Nazar Nazar Se Bijliyaan Giraate Aa Rahe Hain Wo
Posted on: April 27, 2023
- In: Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Geeta Dutt S Balbir duet | Geeta Dutt songs | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | Post by Arunkumar Deshmukh | qawwali | S Balbir song | Songs of 1960s (1961 to 1970) | Songs of 1961 | Yearwise breakup of songs
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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 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.
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Today’s song is from an obscure film called ‘Room No. 17’ from 1961.
This film is categorized as a ‘social’ film in the HFGK. I wonder on what basis it can be called a ‘social’ film. What I understand by ‘social’ category is when the film revolves around a family problem or a social custom. If not that, then at least the film should show a relationship crisis or an age old social evil or even a simple family dispute. But this film is nothing like this. The film story has 4 murders, 2 accidents, kidnapping, police encounter and multiple attacks by criminals. Embedded in all this there is a love story and a murder mystery. In my opinion, the film should have been classified either as a stunt/action film or a crime/mystery film.
Anyway, it is always a mystery how the film makers decide the titles of their films. When I rummaged through the The Film Title Index (1931-2012) by Hamraaz ji, I found some interesting titles. There are 3 films on Room Numbers. ‘Room No. 9’ (1946), ‘Room No. 17’ (1961) and ‘Room No. 203’ (1980).
Then there are 2 films on House – ‘House No. 44’ (1955) and ‘House No. 13’ (1990).
‘Mahal’ was made 4 times – in 1949, 1969, 1990 and 2001.
I found 2 funny titles. ‘? A Question Mark’ (2012) and ’10 ml Love’ (2011).
There are films titled ‘Das Baje’ [aka ’10 O’clock’] (1942), ’11 O’clock’ (1948) and ’12 O’clock’ (1958).
Films using a calendar date are ’26th January’ (1956), ’23rd March’ (2002), ’13th May’ (2010), ’25th July’ (1951), ’26th July’ (2007), ’15th August’ (1993), ‘2nd October’ (2003), ‘6th December’ (2009) and ’16th December’ (2002).
Even days were counted. ’30 Days’ (2004), ’40 Days’ (1959), ‘100 Days’ (1991) and ‘300 Days And After’ (1938).
Year Wise films were ‘1857’ (1946), ‘1920’ (2012), ‘1942’ (1993), ‘1947’ (1999) and ‘2001’ (1998).
And then we have the film titled ‘A Wednesday’ (2008).
I was utterly shocked when I found that there was a film titled ‘B-13 Fear Has A New Address’ (2009). The reason for my shock was that ‘B-13’ happens to be my own flat number in our Housing Society in Mumbai ! Nothing is scary about my flat except that I live there !!! (wonder how they knew !)
See what is the story of this ‘social film’ ‘Room No. 17’ (1961). . .
Chandan, who has been called by his father General Shamsheer, is coming to the city by car. On the way he meets Roopa, who suggests to him a way side hotel where she and her brother Mangal are staying. He stays there. After dinner, when Chandan is watching a card game, he observes that the hotel staff is cheating Mangal. Chandan intervenes. There is a fight. Thereafter Mangal, Roopa and Chandan shift to another hotel.
Next day, on resuming journey Chandan is attacked by the goons of the hotel owner. He gets injured. Roopa and Mangal take him to their house. On reaching the city the next day, he comes to know that his father died in an accident in the hotel where he was staying. Chandan suspects a murder. He finds one waiter who knows something but he is murdered. One more witness is also killed.
The hotel owner and his moll trap and attack Chandan. Mangal and his girl friend Bansari save him. They contact the police and a plan is made. Accordingly, Chandan and Roopa stay in that hotel in disguise as a prince and his secretary. They find his father’s jewellery box with the owner. They call the police. After a gunfight, the owner is arrested and jailed. All is well now with Chandan-Roopa and Mangal-Bansari getting united. The end !
The cast of the film was Dalpat, Chitra, Radhika (Kumkum’s sister), Amar, Majnu, Tuntun, Sundar ,Gopi, Shetty and others. Let us know more about actor Amar, who was a member of the ‘Same Name Confusion’ group with actor Amarnath (Bharadwaj) and many others holding the names of Amar, Amarnath etc.
Amar – an occasional singer. The real name of Amar was Nasir. He was from Punjab. He was born in 1920. After doing bit roles in some films, he got a major break in film ‘Sanyasi’ (1945), in which he sang 5 duets and 1 solo. His solo song “Tooti Hui Kashti Ka Bane Kaun Sahaara” became very popular.
In 1946, he was the Hero of film ‘Bindiya’, where Ragini (who later migrated to Pakistan) was his Heroine. MD was Kamal Dasgupta, who gave him 3 songs.
Then he was hero opposite to Suraiya in ‘Natak’ (1947). He sang 1 duet with her and 2 solos. Later he did films like ‘Lalaji’ (1942), ‘Vijay’ (1942), ‘Shukriya’ (1944), ‘Keemat’ (1946), ‘Maang’ (1950) etc. After 1950 he was doing character roles till 1970. He acted in 89 films and sang 18 songs in 8 films. He died in 1980.
There is one more name, Shetty (the Taklu – टकलू ), about whom hardly anyone writes. Here is his information. It is taken from an article in The National Herald Dt. 23-1-2018.
When he appeared on screen, people shuddered. He had a strong body, cold eyes and a serious expression on his face. This is the image that runs through the mind when we remember Shetty. He was popular as ‘Ganja Shetty’ (bald Shetty). A fight scene sans Shetty was not complete in those days of 1970’s. But Shetty worked far more behind the screen than he ever did on screen. He was the busiest and most successful fight and stunt director of his time. He contributed in some way or the other to 700 films in 25 years which is a record in itself. During this time, Shetty fractured his bones more than 40 times during the filming of stunt scenes of various films.
Born in Mangalore near Mysore, Muddu Babu Shetty did not like studies at all. But the main concern of his father, who was a poor farmer, was that Shetty should earn some money so that the family could get some financial relief. One day, his father sent the nine year old Shetty to Mumbai with an uncle. He was confident that Muddu would find some work in the city. It was 1947. After a while, Muddu got a job washing utensils in a Punjabi Dhaba situated on Lamington Road.
At the age of 16, Muddu Babu got the job of a waiter in the canteen of Tata Oil Mill in Sewri. His salary was 12 rupees a month. In the evenings, the workers of Tata Oil Mill used to do boxing. Muddu Babu also started to learn boxing. The manager of the canteen used to admire Muddu’s behaviour and agility in the ring. He encouraged Muddu to box. After some time, Muddu Babu won the boxing championship of Tata Oil Mill. The very next year, he won the Mumbai boxing championship as well. Now, his salary was ₹75 a month. His father was happy and relieved to know that Muddu was making progress in his life.
One day, actor and stuntman Baburao Pahelwan and actor, director and producer Bhagwan came to see the boxing championship match. Babu Rao was so impressed with Muddu’s performance that he offered him work in films. The next day, Muddu reached Jagriti Studios where a fight scene between Muddu Babu and Babu Rao Pahelwan was shot. For this job, Muddu received ₹200. He could not believe his fortune. And it was at that time that Muddu decided to work for films. He made Azim Bhai his teacher who was a great stunt director of that time. He learnt horse riding and fencing under Azim Bhai’s guidance. He started using the name Shetty for himself. During this time, he also continued taking part in boxing matches and remained Mumbai’s champion for eight long years.
In the 1950’s, he worked as a dummy for many heroes in fight scenes. In 1955, he got the opportunity to work as stunt director for the film ‘Munimji’. In the same year, he appeared on screen in ‘Tatar Ka Chor’. ‘Tumsa Nahi Dekha’ (1957), ‘Detective’ (1958), Taxi Stand (1959) and ‘Qaidi Number 911’ (1959) are some of the films in which Shetty acted and was seen on screen. At that time, Shetty’s teacher Azim Bhai, Master Ghani, Baburao Pahelwan and Master Sando were the leading stunt directors. But young Shetty was also making a strong impression on the filmmakers as a stuntman and director. His popularity was such that a film ‘Tum Salamat Raho’ with him as the protagonist was launched. His heroine in the film was Persis Khambatta. But filming stopped midway due to some problems.
After 1960, Shetty was once again flooded with film offers. They came from the Kannada film industry as well. For the films ‘An Evening in Paris’ and ‘Night in London’, Shetty shaved his head. This look of his was so much liked by the audience that he had to appear on screen with shaved head only and the audience started calling him ