko sula de maa..aa..aa..aa
tere charnon mein sab kuchh hum
lutaane se..ae nahin darte

des mere ae..ae
des mere ae..ae

des mere des mere meri jaan hain tu
des mere des mere meri jaan hain tu
des mere des mere meri shaan hain tu

des mere des mere meri shaan hain tu

des mere
des mere..ae..ae
des mere

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————

देस मेरे देस मेरे मेरी जान है तू
देस मेरे देस मेरे मेरी जान है तू॰॰उ
देस मेरे देस मेरे मेरी शान है तू॰॰उ॰॰उ
देस मेरे देस मेरे मेरी शान है तू

मिटाने से॰॰ए नहीं मिटते
डराने से॰॰ए॰॰ए नहीं डरते
वतन के नाम पे॰॰ए
ए ए ए ए ए ए
वतन के नाम पे ए
हम सर कटाने से नहीं डरते
मिटाने से॰॰ए नहीं मिटते॰॰ए
देस मेरे देस मेरे मेरी जान है तू
देस मेरे देस मेरे मेरी जान है तू॰॰उ
देस मेरे देस मेरे मेरी शान है तू॰॰उ॰॰उ
देस मेरे देस मेरे मेरी शान है तू

हज़ारों ख्वाब रोशन हैं
सुलगती सी निगाहों में
सुलगती सी निगाहों में
कफन हम बाँध कर निकले हैं आज़ादी कि राहों में
ए ए ए ए
कफन हम बाँध कर निकले हैं आज़ादी कि राहों में
निशाने पे॰॰ए जो रहते हैं
निशाने से॰॰ए॰॰ए
नहीं डरते
देस मेरे देस मेरे मेरी जान है तू
देस मेरे देस मेरे मेरी जान है तू॰॰उ
देस मेरे देस मेरे मेरी शान है तू॰॰उ॰॰उ
देस मेरे देस मेरे मेरी शान है तू

हमारी एक मंजिल है
हमारा एक नारा है
धरम से ज़ात से ज्यादा
हमें ये मुल्क प्यारा है
ए ए ए ए ए ए
धरम से ज़ात से ज्यादा
हमें ये मुल्क प्यारा है
हम इस पे ज़िन्दगी अपनी
लुटाने से॰॰ए नहीं डरते

देस मेरे देस मेरे मेरी जान है तू
देस मेरे देस मेरे मेरी जान है तू॰॰उ
देस मेरे देस मेरे मेरी शान है तू॰॰उ॰॰उ
देस मेरे देस मेरे मेरी शान है तू

मिटाने से॰॰ए नहीं मिटते
डराने से॰॰ए॰॰ए नहीं डरते
वतन के नाम पे॰॰ए
ए ए ए ए ए ए
वतन के नाम पे॰॰ए
हम सर कटाने से नहीं डरते

देस मेरे देस मेरे मेरी जान है तू
देस मेरे देस मेरे मेरी जान है तू॰॰उ
देस मेरे देस मेरे मेरी शान है तू॰॰उ॰॰उ
देस मेरे देस मेरे मेरी शान है तू

देस मेरे देस मेरे मेरी जान है तू
देस मेरे देस मेरे मेरी जान है तू॰॰उ
देस मेरे देस मेरे मेरी शान है तू॰॰उ॰॰उ
देस मेरे देस मेरे मेरी शान है तू

(भाग दो)

दिल से॰॰ए निकलेगी न मर कर भी
वतन कि उल्फत
मेरी मिटटी से भी खुशबू ए वतन आएगी

देस मेरे देस मेरे मेरी जान है तू
देस मेरे देस मेरे मेरी जान है तू
देस मेरे देस मेरे मेरी शान है तू॰॰उ

सुनाई थी जो बचपन में
वही लोरी सुना दे माँ॰॰आ
सुनाई थी जो बचपन में
वही लोरी सुना दे माँ॰॰आ
तू अपनी गोद में अब चैन से
मुझको सुला दे माँ॰॰आ॰॰आ॰॰आ
तेरे चरणों में सब कुछ हम
लुटाने से॰॰ए नहीं डरते

देस मेरे॰॰ए॰॰ए
देस मेरे॰॰ए॰॰ए

देस मेरे देस मेरे मेरी जान है तू
देस मेरे देस मेरे मेरी जान है तू
देस मेरे देस मेरे मेरी शान है तू
देस मेरे देस मेरे मेरी शान है तू

देस मेरे
देस मेरे॰॰ए॰॰ए
देस मेरे


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.

Blog Day :

3724 Post No. : 14660 Movie Count :

4006

Today’s song is from a resoundingly flop film of its time, Rambaan-48. The film was made by Prakash Pictures of Bhatt Brothers, known for quality films of different Genres. During the early 40s, their Mythological films like Bharat Milap-42 and Ramrajya-43 were extraordinarily successful. Film Rambaan was also directed by Vijay Bhatt-as usual- and the Music Director was Shankar rao Vyas, their favourite. The film story and dialogues were by Mohanlal Dave and Pt. Girish. Lyricists were Pt. Indra, Neelkanth Tiwari and Moti,B.A.( who was actually M.A.). The cast of the film was Prem Adib, Shobhana Samarth, Umakant, Ramsingh, Chandramohan, Amirbai, Leela Mishra and many others.

The lead pair of Prem Adib and Shobhana Samarth had become extremely popular all over the country as Ram and Seeta, after their two films Bharat Milap and Ram Rajya. These two actors came together for the first time in film Industrial India-1938. After this they worked in 11 more films plus one more film Ramayan-54, which was concocted by joining parts of 3 films made by Prakash Pictures on Ram and Seeta. After this film-Rambaan- Prakash films focused on social and musical films and made memorable films like Baiju Bawra-52 and Gunj Uthi Shehnai-59.

The stories of Rama and offshoots of Ramayana have always inspired film makers. Mahabharat too did the same. In Hindi language alone, films on Rama stories are around 25 ( not counting obvious other films like Ram aur Shyam, Ram Lakhan or Ram Balram etc.). Practically, in every Indian language and dialects, Nepalese and Sinhalese, Ram films are made. However, the kind of fame, popularity and the Box office returns, that the Film Ram Rajya-43 earned is beyond imagination. Calendars from 1944 to 1950 featured Shobhana and Prem as Ram and Seeta. Wherever these stars went they were mobbed and people used to touch their feet, treating them as Ram and Seeta.

Enthused with this fabulous response, Prakash were planning a third film on Ram and Seeta as a last film in the Trilogy of Ramayan Stories. They waited for a good five years and made Rambaan-48.

Ramayan and Mahabharata are the two major Religious Epics for Indians. Ramayana has been popular and widesread all over the Eastern World. There are in all 301 versions of Ramayana. These include the original Valmiki Ramayan and few other major Indian language Versions like Kamban’s Ramavataram in Tamil and Rangnathan’s Ramayana in Telugu. Then there is Ramayan Manjiri in NE and Bengal version. There is a Jain version too.Besides Ramayana in every Indian language and many dialects with scripts, there are Ramayana Versions in Burma, Indonesia, Cambodia, Laos, Phillipines, Sri Lanka, Nepal, Thialand, Malaysia, Japan, Mongolia, Vietnam and China. All these versions total upto 300 in number. Then what is the 301st version ?

301st is the version of the fertile imagination of the authors of the ” Story Departments” of Indian film companies. Even Prakash Pictures had its own department. The first two films Bharat Milap and Ram Rajya were mostly based on the original Valmiki Ramayan. For film Rambaan-48, however, the Bhatt brothers gave free hand to the story and dialogue writers, in order to include something new, for which the same audience will come to the theatres. This is where things went wrong. The novel changes and additions that Mohanlal Dave and Pt. Girish brought into the Ramayana story were ridiculous, which were rejected out right and were resented by the Indian viewers. The Cinematic liberty taken for a film is one thing and twisting and distorting an accepted historical story by the millions over centuries of generations is another thing.

I am sure, if only Valmiki was to watch this film, he would have jumped from Everest or taken a Samadhi immediately ! Let us see what happened in the film, after all.

First and foremost, Shobhana Samarth was 8 month’s pregnant during the shooting of this film ( with her third daughter Chatura ) and it showed everytime she came on the screen. Could they not wait for another 6 months ? As such she was nearing her middle age-at 33 years- and it was obvious to everyone. Secondly, Prem Adib-two years younger than Shobhana, as it is- had put on lot of fat and seeing his open body with loose muscles, almost double chin and a face without freshness was a punishment for the senses.

The blue eyed handsome Chandramohan did the role of Ravan in this film. His characterisation of the role was made very ridiculous. Every now and then and in every scene, his ‘Taqia kalam” was rolling eyes like a drunken person and shouting ” Main Kaun “. Then giving the reply himself ” Main Ravan “. Actually, according to Valmiki and everyone else, Ravan was a very learned Brahmin, a peerless scientist, Veena player, a scholar on Vedas and a staunch devotee of lord Shiv. To make him look like a clown was very sad and disappointing indeed.

Shoorpnakha was actually married early, but her husband was killed by Ravan, in a battle. Ravan had made her a queen of Dandkaranya. In the film, her Swayamwar is shown. She rejects everyone and remains unmarried. This was undigestible to moviegoers who were familiar with the story of Ramayan.

Shabari katha is similarly distorted. In Valmiki Ramayana, after meeting Ram,Seeta and laxmana and giving them half eaten fruit, Shabri self immolates and goes to Heaven. In the film she first meets the three and after Seeta is abducted meets Ram again to inform him that she saw Ravan carrying Seeta in his plane. She also introduces Ram to all the Vanar leaders-Sugreev, Hanuman, Jambuwant etc.

There were many such New Discoveries, thanks to the writers, in this film. I remember in 1950, when this film came to Hyderabad, I had accompanied some old relatives and my Grandfather to this film. After coming back all were very angry. I don’t remember what exactly they had said, but I wrote in my diary ” the film was boring”.

Baburao Patel of Film India was not one to miss such an opportunity to pull up the director and producer. In the February 1949 issue, he had devoted three pages to the film, mostly tearing it apart, accusing the producers of tarnishing the Hindu religion. He only appreciated actor Umakant, who traditionally did the role of Laxman ( He did this role in 7 films in all) as a good and suitable actor. he even suggested him to be promoted as Ram, in their next film.

There is a name Ramsingh, in the film’s cast. The actor Ramsingh’s name is not very famous or well known, but in his times, he did Hero’s and Villain’s role in many films. Information about him was not available anywhere on the Internet till today. For the first time his information is appearing here today.His entry in films and life story is very interesting.

During the 1942 ‘Quit India’ movement, there was a riot in Allahabad. Police opened fire and along with several other people, Secretary of All University Students Union also was killed. Fearing a backlash from college students, the Government closed down all colleges and vacated Hostels. Two persons became homeless. One was Ramchandra Dwivedi- who later on became well known as Kavi Pradeep- and the other was Ramsingh- who became an actor.

After the riots, instead of informing his family about his welfare, Ramsingh left for Bombay and then to Poona, to become an actor. He was tall,fair and handsome. V.Shantaram hired him as an assistant in the studio. His family thought that he must have been killed in the riots and grieved, when he never returned.

One day one of the villagers came to their house and told excitedly, that he had seen a Hindi film and in that film, an actor looked exactly like Ramsingh. The family went to the town and saw the film. Lo and behold ! there he was. Looking just like Ramsingh. Anxiously a group of elders reached Prabhat Studio in Poona and inquired. The officials brought out their own son- Ramsingh before them !! Everyone was happy. It seems he did not contact his household just to avoid the Police investigations, as he too was an active participant in the agitation.

