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

Archive for April 2020


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4304 Post No. : 15571

chupke se kho gaya. . .

Searching through his list of songs, I chanced upon this gem of a melodious creation – one of those ‘love at first hear’ type songs that I have really come across after so many days. It has been sitting in my collection forever, and I pulled it today, looking for an unheard or less heard song to include in this post. The composition is quite atypical with a different sound structure attempted. A beautiful melody that I am sure you will also fall in love with.

Remembering C Arjun today, on the anniversary of his passing away (30 April, 1992).

Preparation for this post started a couple of days ago. And in the interim, the industry and the lovers of Hindi films have been shaken by the news of two luminaries passing away yesterday and today. Yesterday morning we got the news about Irfan Khan, who lost his battle with cancer at Kokilaben Hospital in Mumbai. The emotions are still to settle, and the second shocking news came in today morning. Rishi Kapoor, the darling Chintu Baba of the 1970s and 80s, lost his battle with leukemia at another Mumbai hospital today. Irfan Khan, 53 – too yuong, too early. Rishi Kapoor, 67 – lively, and a lot of life still to go. But alas no, this is the ‘as much’ that was ordained.

As I check out the dates on C Arjun today, when he passed away, he was 59. Just about midway between Irfan and Rishi, in terms of years. The writ of life is no one’s command – it is what it is. We see, we compare, we critique, we like, sometimes we ignore. But then, when the finality of the process dawns upon us, one is left with a vacuum somewhere inside that says – wish there was more. . .

Very little details are available about C Arjun’s life and times. The article in Pankaj Raag’s book dedicated to this music director is almost completely based on his work, the films that he did, and the wonderful songs that he has composed. Other than that, very little about the person himself.

He was born on 1st Sep, 1933 in Sindh. His full name – Arjun Chandnani, which was later modified to be C Arjun, for the sake of brevity in film circles, and to avoid any confusion with the name of his mentor music director Bulo C Rani (full name Bulo Chandirani). After partition, his family moved to and settled in Baroda.

C Arjun’s father was musically inclined and was a singer. There is no information available about his training. In one place, there is anecdotal mention that C Arjun fondly remembers being present at the recording of a song by Noorjehaan in Lahore. This anecdotal nugget does not carry any other details. We read about his career initiation in early 1950s – appearing as assistant music director working with Bulo C Rani, in films like ‘Shikaar’ (1955), ‘Aabroo’ (1956), ‘Baadshah Salaamat’ (1956) and ‘Jeevan Saathi’ (1957).

In 1958 came the hit Sindhi film ‘Abana’. In this film, C Arjun shared the credits for music direction with Bulo C Rani, and not just as an assistant. Then in 1960, he got his first break as an independent music director in Hindi cinema with the film ‘Road No. 303’. His career remained very patchy throughout, despite some of the most wonderful songs and ghazals created by him. The songs gained popularity with the listening public, but that never really translated into more work for him from the producers in the industry. Following is the list of films he has composed for,

  • 1961 Main Aur Mera Bhai
  • 1964 Punarmilan
  • 1965 Ek Saal Pehle
  • 1966 Chale Hain Sasural
  • 1966 Sushila
  • 1967 Lambu In Hong Kong
  • 1970 Mangu Dada
  • 1971 Ustad Pedro
  • 1973 Guru Aur Chela
  • 1975 Jai Santoshi Mata
  • 1976 Raksha Bandhan
  • 1977 Aankh Ka Tara
  • 1977 Subah Zaroor Aayegi (possibly a re-release of Sushila from 1966)
  • 1978 Nawab Saheb
  • 1980 Karva Chauth
  • 1981 Kaanoon Aur Mujrim

Unreleased Films
Sant Valmiki
O Mere Jaan e Jigar
Gunaahon Ka Mandir

Besides these, he also has given music to films in Sindhi, Gujarati and Haryanvi. He also has composed music for non-film albums in Sindhi. He was actually in a recording studio, rehearsing with artists for the recording of a Sindhi non-film album release, when he suffered a cardiac arrest and passed away.

Today’s song is from his debut Hindi film ‘Road No 303’. The film is produced under the banner of Mahesh Pictures, Bombay, by Bheeku Bhai and Ratan Kumar. The film is directed by Dharam Kumar. The star cast is listed as Shobha Khote, Mehmood, Bhagwan, KN Singh, Tiwari, Sheelu, Helen, Altaf, Maqbool, Raju, Mirajkar, Ramlal, Fazlu, Majnu, Joshi, Kashi, S Kerawala, Master Nisar, Bakshi and others.

The film has six songs, equally shared between the songwriters Jaan Nisar Akhtar and Naqsh Lyallpuri. This particular song is sung by Asha Bhosle. Only the audio of this song is available, and I request our more knowledgeable readers to please add more information about this song, and the movie itself.

A wonderful creation in my opinion. Listen and enjoy.


Song – Dil Ko Ye Kya Hua (Road No 303) (1960) Singer – Asha Bhosle, Lyrics – Naqsh Lyallpuri, MD – C Arjun

Lyrics

aaa aaaaaa
aaa aaaaaa

aaa aaaaaa
aaa aaaaaa

aa aaa aa aaa aa aaa aa aaa aa aaa aa aaa aa aaa aa aaa

dil ko ye kya hua
taaron ki chhaon mein
mehki hawaaon mein
chupke se kho gaya
dil
dil chupke se kho gaya
dil ko ye kya..aa hua. . .

maine khushi ka
dekha savera
jaaga ujala dooba andhera
mausam bhi hai jawaan
jhoome hai aasmaan
rangeen fizaaon mein
chupke se kho gaya
dil
dil chupke se kho gaya
dil ko ye kya..aa hua. . .

meri nazar mein
hain wo nazaare
deewana kar den jinke ishaare
saagar pe jhoom ke
lehron ko choom ke
sapnon ke gaon mein
chupke se kho gaya
dil
dil chupke se kho gaya
dil ko ye kya..aa hua. . .

mujh ko bulaayen
phoolo ki baahen
hansti hai mere jeewan ki raahen
sun ke bahaar ki
mastaana raagini
meethi sadaaon mein
chupke se kho gaya
dil
dil chupke se kho gaya
dil ko ye kya..aa hua. . .

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

आs आssss
आs आssss

आs आssss
आs आssss

आs आss आs आss आs आss आs आss आs आss आs आss आs आss आs आss

दिल को ये क्या हुआ
तारों की छाँव में
महकी हवाओं में
चुपके से खो गया
दिल
दिल चुपके से खो गया
दिल को ये क्या॰॰आ हुआ॰ ॰ ॰

मैंने खुशी का
देखा सवेरा
जागा उजाला डूबा अंधेरा
मौसम भी है जवां
झूमे है आसमां
रंगीं फिज़ाओं में
चुपके से खो गया
दिल
दिल चुपके से खो गया
दिल को ये क्या॰॰आ हुआ॰ ॰ ॰

मेरी नज़र में
हैं वो नज़ारे
दीवाना कर दें जिसके इशारे
सागर पे झूम के
लहरों को चूम के
सपनों के गाँव में
चुपके से खो गया
दिल
दिल चुपके से खो गया
दिल को ये क्या॰॰आ हुआ॰ ॰ ॰

मुझको बुलाएँ
फूलों की बाहें
हँसती हैं मेरे जीवन की राहें
सुनके बहार की
मस्ताना रागिनी
मीठी सदाओं में
चुपके से खो गया
दिल
दिल चुपके से खो गया
दिल को ये क्या॰॰आ हुआ॰ ॰ ॰


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4304 Post No. : 15570

“Anaarbaala”(1961) was directed by Raja Yagnik for Unity Productions, Bombay. This costume drama movie had Daljeet,, Krishna Kumari, Tiwari, Maruti, Neelofar, Pal Sharma, Babu Raje, Pandit Iqbal, Moni Chatterjee, Kesari, Shree Bhagwan, Jeewan Kala etc in it.

The movie had eight songs in it. One song from the movie has been covered in the past.

Here is the second song from “Anaarbaala”(1961) to appear in the blog. The song is sung by Sudha Malhotra. Ramesh Chandra Pandey is the lyricist. Music is composed by Bulo C Rani.

Only the audio of this “remonstrating with the Almighty” genre of song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Duniya banaane waale achcha yahi hota (Anaarbala)(1961) Singer-Sudha Malhotra, Lyrics-Ramesh Chandra Pandey, MD-Bulo C Rani

Lyrics

duniya banaane waale achcha yahi hota
agar ham gareebon ko banaaya nahin hota
duniya banaane waale achcha yahi hota
agar ham gareebon ko banaaya nahin hota
duniya banaane waale ae ae

ham poochhte hain tera kya
hamne bigaadaa
baste huye is ghar ko kyun
toone ujaada
ham poochhte hain tera kya
hamne bigaadaa
baste huye is ghar ko kyun
toone ujaada
gar jaante hum tujhko
bhi daulat se pyaar hai
to pyaar ka sansaar humne
sajaaya nahin hota
duniya banaane waale achcha yahi hota
agar ham gareebon ko banaaya nahin hota
duniya banaane waale ae ae

putli bana hai tu hi
dhaniyon ke haath ki
ummeed kya karen hum
ab tere saath ki
putli bana hai tu hi
dhaniyon ke haath ki
ummeed kya karen hum
ab tere saath ki
Bhagwaan tujhe aaj bhi
hargiz na bulaate
aawaaz pe dukhiyon ke
jo aaya nahin hota
duniya banaane waale ae ae
duniya banaane waale
ab raham gareebon ko
banaaya nahin hota
achcha yahi hota


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4303 Post No. : 15569

During 1950s and 1960s, there were quite a few South Indian movies that were dubbed into Hindi. While dialogues were dubbed, original songs sung in the South Indian language were resung in Hindi.

“Aayi Phir Se Bahaar”(1960) is one such movie. It was a remake of Tamil movie “Raaja Raani” (1956). The movie was written by M Karunanidhi and directed by A Bhimsingh. The movie had Padmini, Sivaji Ganesan, S S Rajendran, Raja Sulochana, T A Madhuram, N S Krishnan, Rajgopal, Doraiswami, etc in it.

The Tamil movie had T R Pappa as the music ditector. When this movie was dubbed in Hindi, Vedpal Verma was tasked with recording songs in Hindi.

The Hindi version had eight songs. One song has been covered in the past.

Here is the second song from “Aayi Phir Se Bahaar”(1960) to appear in the blog. The song is sung by Lata. Vedpal Verma is the lyricist as well as the music director. The song is picturisec as a radio song.Padmini switches on the radio and this song begins to play right from the beginning. No time wasted for previos song, or announcement. In my radio listening days I could rarely time my radio switching to this perfection. 🙂

After the song is over, the radio gets switched off. So in effect, the radio gets used as a record player, which by the way was not yet invented till that time. 🙂


Song-Tu dulhan banegi teri doliya sajegi (Aayi phir Se Bahaar)(1960) Singer-Lata, Lyrics-Vedpal Verma, MD-Vedpal Verma

Lyrics

Tu dulhan banegi
teri doliya sajegi gori
laayega raaja baaraat
ho gori
laayega raaja baaraat
tu dulhan banegi
teri doliya sajegi gori
laayega raaja baaraat
ho gori
laayega raaja baaraat

chanda banega maathe ki bindiya
kaari badariya kaajal
kaari badariya kaajal
amber banega teri chunariya
aur bijuriya paayal
aur bijuriya paayal
laaj rachegi bankar mehandi
kar degi peele haath
ho gori laayega raaja baaraat
tu dulhan banegi
teri doliya sajegi gori
laayega raaja baaraat
ho gori laayega raaja baaraat

preet ye teri dulhan banegi
dulha sajan ka pyaar
dulha sajan ka pyaar
baadal banenge teri paalki
pavan jhakore ka haar
pavan jhakore ka haar
pahle milan me karna tu gori
rangreliyaan saari raat
ho gori laayega raaja baaraat
tu dulhan banegi
teri doliya sajegi gori
laayega raaja baaraat
ho gori laayega raaja baaraat


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4302 Post No. : 15568

“Baaraat”(1960) was produced and directed by K Amarnath for K Amarnath Productions, Bombay. This “social” movie had Ajit, Shakila, Mukri, Salim, Protima Devi, Murad, Shalini, Brahm Bhardwaj, Gulnar, Pandey, Amrit Rana, Ravikant, Sheila Kashmiri, Sajjan etc in it.

The movie had eight songs in it. Seven of these songs have been covered in the past.

Details of the seven songs covered in the blog are :-

S N Song Song number in blog Date of posting
1 Muft huye badnaam kisi se haay dil ko lagaake 461 29-Dec-2008
2 Chalo ab kehna maan jaao 6431 13-Aug-2012
3 Zaalim kehna maan lachakti chal na 6454 16-Aug-2012
4 Pakdi gayi pakdi gayi lo gori ki chori pakdi gayi 14288 21-April-2018
5 Mohan main ek bhatka raahi 15535 12-April-2020
6 Arre jaanewaale hamaari gali aana 15555 24-April-2020
7 O baabu tel maalish karaa lo boot polish 15561 26-April-2020

Here is the eighth and final song from “Baaraat”(1960) to appear in the blog. If the movie made its debut in the blog with an iconic song Muft huye badnaam kisi se haay dil ko lagaake, the final song from the movie is no less of an iconic song. It is sung by Lata. Majrooh sultanpuri is the lyricist. Music is composed by Chitragupta.

This “calling the beloved” genre of song is picturised on Shakila.

With this song, all the songs of “Baaraat”(1960) are covered in the blog and the movie joins the list of movies that are YIPPEED in the blog.


Song-Aaja re tera ek sahaara (Baaraat)(1960) Singer-Lata, Lyrics-Majrooh Sultanpuri, MD-Chitragupta

Lyrics

o o o o o o
o o o o
o o o
aaja re tera ek sahaara aa
aaja re tera ek sahaara
koi ye na kahe mera koi nahin
aaja re ae tera ek sahaara

jaate jaate yaad karo baaten ikraar ki
mudte hi bhool gaye kasmen wo pyaar ki
jaate jaate yaad karo baaten ikraar ki
mudte hi bhool gaye kasme wo pyaar ki
sajna wo saara waada kahaan hai tumhaara
aaja re tera ek sahaara
koi ye na kahe mera koi nahin
aaja re tera ek sahaara

sab kahen dekh gori mukhde ko mod le
kisi aur saanwre se ankhiyon ko jod le
sab kahen dekh gori mukhde ko mod le
kisi aur saanwre se ankhiyon ko jod le
par main lagaaaun kaise dil ko dubaara
aaja re tera ek sahaara
koi ye na kahe mera koi nahin
aaja re ae tera ek sahaara

roun jo pukaar ke main haaye kaisi reet hai
koi kahe ye hansi hai koi kahe geet hai
roun jo pukaar ke main haaye kaisi reet hai
koi kahe ye hansi hai koi kahe geet hai
tere bina kaun jaane dard hamaara
aaja re ae tera ek sahaara
koi ye na kahe mera koi nahin
aaja re ae tera ek sahaara


This article is written by Sadanand Kamath, a fellow enthusaist 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4302 Post No. : 15567 Movie Count :

4285

Recently, I came across a very rare song from an unreleased film ‘Rustom Aur Sohrab’ (1940s). The song was uploaded on video sharing platform by Giridharilal Vishwakarma sometime in 2018. Despite an extensive search on the website, I could not get details about the film such as producer, director, actors etc. Probably, this film may have been one among many films that had become the victims of partition in 1947.

The title of the film indicates that it was based on the legendary poem of the same name by the 10th century Persian poet, Firdausi which was a part of his epic, ‘Shahnameh’. I had some exposure to Firdausi in our History classes while covering the Persian Empire. I had also watched the ‘Rustom Sohrab’ (1963) on Doordarshan sometime in the 1980s. But I do not remember details of the story.

Just to recapitulate the details of the story as depicted in the film, a few days back, I watched the full film ‘Rustom Sohrab’ (1963) on VCD and in the process, I enjoyed Sajjad Hussain’s gems which have been well picturised. The surprise from watching the film was that after many years, I realised that the story of Rustom-Sohrab had some similarities with that of a story in a Yakshagana play in Kannada titled ‘Babruvahan Kaalaga’ (Babruvahan’s Battle) which I had watched during my childhood in the late 1950s. Of course. what ever may be the similarities, they are co-incidental.

During my childhood, I used to accompany our family to watch the artists performing Yakshagana which were generally held in the Cosmopolitan Sports Club ground in Matunga, Mumbai. Since it was staged in Kannada, I had difficulties in understanding the poetic renditions and dialogues. But I used to enjoy the dances, the costumes of the artists and the rhythm of ‘Chendu’ – a type of percussion. I can say that during my childhood, I have seen more numbers of Yakshagana performances than the films. A few of my relatives were also pursuing their hobby as Yakshagana artists. Because of this, I had easy access to their make-up and rehearsal rooms when Yakshagana plays were being staged.

Before I come back to the main subject, I need to explain what is Yakshagana Baylata (I guess, the word ‘baylata’ may have been derived from English word ‘Ballet). It is a dance drama, combining the poetic singing by a singer, called ‘Bhagvatar’ accompanied by music with artists dancing with expressions and gestures and thereafter delivering dialogues. The Yakshagana plays are mostly based on the stories from Ramayan and Mahabharat. This form of folk theatre is popular in the west coast of Karnataka from where it originated about 500 years back.

In the story in the Yakshagana play, ‘Babruvahan Kaalaga’ (Babruvahan’s Battle), there is a battle between Arjun and his son, Babruvahan. In the story of ‘Rustom Sohrab’ (1963), there is a battle between Rustom and his son, Sohrab. In both these stories, father and son are not aware of their relations until the battle comes to an end. Let me set out in details some similarities in the story of Arujun-Babruvahan battle versus Rustom-Sohrab battle.

While Pandavas were in exile, Arjun wandered into the kingdom of Manipura and paid a visit to the king who had a beautiful daughter, Chitrangada. During his stay, Arjun fell in love with her and asked the king for his daughter’s hand. King agreed on one condition that the son born after his marriage with Chitrangada would be the future king of Manipura. Arjun agreed and the marriage was solemnised. When Chitrangada was carrying Babruvahan in her womb, Arjun had to leave Manipura. In the intervening period, Arjun had no occasion to visit his wife Chitrangada and the son Babruvahan. Later, Babruvahan succeeded his grandfather as the king of Manipura.

In Rustom-Sohrab story, Rustom, a confident of the king of Iran, on a visit to Samangan, a neighbouring kingdom, rescues the chariot of Princess Tehminia and her entourage from a huge fallen tree by removing the tree by his sheer strength out of her way. The Princess is impressed. Before she could expressed her love for him, Rustom rides on his horse and moves back to Iran. To entice Rustom to come back to her, she arranges stealing of Rustom’s favourite horse. As expected, Rustom comes to Samangan, the Princes kingdom in search of his horse and meets her who reveals the truth behind stealing of his horse. Rustom likes the Princess. Both get married. In the meanwhile, trouble is brewing in Iran and Rustom must go back to Iran to save the kingdom. He leaves the Princess who is carrying Sohrab in her womb. Before leaving for Iran, Rustom gives the Princes a metal armlet with Rustom’s family logo with the instructions that she should put on the arm of their yet to be born offspring. She gives birth to Sohrab who over a period of time becomes as great a warrior as his father.

The trigger for Arjun-Babruvahan battle is the capture by king Babruvahan of the horse as a part of Ashwamedh Yagna. Arjun as the protector must get the horse released by defeating Babruvahan. In the battle, King Babruvahan defeats the army of Arjun and kills him with an arrow which was given to him by Ganga as a boon. When Babruvahan comes to know that Arjun was his father and by his act, he has made his mother widow, he tries to kill himself. But his step-mother Uloopi, using Nagamani (magical stone) as sanjivani, revives Arjun. So, this is a happy ending of father-son dual.

While in Rustom-Sohrab battle, just like in Arjun-Babruvahan battle, Rustom and Sohrab were unaware of their relations as father and son at the time of their fight. It is only when Rustom fatally injures Sohrab during the fight, and sees the armlet on the arm of Sohrab, he comes to know that he had fatally injured his own son and he repents. Sohrab dies in the arms of his father, Rustom. Thus, the story has a tragic end.

In both the stories, the killing of father by Babruvahan and killing of son by Rustom is to avenge the killings of the son of King Afsayed of Turanak by Rustom and killing of Bhishma, the son of Ganga by Arjun in Kurukshetra war. For instance, after the son of King Afsayed of Turanak is killed by Rustom while rescuing the King of Iran from their captivity in Turanak, Afsayed takes a vow that he would kill Rustom’s son. In the process, he comes to know that Sohrab is the son of Rustom. Having failed to kill Sohrab because he is as strong a warrior as his father, he lures him to fight Rustom on behalf of the Kingdom of Turanak so that in the fight, Sohrab will get killed by Rustom. In the case of Arjun, it is an arrow given as a boon by Ganga to Babruvahan to kill Arjun to avenge his killing of her son, Bhishma by deceit.

It is also interesting to note that in both the stories, a horse is captured albeit for different reasons.

‘Rustom Aur Sohrab’ the unreleased film of the 1940s had 6 songs. I am presenting the first song from the film ‘jo qaail-e-mahr-o-wafaa hi na ho’ which is sung by Nazira Begum. The name of the lyricist is not known. The song is set to music by Master Mohan which, I guess, is the same person as Mohan Junior who was the music director for film ‘Ajamil (1948) and ‘Dana Paani’ (1953). There was a music director, Master Mohan who has composed music for films during 1931-36.

The song is written in a ghazal format with high sounding Urdu words. From the wordings of the ghazal, I feel that this song fits well in a situation in the film equivalent to the situation of the song “ye kaisi ajab daastan ho gayi hai” in the film ‘Rustom Sohrab’ (1963).

Audio Clip:

Song-Jo qaail e mehr o wafaai na ho (Rustom Aur Sohrab)(1948) Singer-Nazira Begam, MD-Master Mohan

Lyrics

jo qaail-e-mahr-o-wafaai na ho
jo qaail-e-mahr-o-wafaai na ho
waade ka nibhaana kya jaane
waade ka nibhaana kya jaane
jo munkar-e-dard-ae-ulfat ho
jo munkar-e-dard-ae-ulfat ho
wo dil ka lagaana kya jaane
wo dil ka lagaana

kis tarah teer mohabbat ka
kis tarah teer mohobbat ka
pae wast(?) jigar mein hota hai
pae wast(?) jigar mein hota hai
iss raaz ko koi kya samajhe
iss raaz ko koi kya samajhe
ik dukh ko zamaana kya jaane
ik dukh ko zamaana kya jaane

ummeed kaa daaman chhoot gaya
ummeed kaa daaman chhoot gaya
aasaar bure hain furqat mein
aasaar bure hain furqat mein
ye aag lagaayi hai jisne
ye aag lagaayi hai jisne
wo isko bujhhaana kya jaane
wo isko bujhhaana

wo dil jo kabhi toota hi na ho
wo dil jo kabhi toota hi na ho
wo chot ki lajjat kya jaane
wo chot ki lajjat kya jaane
jis haath mein khanjar sajta ho
jis haath mein khanjar sajta ho
marham ka lagaana kya jaane
marham ka lagaana kya jaane
jo qaail-e-mahr-o-wafaai na ho
jo qaail-e-mahr-o-wafaai na ho
waade ka nibhaana kya jaane
waade ka nibhaana


This article is written by Arunkumar Deshmukh, a fellow enthusaist 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4302 Post No. : 15566

Today’s song is from film Ram Vivah-49. This is a duet song by Manna Dey and Geeta Roy. This is the first ever duet of these singers, in their career.

Geeta, who debuted via a chorus song in 1946, won some fame with her songs in film Do Bhai-47, with music by S D Burman. However till about 1950 or so, she was still struggling to make a place in the film line. She had to compete with singers like Lata and Asha as well as Shamshad, Amirbai and Zohrabai too. Manna Dey was an occasional singer, struggling very hard to get established as either a singer or a Music Director. Good sense prevailed and he realised that singing was his forte and he concentrated on it,later. He is one of my favourite singers, who had all the merit and talent, but not a strong Luck ! He became a preferred singer for composers, whenever a Bhajan, religious song or a high pitched song was to be sung.

Film Ram Vivah-49 was was produced by Prem Adib Productions and it was the only film directed by him ever. This film came after the eminently flop film Raambaan-48, made by Prakash pictures. Actually, it was Prakash pictures who had earlier made two very successful film on Ramayan stories, namely Bharat Bhet-42 and Ramrajya-43. Enthused with the success of these two films, Prakash decided to complete Triology with one more film on Ram and Seeta. They waited for 5 years and then made Raambaan-48. The glaring mistake they made was in the film story. The first two films were largely true to the original Valmiki Ramayan. While making Raambaan, they employed their story department authors-Mohan lal Dave and Pt.Girish. They messed up with the story and made it into a poor and distorted version of Ramkatha. This caused the failure of film Raambaan-48.

Learning a lesson from this, Prem Adib stuck to the original Valmiki Ramayan. In fact the Credits show Valmiki’s name for ‘ Story ‘. Additionally, the cast consisted of almost same team with Prem Adib, Shobhana Samarth, Jeevan, Umakant, Shanta Kumari and others. Music director was Shankar rao Vyas and Lyricist was Moti, B.A. (actually he was an M.A.).

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 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 film Rambaan-48, 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, 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, as Ram and Seeta.

Ramayan and Mahabharata are the two major Religious Epics for Indians. Ramayana has been popular and wide spread all over the Eastern World. There are in all 300 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.

Actor Umakant played the role of Laxman even in this film. In all he played this role in 7 films. Similarly, actor Jeevan, who first time played the role of Narad in Bharat Milap-42, played Narad in almost 100 films in his career ( it was like Jagdish Raj playing role of Police Inspector or Iftekhar playing Police Commissioner or Murad playing a court Judge in Hindi films).

In my last post (on film Bharat Milap-42), I had mentioned about difficulty in getting information on practically unknown actors.This is a major problem for people ,like me, who are students of vintage films and its people. Another big problem is “same name confusion”, caused by artistes having similar sounding names . In early cinema era as we all know, most artistes came form lower strata of society as members of respectable families were not ready to join this ‘ lowly’ film line. This applied mostly for women folk. Among these families of Tawayafs and singers, there were limited names recycled. Some examples are Noorjehan, Khursheed, Zubeida, Shehzadi, Naseem etc etc. This caused problems and confusions. This problems was also among Male artistes at a lesser rate. Names like Asit Sen, N Datta, Rajkumar, Shyam etc are some examples. It was not restricted to Muslim artistes only. There are examples like Nalini, Leela, Ranjana, Rajkumari etc . I would say the ratio was 60:40 for females and Males.

At one given time, there were as many as 8 to 10 Nalinis working in films. Similarly there were several Shantas in films. Few examples are Shanta Apte, Shanta Hublikar, Shanta Mujumdar, Shanta kumari (stuntwali), Shanta kumari (Socialwali),Shanta Patel etc. Luckily, there was no Same name confusion, as these Shantas were using their surnames. Shanta Mujumdar acted only in Prabhat bilingual films. She later married writer Pt. Mukhram Sharma. Shanta kumari and Shanta Patel were stunt actresses. Socialwali Shanta kumari stopped working in 1936…before stuntwali came in. Socialwali married and became Shanta Kothari and worked in 3 films with this name.

Today, we will know more about Shanta Kothari (nee Shanta kumari), who acted as Kaushalya in 3 films after marriage. She is one of those artistes about whom information had to be culled from multiple sources, with great efforts. She was born in 1904 in a large family. Her father Motilal was Principal of a college, but mother was a Tawayef. She studied in English medium. After father’s death, her mother started teaching her dancing and singing. Soon she was singing for customers.

She was very beautiful looking. She entered film line at the age of 16 years, i.e. in 1920. She acted in Silent films made by various companies like Sharada, Great Eastern,Ranjit, kohinoor, Shri krishna film co and krishnatone etc.Some of her silent films were, Kala pahad-27, with master Vithal, Bhai ya kasai-28,Pilgrims of Love-29, Kumud Kumari-29, Prince Charming-30 with E.Billimoria and Castles in the air-30. Other films were Loves of Mughal Prince, Drums of Love, Pyari Jogan, Pardesi Sainya, Prem yatra, Rasili Radha, Maujeli Mashuqa, Shaikh Chilli etc etc. In 1930 she went to Calcutta and worked in film Shrikant also.

Due to her good looks, dancing and singing skills,she effortlessly entered Talkie film era. Her first talkie was krishn Cinetone’s Heer Ranjha-31. It was followed by Chintamani-31,Krishnavatar-32, Lanka Dahan-33, Hatim Tai-1-33, Simhasan-34, Sant Tulsidas-34, Kashmeera-34, Aaj kal-34, Bal hatya and Prem yatri-36. She sang on A.I.R. Bombay frequently. In film Sant Tulsidas, she sang equally with a stalwart like G.N.Joshi, with ease. She sang 21 songs in 8 films in her career.

She took a break from films and she got married to Sound Recordist Kothari. She became Shanta Shantaram Kothari after marriage.In 1941, when film Bharat Milap was being planned, Prakash Pictures requested and she worked in that film as well as Ramrajya-43 in the role of Kaushalya. After 5 years when Prem Adib requested, she again worked in film Ram Vivah-49. However, she stopped films after that.

I could not get further information about her after this period, but we have all information about her film career. (For information used here, I thank Isuru Udayanga Kariyavasam, V.S.Nigam’s article on http://www.medium.com, books- Beete kal ke sitare-S.Tamrakar, Early Hindustani talkies-P.Kamalakar, muVyz.com, CITWF, HFGK and my notes)

The Music Director of film Ram Vivah-49 was Shankar Rao Vyas. After the success of films ‘ Narsi Bhagat-40’ and ‘ Bharata Milap-42’, Vyas rode on the Pinnacle of his career with the popularity of Ramrajya songs. Vyas was a very hard working person. Once while recording songs of film ‘ Vikramaditya’-45, he needed Echo effect in the song ‘ Om Jai Jai Shankar’. In those days, the recording studios were not equipped with such facilities. Vyas searched and found out a Temple having a big Dome in the obscure suburb Jogeshwari in Bombay and recorded this song in that Temple at 2 am in the midnight when it was very quiet !

Ramrajya-43 was the most successful musical film of that era. When Prakash Pictures planned to produce Ramrajya again in 1967, the MD was Vasant Desai. Before recording film’s first song Desai garlanded the photo of Shankar Rao Vyas and then only started the work, seeking his Blessings. Ramrajya had also the distinction of being the only film in the world which Mahatma Gandhi saw in his life. It is said that he was pleased with its songs very much.

Prof. Shankarrao Vyas (1898-1956) was born in Kolhapur on 23-1-1898. His father Ganeshpant was a well known Keertankar and Puranik! So, he was brought up in the religious and musical environment. Unfortunately, Ganeshpant died when Shankar was seven years old. His paternal uncle brought him up for few years. His maternal uncle (Mama) noticed his inclination towards music and enrolled him in the ‘gurukul’ of Maharaj (Pandit) Vishnu Digambar Paluskar.

In those days, students had to sign a bond with the Gandharva Mahavidyalaya. Training period would last 8-10 years and the student would become all-rounder in every field related to music. Thus, Shankar Rao spent nine years in this gurukul, earned ‘Sangeet Pravin’ degree and gold medal for overall development. With the suggestion of guruji, he worked in Lahore vidyalaya for few years.
In 1931, he moved to Ahmadabad for establishing branch of Gandharva Mahavidyalaya. He was an expert not only in vocal music, but could play and repair many instruments including sitar, jaltarang and mendolin. He would conduct orchestra consisting of Indian and western instruments. He was also a very good composer and wrote several bandishes. He was the key person in planning music section of national (Rashtriya) schools: an idea originated by Gandhiji in Ahmadabad.

In 1935, he left Ahmadabad and settled in Bombay. He founded school for music education at Dadar, just outside the western railway station. ‘Vyas Sangeet Vidyalaya’. It is still functioning at this place. His brother Narayanrao Vyas and brother in law Vasantrao Rajopadhye also joined him in this noble cause. Around 1930/31, HMV Company invited both Vyas brothers for recordings and they cut over 200 songs (100 discs) until about 1938. He also cut few orchestral records under ‘Vyas Brothers’ banner playing pure classical ragas. These records were best sellers and company had printed their photographs on record catalogues.

This period was also the beginning of talkie films. Shankar Rao composed music for Hindi (35), Marathi (5), and Gujrathi (3) films from 1937-1955. His first film as a composer was ‘ His Highness’ -37 and the last was ‘ Baal Ramayan’ -released in 56. He also composed background music for fifteen films. Most of his films were based on religious or mythological themes. He also taught music to non-singing actors such as Sardar Akhtar and Shirin Bano. His most famous musical films were – Narsi Bhagat (1940), Bharat Bhet (1941), Ram Rajya (1943, in Hindi and Marathi). Saraswati Rane sung ‘Beena madhur madhur kachu bol’ in raga Bhimpalas in Hindi film ‘Ram Rajya’ and this song became popular throughout India. This was the only film that Gandhji watched in cinema hall and was much impressed with the music. Songs from Marathi version of ‘Ram Rajya’ viz. ‘Sujanho parisa ramkatha’ and ‘Ladkya raanila lagale dohale’ are shown on TV even today.

He was very busy in many fields as a composer, Principal of his music school, author of articles and bandishes, President of Gandharva Mahavidyalaya and founder editor of ‘Sangeet Kala Vihar’ magazine (founded in 1947) of Vidyalaya that is published even today. He passed away at Ahmadabad on 17-12- 1956. He has sung couple of abhangs of Saint Tukaram. These are available on HMV records. Record P 13454 published in 1931 has a sweet abhang – ‘Roopi guntale lochan, charani sthiravale mana’.

Today’s song indicates that Shankarrao Vyas tried hard to be with the changing tastes of his audience. The song has a faster tune and music.


Song-Dhanya Dhanya hai Avadhpuri (Raam Vivaah)(1949) Singers-Geeta Dutt, Manna Dey, Lyricist- Moti B A, MD- Shankarrao Vyas
Both

Lyrics

Dhanya dhanya hai avadhpuri
Dhanya wahaan ki phulwaari
Jahaan Raam ne janam liya hai
Dhanya wahaan ke nar naari ee
Dhanya wahaan ke nar naari

Avadhpuri ke uttar dish
Saryu ki dhaara behti hai
Raaja Dashrath raaj karen aur
Praja chain se rehti hai ae
Praja chain se rehti hai

Ann dhan se bharpoor Ayodhya
Teen lok se hai nyaari

Jahaan Raam ne janm liya hai
Dhanya wahaan ke nar naari
Dhanya wahaan ke nar naari

Chham chham karti chali kaamini
Hai solah singaar kiye
Aankhon mein sansaar liye
Haathon mein sundar haar liye
Satvanti hain sabhi naariyaan
Sat par apne balihaari

Jahaan Raam ne janm liya hai
Dhanya wahaan ke nar naari
Dhanya wahaan ke nar naari

Raam Lakhan aur Bharat
Shatrughan
Chaar ratn hain raaja ke
Jinmein sabse bade raam hain
Pran piyaare parja ke ae
Pran piyaare parja ke
Raam liye dhanu-baan raakshason ke
Marne ki hai baari

Jahaan Raam ne janm liya hai
Dhanya wahaan ke nar naari ee
Dhanya wahaan ke nar naari


This article is written by Peevesie’s mom, a fellow enthusaist 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4301 Post No. : 15565

Hullo Atuldom

“Shankar Shambu” (1976) was directed by Chand for AK Movies and had Feroz Khan, Vinod Khanna, Sulakshna Pandit, Bindu, Jagdeep, Ajit, Anwar Hussain, Pradeep Kumar, Sulochana, Jayshree T. Jankidas, Sudhir, Lalita Pawar, Viju Khote etc. It was a bandit story which is in my list of movies to be seen. This movie had five songs three of which have been posted on this blog. All the songs were written by Sahir Ludhianvi a favorite lyricist of a few followers of this blog.

For me this movie gives me an opportunity to remember two very handsome actors on their death anniversary today 27th April. It was a talk of Bollywood that these two actors became friends during the making of this movie. They then came together again for Qurbani (1980). I am talking Feroz Khan and Vinod Khanna. It is said that FK was so impressed by VK that when he began his ‘Qurbani’ Vinod Khanna was an automatic choice for the role of Amar. When Feroz Khan remade Maniratnam’s ‘Nayakan’ in Hindi as “Dayavan” Vinod Khanna was there in that too. But what I didn’t relish was the way the two left this world. There are various videos available on YouTube where artists from the industry pay tributes to these two and can’t stop themselves from mentioning that these two left the world on the same date; only nine years apart.

The first two songs from this movie posted on the blog were tributes to Sahir by Avinashji and came in 2016. The third one came last year in June. Today’s song is sung by Asha Bhonsle and lip-synced by Bindu. From the picturisation it looks like Shankar and Shambhu have had a tiff and at the same time Bindu seems to be pacifying Vinod Khanna and also looks like she loves him. We also see spoil-sport Anwar Hussain directing cops to the hideout of the bandits.

BTW Bindu also turned 79 this year on 17th April. Let us enjoy the short song. (looks rather short from the clip I found).


Song-Gar nibhaane ki himmat na thhi aap mein (Shankar Shambhu)(1976) Singer-Asha Bhonsle, Lyrics-Sahir Ludhianvi, MD-Kalyanji Anandji

Lyrics

na jaao re ae ae ae
gar nibhaane ki himmat na thhi aap mein
gar nibhaane ki himmat na thhi aap mein
dil lagaana na thha
dil lagaana na thha
haath thhaama thha mera toh yoon raah mein
chhod jaana na thha
chhod jaana na thha
gar nibhaane ki himmat na thhi aap mein
na jaao re ae ae ae ae ae

toot jaaye jo pal mein woh ikraar kya
toot jaaye jo pal mein woh ikraar kya
jisko duniya ka darr ho woh dildaar kya
pyaar ki raah mein jab kadam rakh diya
pyaar ki raah mein jab kadam rakh diya
dagmagaana na thha
dagmagaana na thha
gar nibhaane ki himmat na thhi aap mein
dil lagaana na thha
dil lagaana na thha
gar nibhaane ki himmat na thhi aap mein


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4301 Post No. : 15564

“Jheel Ke Us Paar”(1973) was produced and directed by Bhappie Sonie forBhappie Sonie Productions, Bombay. This movie was based on a Gulshan Nanda novel of the same name. It had Dharmendra, Mumtaz, Prem Chopra, Junior Mehmood, Ranjeet, Fariyaal, Veena, Anwar Hussain, Ifthikar, Urmila Bhatt, Sujata, Polson, Baby Cheeku, Madan Kenny, Rajan Kapoor, Altamash Ghaznavi, Yogita Bali with guest appearance by Jagdish Raj and special appearance by Pran.

The movie had Six songs in it. Three songs have been covered in the past.

Here is the fourth song from “Jheel Ke Us Paar”(1973) to appear in the blog. This song is sung by Lata. Anand Bakshi is the lyricist. Music is composed by R D Burman.

The song is picturised on Mumtaz and Anwar Hussain. I have not watched the movie so I cannot say for sue if Mumtaz plays a blind girl or he pretends to be one in this song. I request our knowledgeable readers to help throw light on the picturisation of this song.


Song-Do ghoont mujhe bhi pilaa de sharaabi (Jheel Ke Us Paar)(1973) Singer-Lata, Lyrics-Anand Bakshi, MD-R D Burman

Lyrics

do ghoont mujhe bhi pila de sharaabi
dekh phir hota hai kya
ho, do ghoont mujhe bhi pila de sharaabi
dekh phir hota hai kya
baalama re ae ae ae
zaalimaa aa
arrey arrey arrey arrey
aag paani mein lagaa de zara si
dekh phir hota hai kya
ho
do ghoont mujhe bhi pila de sharaabi
dekh phir hota hai kya

gaaungi re
naachungi re
tere liye aaj se main
aaye sharam
lekin balam
mar jaaungi laaj se main aen
gaaungi re
naachungi re
tere liye aaj se main
aaye sharam
lekin balam
mar jaungi laaj se main
baalama re ae ae
zaalimaa
arrey arrey arrey arrey
laaj ka ye ghoonghat uthhaa de sharaabi
dekh phir hota hai kya
ho
do ghoont mujhe bhi pila de sharaabi
dekh phir hota hai kya

kis kaam kaa ye jaam hai
ismein mazaa wo nahin hai
bhar ke bhi ye khaali sa hai
ismein nashaa wo nahin hai ae
kis kaam kaa ye jaam hai
ismein mazaa wo nahin hai
bhar ke bhi ye khaali sa hai
ismein nashaa wo nahin hai
saakiyaa re a
e ae saathhiyaa,
arrey arrey, arrey arrey
pyaar thhoda is mein milaa de sharaabi
dekh phir hota hai kya
ho, do ghoont mujhe bhi pila de sharaabi
dekh phir hota hai kya

is khel kaa
is mel ka
aaye mazaa khaak aise
tadpe jiyaa
aise mera
bulbul koyee qaid jaise qe
is khel kaa, is mel ka
aaye mazaa khaak aise
tadpe jiyaa
aise mera
bulbul koyee qaid jaise
soniya ve ae ae
raanjhiya
are are are are
ek baar, ek baar, pahra hata de sharaabi
dekh phir hota hai kya
ho
do ghoont mujhe bhi pila de sharaabi
dekh phir hota hai kya
baalama re ae ae
zaalimaa
arrey arrey arrey arrey
aag paani mein lagaa de zara si
dekh phir hota hai kya
ho, do ghoont mujhe bhi pila de sharaabi
dekh phir hota hai kya
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm


This article is written by Avinash Scrapwala, a fellow enthusaist 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4300 Post No. : 15563

#the Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 91 # “Dil Aur Deewaar-1978
———————————————–—————————–

In Hindi ‘Dil’appears in a large number of titles. I am not listing them here because it will be a ‘long list’.

There are a few movies having ‘Deewaar’ in their titles (viz. ‘Sheeshe Ki Deewaar-1954’, ‘Chaandi Ki Deewaar-1964’, ‘Deewaar-1975’, ‘Waqt Ki Deewaar-1981’, and if we extend a little bit (or ‘cordon’ it? 😊) then ‘Chaar Deewaari’ in ‘1961’.
(I have included only those movies that have been launched on the blog. While preparing this post I found something new which needs to be checked with HFGK and we are always ready to wait for some interesting information in HFM, so we have to wait 🙂 ).

If I am not mistaken there is only one movie that contains both ‘Dil’ and ‘Deewaar’ in its title.

The movie is ‘Dil Aur Deewaar’ in 1978!!!

‘Dil Aur Deewaar – 1978’ was directed by K. Bappaiah for ‘Vijaya and Suresh Combines, Madras’. It was produced by D. Rama Naidu. It had Ashok Kumar, Jeetendra, Rakesh Roshan, Vijay Arora, Moushmi Chatterjee, Nirupa Roy, Prem Chopra, Jagdeep, Tarun Ghosh, Jagdish Raj, Pinchoo Kapoor, Sarika, Manorama, Shyamli, Shanti, Tuntun, Baby Shalu and others. Kamini Kaushal, Roopesh Kumar and K. Jaggaiah make a guest appearance in this movie.

Story of this movie was by Y. Sulochana Rani and its screenplay was written by Tarun Ghosh and Charandas ‘Shokh’. Charandas ‘Shokh’ also wrote the dialogues of this movie. K.A. Marthand was the Chief Editor.

This movie had six songs written by Anand Bakshi and composed by Laxmikant-Pyarelal. Asha Bhonsle, Kishore Kumar, Lata Mangeshkar and Mohd Rafi had given their voices to the songs in this movie.

It was passed by Censor Board on 08.09.1978.

(As mentioned on ‘Wikipedia’ ‘Dil Aur Deewaar-1978 Hindi movie was based on a Telugu movie “Jeevana Tarangalu-1973’ directed by T. Rama Rao.)

I had not watched this movie in those years when I was growing up, but its name somehow was lying dormant in my memory and I don’t know why but I thought that there was something in the posters of this movie (may be a heart shape in place of the ‘ee’ ki maatra’ in its titles in Devnagri Script).

I watched this movie some two years back on my mobile phone (it became the second movie after ‘Aaj aur Kal-1966’ that I watched on my mobile which is the ‘most uncomfortable’ way of watching movies for me. I always prefer and like to watch movies on ‘big screen’ 🙂 )

‘Dil Aur Deewaar-1978’ is an interesting movie to watch and it keeps you engaged till the end of the movie. Few of its songs are also good. While watching the movie, I remembered being familiar with couple of songs from my radio listening days.

The song that I am presenting today appeared most familiar to me. My vaguely memory suggest that I have heard it frequently on radio in those days.

None of the songs of this movie featured in the annual ‘Binaca geetmala’ of that year the movie was released in.

I will not mention about the story of this movie and spoil it for those who wish to watch it. But I would like to write a review of this movie becausee I liked it. The performances of Moushmi Chatterjee, Jeetendra, Rakesh Roshan, Vijay Arora, Sarika and Ashok Kumar are also good given the story line and the regular ‘masaala’ in our movies of that time.

Today 26th April is seventy-second birthday (born on 26th April 1948) of Moushumi Chatterjee and on this occasion I present a song sung by Lata Mangeshkar and Asha Bhonsle, and both of them are singing for Moushumi Chatterjee only. 🙂

The lyrics are by Anand Bakshi and music is composed by Laxmikant-Pyarelal.

Going through the filmography of Moushumi Chatterjee, as I look back at the movies of her that I have watched, I can say I have not watched many of her movies. But I have vague recollections of having watched “Anuraag-1972”, “Ghulam Begam Baadshaah-1973”, “Raftaar-1975”, “Do Jhhoothh-1975” with elders in the family. I surely remember watching “Roti Kapada Aur Makaan-1974”, “Be-naam-1974”, “Jai Bajrangbali-1976”, “Swarg-Narak-1978”, “Manzil-1979”, “Swayamwar-1980”, “Pyaasa Saawan-1981”, watching with family members and cousins.

Also I think I watched “Angoor-1982”, “Ghar Ek Mandir-1984”, “Aag Hi Aag-1987” with cousins in ‘summer vacations’ if I remember clearly.
The latest movie of her I watched was “Piku-2015” and in between there was “Ghaayal-1990”.

I think I watched “Sabse Badaa Rupaiyya-1976” on TV.

Today’s movie “Dil Aur Deewaar-1978” becomes the latest movie of Moushumi Chatterjee that I watched. I like her role in this movie very much and it’s a strong central character in this movie where I think she has performed very well.

Let us now wish Moushumi Chatterjee a very happy birthday today and a healthy and peaceful life ahead. Let us enjoy this song.

Audio

Video

Song-Tod de tu is bandhan ko (Dil aur Deewaar)(1978) Singers-Asha Bhonsle, Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics (Based on audio link)

tod de ae
tod de ae
tod de tu is bandhan ko
tod de tu is bandhan ko
ye farz nahin
dastoor nahin
tod de tu is bandhan ko
ye farz nahin
dastoor nahin
teri maang mein lagaa hai jo
ik daagh hai wo
sindoor nahin
tod de tu is bandhan ko
baandh le
baandh le ae
baandh le man ko is bandhan mein
baandh le man ko is bandhan mein
farz hai ye dastoor hai ye
kaun mitaa saktaa hai isko
rang nahin sindoor hai ye
baandh le man ko is bandhan mein

tod de ae
tod de ae
baandh le man ko is bandhan mein

jaisa bhi hai jhhoothh se ae
ye sach achchhaa hai
jaisa bhi hai jhhoothh se ae
ye sach achchhaa hai

mangalsutra nahin ye
dhaaga sachchaa hai
kachche dhaage se bandh jaaye
tu itni majboor nahin
tod de tu is bandhan ko
tod de ae
tod de ae

is dhaage mein bandhi
hazaaron qasmein hain ae ae ae
is dhaage mein bandhi
hazaaron qasmein hain
toot nahin sakti ye
jag ki rasmein hain

tujhpar log hanse
taane den
kya tujhko manzoor hai ye
baandh le man ko is bandhan mein
farz hai ye
dastoor hai ye
kaun mitaa saktaa hai isko
rang nahin sindoor hai ye
baandh le man ko is bandhan mein

tod de ae
tod de ae

byaah nahin ye dhokha hai
par ab kya ho saktaa hai
mujhko kuchh bhi yaad nahin

phir bhi tu aazaad nahin
ye sab kisne dekhaa hai
saakshi bhaagya ki rekha hai
ye rekha mit sakti hai
kisme itni shakti hai
kaun hai tu
kaun hai tu
kya tera hai
teraa jeevan mera hai
main teri na maanoongi
tujhe main bujhdil jaanoongi
hunh
ha ha ha ha ha
is dukh se dil choor hai ye
farz hai ye
dastoor hai ye
kaun mitaa saktaa hai isko
rang nahin sindoor hai ye
baandh le man ko is bandhan mein
farz hai ye
dastoor hai ye
kaun mitaa saktaa hai isko
rang nahin sindoor hai ye
baandh le man ko is bandhan mein

—————————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————————
तोड़ दे ए
तोड़ दे ए
तोड़ दे तू इस बंधन को
तोड़ दे तू इस बंधन को
ये फ़र्ज़ नहीं
दस्तूर नहीं
तोड़ दे तू इस बंधन को
ये फ़र्ज़ नहीं
दस्तूर नहीं
तेरी मांग में लगा है जो
इक दाग़ है वो
सिन्दूर नहीं
तोड़ दे तू इस बंधन को
बाँध ले
बाँध ले ए
बाँध ले मन को इस बंधन में
बाँध ले मन को इस बंधन में
फ़र्ज़ है ये
दस्तूर है ये
कौन मिटा सकता है इसको
रंग नहीं सिन्दूर है ये
बाँध ले मन को इस बंधन में

तोड़ दे ए
तोड़ दे ए
बाँध ले मन को इस बंधन में

जैसा भी है झूठ से ए
ये सच अच्छा है
जैसा भी है झूठ से ए
ये सच अच्छा है

मंगलसूत्र नहीं ये
धागा कच्चा है
कच्चे धागे से बंध जाए
तू इतनी मजबूर नहीं
तोड़ दे तू इस बंधन को
तोड़ दे ए
तोड़ दे ए

इस धागे में बंधी
हज़ारों कसमें है ए ए ए
इस धागे में बंधी
हज़ारों कसमें है
टूट नहीं सकती ये
जग की रस्में है

तुझपर लोग हँसे
ताने दे
क्या तुझको मंज़ूर है ये
बाँध ले मन को इस बंधन में
फ़र्ज़ है ये
दस्तूर है ये
कौन मिटा सकता है इसको
रंग नहीं सिन्दूर है ये
बाँध ले मन को इस बंधन में

तोड़ दे ए
तोड़ दे ए

ब्याह नहीं ये धोखा है
पर अब क्या हो सकता है
मुझको कुछ भी याद नहीं

फिर भी तू आज़ाद नहीं
ये सब किसने देखा है
साक्षी भाग्य की रेखा है
ये रेखा मिट सकती है
किसमे इतनी शक्ति है
कौन है तू
कौन है तू
क्या तेरा है
तेरा जीवन मेरा है
मैं तेरी ना मानूंगी
तुझे मैं बुझदिल जानूंगी
हुंह
हा हा हा हा हा
इस दुःख से दिल चूर है ये
फ़र्ज़ है ये
दस्तूर है ये
कौन मिटा सकता है इसको
रंग नहीं सिन्दूर है ये
बाँध ले मन को इस बंधन में
फ़र्ज़ है ये
दस्तूर है ये
कौन मिटा सकता है इसको
रंग नहीं सिन्दूर है ये
बाँध ले मन को इस बंधन में


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Blog Day :

4300 Post No. : 15562

Today (26 april 2020) is the 4300th day for the blog.

This date happens to be Akshay Tritiya.

According to a whatsapp message shared in our WA group, it is on this day that Satyug and Treta Yug started. Parshuram, the sixth avatar of Lord Vishnu, appeared on earth on this day. The gates pf Badrinath open today. River Ganga , as a result of Bhagirath’s tapasya, arrived on earth on this day. The war of Mahabharat ended today and with that the Dwapar yug came to an end.

What an important day our 4300th day in the blog has turned out to be. 🙂 Is it a coincidence ? People who are familiar with the various incidents involving the blog will know that some higher forces are guiding the blog and we are just the means.

For instance, when I look back at the beginning of the blog, I realise that the blog was started on 19 july 2008 which was important from the point of view of Indian calendars as well as Western calender. That date was the beginning of the month of Saawan, a month that is perhaps the biggest source of inspiration for Hindi movie songs. And that day happened to be the 201st day of the calendar year !

4300 days is a century day alright, but what can I write on this occasion. My creative juices do not flow as much as they did one decade back and so I was quite at a loss for ideas.

Then I thought of a far-fetched idea. Today is 4300th day after the blog started. Likewise there was a date that precedes the beginning of the blog by 4300 days. What date was that ? What was I doing on that day ?

My calculation shows that the 4300th day prior to 19 july 2008 gives us the date of 10 October 1996. It was Thursday, Ashwin , Krishn trayodashi, the day of Masik Shivratri, which is observed every month on Chaturdashi Tithi during Krishna Paksha, which fell on this date.

Where was I on that day ? I was at Hubli. I had spent two years one month at Hubli and I was on the verge of being transferred. To the best of my knowledge, my transfer order was not issued by this date. It was issued a few days later and I was transferred to Secunderabad.

Did any important event happen on that day ? On checking, I find that Australian cricket team has arrived India those days and they played a solitary test. This one off test was played in New Delhi and it started on this day, viz 10 october 1996 !

Guess what was the result ! India won the test in four days, winning by 7 wickets.

When I look back at those days, i find that my postings in those parts of the country had some interesting results on the polity of the nation. When I was allotted that zone of South Central Railway, no one in India even thought that a South Indian could ever be Indian PM. My posting in those parts changed all that.

My first posting was in Andhra Pradesh followed by Marathwada (Nizam area). The next general election saw Narsimha Rao, belonging to the same parts becoming PM of the nation. No one can deny that this event, which was a big freak event in Indian history changed the fate of India for the better.

My next posting was to Hubli. To make matters doubly interesting, the next general election saw H D Devegowda of Karnataka becoming the PM of India !

PM ship was not the only thing I was causing to happen. Cricket in those parts also saw reaching its zenith. Azharuddin of Hyderabad became Cricket captain of India and remained so for one decade.

After I joined at Hubli, Karnataka became cricketing powerhouse of India.

Take this test, that began on 10 october 1996 for example. There were as many as five Karnataka players in the playing XI. Four out of five bowlers were from Karnakata and together they claimed 16 out of 20 Australian wickets to fall.

The five Karnataka players who played in this test team were Anil Kumble, Rahul Dravid, Venkatesh Prasad, Sunil Joshi and David Johnson.

While Kumble had made his debut six years ago, other four had made their debuts in 1996 itself. David Johnson in fact made his test debut in this test.

Please remember that Jawagal Srinath was not there in the playing XI !

In subsequent years, more Karnataka players played for India, namely Dodda Ganesh and Vijay Bhardwaj.

Having done my bit for Karnataka cricket, I went back to Hyderabad. As soon as I got posted there, VVS Laxman of Hyderabad made his test debut in November 1996. 🙂 Forget V V S Laxman, I ensured that even a mediocre player called Noel David got to play for India. 🙂

All these players may thank me later. I am in no hurry to get thanked. 🙂 Ye to mera farz thha.

Enough of those old memories. Let us now round up the discussion with a song.

While looking for a song to go with this writeup, I came across a song that was quite popular those days, though I never became aware of its details. Just now, I have become aware that this iconic song is from “Munimjee”(1972). This movie, produced and directed by Jugal Kishore for Jugal Kishore Productions, Bombay had Yogita Bali, Anil Dhawan, Ramesh Deo, Jayshree T, Junior Mehmood, Nazeer Hussain, Chandrashekhar, Maruti, Leela Mishra, R Wasti, Shahgul, Mohan Sherry, Ranjan, Narbad Shankar, Tulsi, James Bond Julian, Sudesh, Jagdeesh Shrotia, Deepak Thakur, Ratan Gaurang, Amrit Mahendra, Naginder, child artist Master Mohit, Parween Kotak, Nawal Kishore, Jameel, Saleem, Ali Raza, Balchand, Ravi, baby Manisha etc in it.

The movie had six songs in it. One song from the movie has been covered. The song under discussion is definitely the only reason why this movie is remembered. Personally I only remembered the song, I was not even aware of the movie. 🙂

The sensuous song is picturised on Jayshree T and a sadly miscast Ramesh Deo as a frolicking in water song.

The song is sung by Suman Kalyanpur. Lyrics of this song were supposedly penned jointly by Hasrat Jaipuri and Neeraj. This lyrics appears to be the work of Neeraj to me, though.

Usha Khanna is the music director.

Audio

Video

Song-Paani mein jale mera gora badan (Munimjee)(1972) Singer-Suman Kalyanpr, Lyrics-Hasrat Jaipuri, MD-Usha Khanna

Lyrics

paani mein jale
paani mein jale mera gora badan paani mein
paani mein jale
paani mein jale mera gora badan paani mein
mere badan ki jwaala se
lahron mein dekho kaisi lagai agan
lagi agan pani mein
paani mein jale
paani mein jale mera gora badan
pani mein

dekho o o
thhandi thhandi aag ye sataaye
aaye ae
aake koi aag ye bujhaaye
dekho o
thhandi thhandi aag ye sataaye
aaye
aake koi aag ye bujhaaye
jaloon main
jale dil
jale ?? haaye re
paani mein jale
paani mein jale mera gora badan paani mein
mere badan ki jwaala se
lahron mein dekho kaisi laagi agan
laagi agan
paani mein
paani mein jale
paani mein jale mera gora badan paani mein

aaya aa
kal koi sapnon mein aaya
aake ae
aake mujhe usne jagaaya
aaya aa
kal koi sapnon mein aaya
aake ae
aake mujhe usne jagaaya
bola main tere liye aaya hoon
haaye re
paani mein jale
paani mein jale mera gora badan paani mein
mere badan ki jwaala se
lahron mein dekho kaisi laagi agan
laagi agan
paani mein
paani mein jale
paani mein jale mera gora badadan paani mein


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 ELEVEN years. This blog has more than 15600 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15640

Number of movies covered in the blog

Movies with all their songs covered =1207
Total Number of movies covered =4307

Total visits so far

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Active for more than 4000 days.

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