Ramsingh was born into a rich Zamindar family of village Ishanpur in Pratapgarh (U.P.), in 1920. After graduating, while doing his M.A. he joined films. His first film was Ramshastri-44, then came Chand-44, Lakhrani-45 and Hum ek hain-46….all Prabhat films. While in Prabhat, he became friendly with Dev Anand and Guru Dutt. In his later years, they gave him roles in their almost every film..

In his other films, Ramsingh worked with Heroine Ranjit Kumari ( real name Ranjit Kaur), to whom he got married later on. He was already married while in school and also had 3 children from his first wife. From the second marriage he got 4 children.

Ramsingh played Hero, Villain and character roles in 69 films. Some of his notable films were, besides 4 Prabhat films, Gaon-47, Shaheed-48, Khidki-49, Aparadhi-50 ( He was the Hero, opposite Madhubala), Sargam-50, Sangram-50, Shrimati ji-52, Jaal-52, Baaz-53 etc etc. In his later career, he only got insignificant roles in B and C grade films and Mythologicals. His last film was Sati Sulochana-69. ( 2 more films Veer Chhatrasaal-71 and Mere Bhaiya-72 were released after he left films).

Ramsingh returned to his native place with Ranjit Kumari and children in 1970 and started doing Agriculture. The U.P. Chief Minister H.N.Bahuguna was his classmate and a very good friend. Ramsingh approached him. Bahuguna, to help him, immediately established ” U.P. Film Corporation ” and made Ramsingh its Chairman. However, due to political turmoil in the country, Bahuguna left congress and joined Congress For Democracy, against Indira Gandhi. As a result the film corporation was wound up and Ramsingh returned to the fields again.

Ramsingh started drinking, against medical advise and died in 1984, in his village.

Shankar Rao Vyas gave a very sweet and melodious music. Today’s song, particularly, is the best of the 3 songs which I have heard. This song is sung by Shankar Dasgupta.

Born in 1927 in Bengal, Shankar Dasgupta started singing from childhood. He was a trained singer. In 1946,he got a break with Anil Biswas in his film Milan-46. His first song itself became very popular.

Then he sang in films like Anjana, Didi, Girl’s school, Jeet, Aahuti,Izzat, Do Raha etc. He sang about 63 songs in 39 films. he gave music to 4 films, Sadma, Sheeshe ki deewar, Hotel and Pehli mulaaqaat.

He assisted Anil Biswas and Jaidev for many years. He did work on TV and in News reviews too. He settled in England after retirement,but was active on TV there too.

On one of his routine visits to India in 1992, he met with a tragic accident on a Railway station in Bombay, on 23-1-1992 and died on the spot.

With this song, the film Rambaan (1948) makes its Debut on the Blog.

(Credits- thespeakingtree.com, bollymusings.com/cradle, kuch kalakar by Jawed Hamid, Filmindia-Feb-49, Prof. Yadav’s book, wiki and my notes)


Song-Uth Lakhan lal priya bhai (Raambaan)(1948) Singer-Shankar Dasgupta, Lyrics-Moti B A, MD-Shankar Rao Vyas

Lyrics

Uthh Lakhan lal priya bhai
Uthh Lakhan lal priya bhai
dasha tumhaari dekh Raam ki
ankhiyaan bhar bhar aayin
Uth Lakhan lal priya bhai

Maat Pita Patni ki maaya
bhai ke kaaran sab bisraaya
chhod Ayodhya ka sukh tumne
jogi roop banaaya
jis bhai ke liye yudhh mein
praan ki baazi lagaayi
Uth Lakhan lal priya bhai

pahle mujhe khila phir khaate
aur sulaa kar sote
?? tumhaare kaun kabhi to
baad raam ke hote
swarg puri ke ?? se
pahle pahunchu(?) jaai
Uth Lakhan lal priya bhai

Maat Kaushalya aur Sumitra
juwat(?) baantat waari
panthh herti haay Urmila
ki ankhiyaan bechaari
aankh moond ke huye tumhi kya
tanik daya na aayi
Uth Lakhan lal priya bhai

Seeta Raavan ke ghar bandi
Meghnath chadh aayo
jagat kahega naari ke kaaran
Raam ne bandhu ganwaayo
dheeraj chhooto jaat sabhi ka
kab se ter lagaayi
Uth Lakhan lal priya bhai
Uth Lakhan lal priya bhai


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.

Blog Day : 3723 Post No. : 14659

“Zaalim Jaadoogar”(1960) was produced and directed by Sultan for Firdaus Films Bombay. This movie, a fantasy movie had Hercules, Neeta, Rajrani, Shaam, Sujata Kumari, Harbans, Kenny, Leela, Bagla, Maqbool, Begam, Ameer Ahmad, Hameed Majnu, Zippy, Ghulam Hussain, Mansoor, Md Sandow, Moosa, Gopal, Badri Narayan, Shaukat, Saban Ali, Om Prakash etc in it.

The movie had five songs in it. Three of these songs have been covered in the past.

Here is the fourth song from “Zaalim Jaadoogar”(1960) to appear in the blog. The song is sung by Seeta Agrawal, Meenu Purushottam and chorus. Shor Niyazi is the lyricist. Music is composed by Iqbal.

Only the audio of the song is available. The song appears to be a qawwaali song.

I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Hamen yoon na dekho badi berukhi se (Zaalim Jaadoogar)(1960) Singers-Seeta Agrawal, Meenu Purushottam, Lyrics-Shor Niyazi, MD-Iqbal

<strongLyrics

hamen yoon na dekho badi berukhi se
kahin rooth jaayen na
ham zindagi se

aa aa aa aa
aa aa aa
hamen yoon na dekho
hamen yoon na dekho
haay hamen yoon na dekho
badi berukhi se
hamen yoon na dekho
badi berukhi se
zamaane mein ham bhi nahin kam kisi se
zamaane mein ham bhi nahin kam kisi se
hamen yoon na dekho
haay hamen yoon na dekho
badi berukhi se

agar tumse raushan hai jhilmil sitaare
mohabbat bhi zinda hai dam se hamaare
tumhe ho mubarak ye rangeen nazaare
hame kya garaj
haanji hamen kya garaj
chaand ki chaandni se
zamaane mein ham bhi nahin kam kisi se
zamaane mein ham bhi nahin kam kisi se
hamen yoon na dekho
haay hamen yoon na dekho badi berukhi se

kasam aapki dil se dil ko milaa kar
hamaari wafaaon ko tum aajmaa kar
hamen apna kah do zara muskura kar
ye dil kya hai
haanji ye dil kya hai
ham jaan de den khushi se
zamaane mein ham bhi nahin kam kisi se
zamaane mein ham bhi nahin kam kisi se
hame yoon na dekho
haay hamen yoon na dekho badi berukhi se

kisi din tumhen dil lagaana padega
kisi din tumhen dil lagaana padega
mohabbat mein aansu bahaana padega
mohabbat mein aansu bahaana padega
kabhi na kabhi sar jhukaana padega
chhudaaoge daaman
haan chhudaaoge daaman kahaan tak kisi se
zamaane mein ham bhi nahin kam kisi se
zamaane mein ham bhi nahin kam kisi se
hamen yoon na dekho
haay hamen yoon na dekho badi berukhi se
hamen yoon na dekho badi berukhi se


This article is written by Peevesie’s Mom, 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.

Blog Day : 3722 Post No. : 14658

Hullo to all in Atuldom

Disclaimer: Thoughts presented in this song are not the thoughts of the author of this post. It is just a tool in the hands of the filmmaker to take the story of the film forward and explain why the central character professes ‘bachelorhood’. Readers are requested to enjoy the song

“Man Pasand” (1980 – censored on 26-6-1980 and released on 11-7-1980) was among the first few movies whose music cassette was purchased by my father along with “Yaarana” when they hit the market. And since then I am a huge fan of their songs. Know almost all of them by heart.

This was a movie produced by Amit Khanna and directed by Basu Chatterji. Rajesh Roshan was the music director and Amit Khanna himself wrote the lyrics. The movie itself was inspired by the famous stage play by George Bernad Shaw – ‘Pygmalion’ (first published in 1913), and also on the hugely popular iconic film ‘My Fair Lady’ (1964 – Rex Harrison and Audrey Hepburn). The movie stars Dev Anand, Tina Munim, Girish Karnad, Simple Kapadia, Leela Mishra and Mehmood.

The movie has Dev Anand and Girish Karnad playing best friends, bachelors and musicologists. They encounter a loud- and foul-mouthed vendor of ‘datun’ (neem branches} in the late-night local trains of Mumbai. Then and there Dev (Pratap) throws a challenge that he can transform the unpolished girl into a graceful and talented singer and Karnad (Kashinath) picks up the bet and agrees to marry the girl if Pratap is successful.

Today’s song happens when Kamli (Tina Munim) walks into the flat of Pratap, to be trained as a singer. That is her only aim and she doesn’t know that the two friends have other plans. Prior to the song Pratap tries to explain to Kashi that no one knows what their “marzi” is, whether it is a man or a woman. But once people get married they start trying to make the spouses dance to their “marzi”. That is the gist of the song.

Let us enjoy this lively Kishore Kumar number today on Dev Anand’s birth anniversary. He would have been 95. Dev Anand who was an entertainer from 1946 to 2011 almost 65 years. Dev Anand who was an actor, producer director. A heart throb of the audiences who loved his smile (crooked teeth notwithstanding) sparkling eyes, scarfs, caps and mufflers and all the things that made up DEV ANAND.

Audio

Video

Song – Manmaani Se Hargiz Na Daro (Man Pasand) (1980) Singer – Kishore Kumar, Lyrics – Amit Khanna, MD – Rajesh Roshan

Lyrics

hmmm
man maani se hargiz na daro,
kabhi shaadi na karo
man maani se hargiz na daro,
kabhi shaadi na karo

marzi hai
arre aaj kahin
baahar khaana khaayen
wo kahengi
nahin sahab theek aath baje
ghar wapas aa jaayen

kitaab liye haath me in
aap chain se baithe hain
memsaab poochengi
kyunji hamse roothe hai

kabhi kisi bhi naari se kar lo
do baatein
wo kahen inhi se hoti hai kya
chhup ke mulaqaaten
aji tauba bewakoofi ki hai shaadi inteha
har aurat apna soche
auron ki nahi parvaah
kyon theek nahin kaha maine
jo ji mein aaye wo karo
kabhi shaadi na karo
man maani se hargiz na daro
kabhi shaadi na karo

zara sochiye
aaram se aap ye
jeewan jee rahe hain
pasand ka kha rahe
pasand ka pi rahe hain
achcha bhala ghar hai aapka
lekin kya karen
aap se juda hai shauk
begum sahab ka
aate hi kahen suniye ji
har cheez ko badlo
pehle parde phir sofa
phir apna huliya badlo
aji maana tanhaai se
kabhi dil ghabraayega
jeewan saathi ki zaroorat
mehsoos karaayega
ha ha
lekin is ghabaraahat me jo shadi kar baithe
wo umr bhar pachhataayega
jeete ji arey bhai na maro
kabhi shadi na karo
man maani se hargiz na daro
kabhi shaadi
ho kabhi shaadi,
haan kabhi shaadi
na baaba na

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

हम्ममम
मन मानी से हरगिज़ न डरो
कभी शादी ना करो
मन मानी से हरगिज़ न डरो
कभी शादी ना करो

मर्ज़ी है
अरे आज कहीं
बाहर खाना खाएं
वो कहेंगी
नहीं साहब ठीक आठ बजे
घर वापस आ जाएँ

किताब लिए हाथ में
आप चैन से बैठे हैं
मेम साहिब पूछेंगी
क्यों जो हमसे रूठे हैं

कभी किसी भी नारी से कर लो
दो बातें
वो कहें इन्हीं से होती हैं क्या
छुप के मुलाक़ातें
अजी तौबा बेवक़ूफ़ी की हैं शादी इंतेहा
हर औरत अपना सोचे
औरों की नहीं परवाह
क्यों ठीक नहीं कहा मैंने
जो जी में आए वो करो
मन मानी से हरगिज़ न डरो
कभी शादी ना करो

ज़रा सोचिए
आराम से आप ये
जीवन जी रहे हैं
पसंद का खा रहे हैं
पसंद का पी रहे
अच्छा भला घर है आपका
लेकिन क्या करें
आप से जुदा है शौक
बेगम साहब का
आते ही कहें सुनिए जी
हर चीज़ को बदलो
पहले पर्दे फिर सोफा
फिर अपना हुलिया बदलो
अजी माना तन्हाइ से
कभी दिल घबराएगा
जीवन साथी की ज़रूरत
महसूस कराएगा
हा हा
लेकिन इस घबराहट में जो शादी कर बैठे
वो उमर भर पछताएगा
जीते जी अरे भाई न मरो
कभी शादी
हो कभी शादी
हाँ कभी शादी
ना बाबा ना


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.

Blog Day :

3721 Post No. : 14657 Movie Count :

4005

Today’s song is from a very old film, Raja Gopichand-1938. The film was made by Saraswati Cinetone, Poone in Hindi and Marathi. The film was directed by Bhal G Pendharkar. The music director was C.Balaji. Name of the Lyricist is not mentioned in HFGK. The cast of the film was Chandrakant, Ranade, Chandraprabha, Miss Leela, Usha, Dinkar Kamanna etc.etc. The story was written by Pendharkar and it was translated by Shri Arun, B.A., for film’s Hindi version.

Saraswati Cinetone was a film making company owned by one of the Pioneers of Talkie films in India- Dadasaheb Torne. He is one of those less fortunate people in the film industry, who failed to get the credit of being the First to make a full length Silent film in India. But there are a large number of people in India, who believe that the first film in India was made by Torne and not Phalke. Torne achieved that feat one year before Phalke released his film in 1913. Saraswati Cinetone was one of the major film making company in India in those days.

The young man who migrated from Konkan to Mumbai in search of a new horizon was the pioneer of Indian cinema, Ramchandra Gopal alias Dadasaheb Torne. Unfortunately, this name did not find its rightful place in the history of Indian cinema. Dadasaheb Torne, who had a flood of accolades for his various achievements in the film industry, lost his life’s work in real floods that occurred on July 12, 1961, when the swollen waters of Mutha River destroyed all the valuable negatives, photographs, documents after bursting from Panshet dam near Pune.

The forgotten father of Indian Cinema Ramchandra Gopal alias Dadasaheb Torne made the first ever Indian film ‘Pundalik’ which was screened at the Coronation Cinematograph in Mumbai on May 18, 1912. That was one year prior to Dhundiraj Govind alias Dadasaheb Phalke’s ‘Raja Harishchandra’ which was released at the same venue on May 3, 1913.

Born on April 13, 1890, at Sukalwad in Malvan taluka of (undivided) Ratnagiri district (now Sindhudurg district) Dadasaheb Torne lost his father when he was three years old. His mother Radhabai brought him up. Due to financial difficulties he could not get higher education.

After being involved in the distribution of full-length (30-40 minute long) English films in India, he hit upon the idea of film making, and founded his own studio ‘Saraswati Cinetone’ (1931) in Pune. Under Saraswati’s banner he produced memorable movies like ‘Shyamsundar’, ‘Aut Ghatkecha Raja’, ‘Bhakt Pralhad’, ‘Chhatrapati Sambhaji’, ‘Thaksen Rajputra’, ‘Savitri’, ‘Raja Gopichand’, ‘Bhagva Jhenda’, ‘Majhi Ladki’, ‘Devyani’.

‘Shyamsundar’-32 was the first ever Indian movie to celebrate silver jubilee. Dadasaheb Torne introduced the first ever double role in ‘Aut Ghatkecha Raja’. He was equally proficient in editing and sound recording. He successfully experimented trick scenes in ‘Bhakt Pralhad’ and ‘Savitri’ in the decade of 1930-1940 when the film technique was not advanced.

He gave first break to artists like Rose, Shahu Modak, Dada Salvi, Jayashri (Shantaram), Dinkar Kamanna (Dhere), Ratnamala (Kamal Desai) and Indurani.

Many famous music directors of the earlier years, such as Annasaheb Mainkar, Sureshbabu Mane, C. Balaji and Vinayakbuwa Patwardhan were introduced by Torne.

Dadasaheb Torne also worked as a manager at Maharashtra Film Company, Kolhapur from 1920 to 1924, and worked as a general manager at Laxmi Cinetone, Royal Art Company, Imperial Film Company and Sagar Movietone, later.

Dadasaheb Torne breathed his last on January 19, 1960 in Pune.

Movies produced: ‘Pundlik’ (1912), ‘Sati ka Shaap’ (1923), ‘Prithvivallabh’ (1924), ‘Neera’ (1926), ‘Sindbad Khalasi’ (1930).

Movies produced under the banner of ‘Saraswati Cinetone’: ‘Shyamsundar’ (1932), ‘Aut Ghatkecha Raja’ (1933), ‘Bhakt Pralhad‘ (1933), ‘Chhatrapati Sambhaji’ (1934), ‘Thaksen Rajputra (1934), ‘Krishna shishtai’ (1935), ’Savitri’ (1936), ‘Raja Gopichand’ (1938), ‘Sach Hai’ (Hindi-1939), ‘Bhagva Jhenda’ (1939), ‘Majhi Laadki’ (1939), ‘Devyani’ (1940), ‘Narad Naradi’ (1941), ‘Navardev’ (1941), ‘Awaz’ (Hindi-1942).

As far as the star cast is concerned,lead actor Chandrakant ( father of today’s award winning actor Vikram Gokhale) was given this name by pendharkar. His real name was Gopal. The lead Heroine Leela was Leela Chandragiri, about whom I have written in details in my article on film Alakh Niranjan-40. Dinkar Kamanna( Dhere) was a famous and popular comedian on Marathi drama stage.

Let us now come to the Music Director C.Balaji. I am sure, hardly anyone has ever heard his name so far. it is natural also, because Balaji gave music only to 2 Hindi films. The other film was Paisa-41. Both his films were bilingual-in Hindi and Marathi. Basically Balaji was a marathi film composer. He was the first music director to change his name to look like a South indian name. C.Ramchandra came much later.

His real name was Balaji Gopal Chougule. Originally his family was from Kolhapur, but he was born at Varanashi on 12-10-1913. After the death of his maternal grandfather Balaji came to Kolhapur. here he learnt music from Ustad Manji khan (son of Ustad Alladiya khan), Shankarrao Sarnaik and Govindrao Tembe. Tembe taught him the skill to give music to films.

He started working with some drama companies like Kirloskar natak mandali and Yeshwant Sangeet mandali, as a Harmonium player. In 1937, he became assistant to Govindrao Tembe for film ‘Pratibha'(Hindi/marathi). When Tembe left the film halfway, he completed its music, but his name was not credited. He got his first Marathi film independently, Kanhopatra. Its songs became very popular. Pendharkar gave him Raja Gopichand-38 as an independent MD. Later he did another film in Hindi/Marathi, Paisa-41.

In 1945, Balaji started learning music again, this time under Bhurji khan(youngest son of Alladiya Khan). Balaji gave music to 5 Marathi films and 2 Hidi/Marathi films. When Shivaji University started in Kolhapur in 1962, he started an agitation for inclusion of Music in its curriculum. His efforts bore fruits and it was done in 1964. He gave tutions of Music in his last days. C.Balaji expired on 11-9-1984 at his home town, Kolhapur.

The story of Raja Gopichand is from Navnath Pothi.

When I was about 6 to 7 year old, during the visits to my Naani’s (maternal grandmother’s) home in a village, I used to hear a typical call, ‘ Alakh Niranjan ‘ from the gossain, who stood outside the door. Someone from the house used to give uncooked food material like rice, wheat or jowar. Even wheat atta was given. These gossains had a jholi (a spacious carrying bag made of cloth), having 4-5 compartments and they would expertly add the bhiksha to the appropriate compartment. They never took money. These people were the desciples of Nath Sampraday and used to visit a fixed number of houses for Bhiksha. They were also called by the name avadhoot (अवधूत) (a mystic or a saint who is beyond ego-consciousness, duality and common worldly concerns).

A brief description of the Nath Sampradaay . It is likely that some of our readers may not be familiar with the details behind these names. In the Hindu Sanaatan traditions the worship of Lord Shiva is called Shaivism and the worshippers and followers of Lord Shiva are called Shaivs. Nath Sampradaay is a sub tradition within Shaivism. The followers of this tradition consider Adinath or Lord Shiva as their first Lord. The word Nathimplies Master. In this tradition, there is a lineage of nine Gurus or Teachers. The form of sadhna practiced by the followers of this tradition is called Hath Yog (हठ योग).

The first Guru in this lineage is Matsyendra Nath, who is better known as Machhindra Nath (मच्छिंद्रनाथ). The traditional history recounts that Matsyendra was born under an inauspicious star. This warranted his parents to throw the baby into the ocean. In the ocean the baby was swallowed by a large fish, and he lived and grew up inside the belly of the fish, for many years. The fish swam to the bottom of the ocean where Lord Shiva was imparting the secrets of yoga to Mata Parvati. Matsyendra overheard this discourse and learnt the secrets of yoga. He began to practice this yog sadhana inside the fish’s belly. After twelve years he finally emerged as an enlightened Siddha.

There is a list of Nine Nath Gurus, who are called Navnath. The first Nath Guru is Machhindra. The complete list is as follows

Machhindranath
Gorakhnath
Jalandhar Nath
Kanif Nath (Kanhoba)
Gahini Nath
Raja Bhartrihari Nath (Bharthari)
Revan Sidha Nath
Charpati Nath and
Naag Nath.

The stories surrounding every Nath Guru, especially the earlier ones, are very exciting, thrilling and entertaining. One must read them from the original Nath Puraan or Nav Nath Pothi. I have read all of them. These stories are in no way less than any Arabian Night stories. Due to their entertainment value, several films in several languages have been made on the early Gurus like Machhindranath and Gorakhnath. Films on Machhindranath were made as ‘Maaya Machhindra’ in Hindi, in 1932, 1951, 1960 and 1975. Films on Gorakhnath as ‘Alakh Niranjan’, were made in 1940, 1950 and 1975. Films on Bharthari were made in 1932 and 1944. Films on other Naths were made as ‘Raja Gopichand’ in 1933, 1938 and 1950. Same way films on Naths in Telugu, Tamil, Gujarati and other languages were also made. There could be some more films also on this subject.

Raja Gopichand was the son of Raja Bharthari nath’s sister and was blessed by him and Gorakhnath. The story of Raja Gopichand is..

King Padmasen and queen Mainavati had a son Gopichand and a daughter Chandravali. In due course, Gopichand got married. He got a daughter. He was married again and now also a daughter was born. He was married 16 times and he got everytime a daughter only. Queen Mainavati requested her brother Bharthari nath to help. He advies Gopichand to go to forest and do Penance for 5 years. He did the penance. After the 5 years, once he went , as usual , to get Bhiksha and by chance he visited his sister Chandravali’s home. Seeing her brother as a Gossain, she died in grief. Gopichand met Gorakhnath and requested him to make his sister alive again. Pleased by his love for sister, Gorakhnath not only brought alive Chandravali, but also blessed Gopichand for a Son.

Gopichand returned to his kingdom. He was crowned the king and in due course he got a son also.

Today’s song is sung by Leela Chandragiri. This is a rare song. With this song, MD C.Balaji and the film Raja Gopichand-38 are making its debut on the Blog.

( Credits- Marathi Sangeetkar Kosh, marathisanman.com, theneutralview.com, amarujala.com, wiki, HFGK,and my notes)


Song-Laalan tum ho bade hathheele (Raja Gopichand)(1938) Singer-Leela Chandragiri, MD-C Balaji

Lyrics

bade hathheele
laalan tum ho bade hathheele
laalan tum ho bade hathheele
bade hathheele
laaj lajeele
laalan tum ho bade hathheele

roothh gaye kya
tumhen manaaun
roothh gaye kya
tumhen manaaun
aao
tum par bali bali jaaun
aao
tum par bali bali jaaun
laalan tum ho saaj sajeele
bade hathheele
laaj lajeele
laalan tum ho
bade hathheele
laalan
bade hathheel

kyon chup ho
kuchh bolo bolo
bolo bolo
maa ki mamta man se tolo
maa ki mamta man se tolo
laalan
tum bin naina geele
bade hathheele
laaj lajeele

laalan tum ho
laalan tum ho
laalan tum ho
bade hathheele


This article is written by Raja, 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.

Blog Day : 3721 Post No. : 14656

By now it seems to have become a routine for me to make only cameos on this blog, triggered either by a memorable event (such as the blog’s tenth anniversary) or a “nudge” from another Atulite. 🙂

I will not seek to correct this impression – for the facts speak for themselves. I will also not make any excuse of “being busy” – that would only be an insult to people like Atul and Sudhir ji who manage to give so much time to the blog, despite so many demands on their time.

So no excuse – mea culpa. Today’s post is also a result of a nudge – this time from Peevisie’s Mom.

It happens to be the birthday of Feroz Khan today – and she called me up to remind me of it. A while ago, she and I had discussed that the popular song “Hamaare Siwa. . .” (‘Apradh’ – 1972) had not yet been posted on the blog – so she called up to remind me that there was an occasion coming up to remedy the situation. 🙂 So here is the post for this song – and to remember Feroz Khan.

I remember writing about Feroz Khan earlier – I think it was a couple of years ago. I haven’t checked that post – and am writing purely from my thoughts of the moment – so kindly excuse me if much of what I say is repetitive.

Feroz Khan, for me, has his own place in Hindi cinema. There are many who had a more successful career than Feroz. Certainly as an actor, he wasn’t rated all too highly, if I’m to be brutally honest. He had his moments, but one would have to be disingenuous about his acting achievements, to put him in the same league as at least a dozen other actors/stars.

And though he was very successful as a producer/director, there have been more successful producers / directors. And yet, for me, Feroz holds his own in Hindi cinema. As a personality, he seemed to me to have something about him that made him different from others. I think it was the way he carried himself.

Much of my exposure to Feroz was, of course, in the 1970s. By that time he had turned producer – so I got to see him both as actor and producer – in films like ‘Apradh’ (1972), ‘Dharmatma’ (1975) and ‘Qurbani’ (1980). All these films have one thing in common – they are all made on a grand scale, with no expenses spared, no corners cut in producing an extravagant spectacle for the audience. Naturally this became the image of Feroz Khan in my mind – and I think, for most people. His films are glamorous, with foreign locales, expensive cars and the like. Feroz seemed to revel in this flamboyant image – and continued it through the 1980s and 90s in films like ‘Janbaaz’ (1986), ‘Dayavan’ (1988) and ‘Yalgaar’ (1992).

If the films made by him are to be taken as representative of his life, one would not be mistaken in saying that Feroz lived life king-size. I enjoyed each one of these films – they were thoroughly entertaining, with a decent story line (which is very important for me!) and good songs too. Most of the songs of films made by Feroz became super-hits, suggesting he had a good ear for music.

And yet, for me, the story doesn’t end here. It is the first half of his career, so very different from the second half, that makes his story fascinating for me. Like I’ve said before, my clearest memories of Feroz are from his films of the 1970s. But he acted in many films in the 1960s too – and any reference to his work that does not mention this would be incomplete.

One of my friends once jokingly said “Feroz Khan probably got into producing his own films because he got fed up of never getting the heroine.” 🙂

Yes, said in jest, but it is true that in many of his films till he began making his own, Feroz missed out. In some early films, he was the villain – so then it’s understandable. But in many other films too, even as the good / semi-good guy, he would end up not getting the heroine. In ‘Oonche Log’ (1964), the heroine dies – in ‘Mela’ (1970), his character dies as he “sacrifices” for his brother. And in films like ‘Aarzoo’ (1965), ‘Aadmi Aur Insaan’ (1969), ‘Pyaasi Shaam’ (1969), ‘Safar’ (1970), ‘Upaasna’ (1971), the heroine loves the other guy. Small consolation maybe that in ‘Darinda’ (1977) he manages to turn the tables on Sunil Dutt for ‘Pyaasi Shaam’ (1969). 🙂

Of course, that was how the script was written – but it always made me feel bad to see Feroz lose out. 🙂 , even though he’d occasionally get to sing lovely songs like “Darpan Ko Dekha. . .”  and “Jo Tumko Ho Pasand. . .” in the process. 🙂

Then there were those black-and-white films of the 60s. Many not well-known, probably then categorized as “B’’ films. Many with Mumtaz, herself then not in the A league. Having both gone through similar careers in the 60s, Feroz and Mumtaz were very good friends – and it’s hardly surprising that Mumtaz was his lead when he produced Apradh (1972).

One song from a Feroz “B” film I fondly remember is “Anjaan hai koi” (‘Anjaan Hai Koi’ – 1969). I think this song was quite popular in its time – at least I remember it from my childhood. Other less-known Feroz films I remember are ‘Ek Paheli’ (1971) with Tanuja (“Main Ek Paheli Hoon”) and ‘Anjaan Raahen’ (1974) with Asha Parekh (“Mujhe Nahin Poochhni Tumse Beeti Baatein”).

And of course, ‘Kashmakash’ (1973) and films like ‘Khote Sikke’ (1974) and ‘Kaala Sona’ (1975). The last-two were typical films that could have been made for Feroz – I remember enjoying both of them. 🙂

In general, I liked watching his films, especially of the 70s and later – they were never boring. Feroz himself, while never having pretensions to being a great actor, was fun to watch. And one of my favourite Rafisaab songs is picturised on him – “Jaag Dil-e-Deewaana”. 🙂 (‘Oonche Log’ – 1965).

So today, on his birthday, I have fond memories of Feroz Khan – and want to thank him for making entertaining films, with lovely songs. Today’s song is from ‘Apradh’ (1972) – the once very popular “Hamaare Siwa”. I remember listening to it a lot on radio at the time.

I saw the movie ages ago – sometime in the 70s. Have not seen it since, so I don’t remember anything of the story. I think it was something to do with smuggling, and had a lot of foreign locales, but sorry, I can’t remember any more than this. It’s surprising that in more than 10 years on this blog, the song hasn’t been posted yet. But better late than never, I guess.

So today, on Feroz Khan’s birthday, let’s all enjoy this song from his own film – the first film he produced/directed.

 

Song – Hamaare Siwa Tumhaare Aur Kitne Deewaane Hain (Apradh) (1972) Singer – Kishore Kumar, Lata Mangeshkar, Lyrics – Indeevar, MD – Kalyanji Anandji

Lyrics

hamaare siwa
tumhaare aur kitne deewaane hain
hamaare siwa
tumhaare aur kitne deewaane hain
hamaare?
haan tumhaare aur kitne thikaane hain
kasam se kisi ko nahin main jaanti
achha?
aur kisi ko nahin pehchaanti
arrey chhodo chhodo ye to bahaane hain
hamaare siwa
haan tumhaare aur kitne deewaane hain
tumhaare aur kitne thikaane hain

khoobsoorati aur wafaa
dekhi na donon ek jagah
haan haan dekhi na donon ek jagah
hote hain mard bade shakki
baat hai ye bilkul pakki
bholi si
aati ho nazar
haan haan bholi si
aati ho nazar
ho chanchal chaalaak magar
aurat ka dil jaane nahin
aap hamen pehchaane nahin
chhodo chhodo hum bhi sayaane hain
hamaare siwa
tumhaare aur kitne deewaane hain
tumhaare aur kitne thikaane hain

tum ho pareshaan kis gham se
raaz-e-dil keh do hum se
haan haan raaz-e-dil keh do hum se
apni kaho chhodo meri
karte ho kyon hera pheri
yaaron pe tohmat lagaate nahin
yaaron pe tohmat lagaate nahin
sab ko nishaana banaate nahin
khud harjaayee bhanwre ho tum
ek jagah kab thehre ho tum
chhodo chhodo hum to parwaane hain

hamaare siwa
haan tumhaare aur kitne deewaane hain
tumhaare aur kitne thikaane hain
kasam se kisi ko nahin main jaanti
hmm
aur kisi ko nahin pehchaanti
arrey chhodo chhodo ye to bahaane hain
hamaare siwa
tumhaare aur kitne deewaane hain

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

हमारे सिवा
तुम्हारे और कितने दीवाने हैं
हमारे सिवा
तुम्हारे और कितने दीवाने हैं
हमारे?
हाँ तुम्हारे और कितने ठिकाने हैं
कसम से किसी को नहीं मैं जानती
अच्छा?
और किसी को नहीं पहचानती
अरे छोड़ो छोड़ो ये तो बहाने हैं
हमारे सिवा
तुम्हारे और कितने दीवाने हैं
तुम्हारे और कितने ठिकाने हैं

खूबसूरती और वफा
देखी न दोनों एक जगह
हाँ हाँ देखी न दोनों एक जगह
होते हैं मर्द बड़े शक्की
बात है ये बिलकुल पक्की
भोली सी आती हो नज़र
हो चंचल चालाक मगर
औरत का दिल जाने नहीं
आप हमें पहचाने नहीं
छोड़ो छोड़ो हम भी सयाने हैं
हमारे सिवा
तुम्हारे और कितने दीवाने हैं
तुम्हारे और कितने ठिकाने हैं

तुम हो परेशान किस ग़म से
राज़ ए दिल कह दो हमसे
हाँ हाँ राज़ ए दिल कह दो हमसे
अपनी कहो छोड़ो मेरी
करते हो क्यों हेरा फेरी
यारों पे तोहमत लगाते नहीं
यारों पे तोहमत लगाते नहीं
सबको निशाना बनाते नहीं
खुद हरजाई भँवरे हो तुम
एक जगह कब ठहरे हो तुम
छोड़ो छोड़ो हम तो परवाने हैं
हमारे सिवा
तुम्हारे और कितने दीवाने हैं
तुम्हारे और कितने ठिकाने हैं
कसम से किसी को नहीं मैं जानती
हम्म॰॰॰
और किसी को नहीं पहचानती
अरे छोड़ो छोड़ो ये तो बहाने हैं
हमारे सिवा
तुम्हारे और कितने दीवाने हैं


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What is this blog all about

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 TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14741

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Movies with all their songs covered =1150
Total Number of movies covered =4028

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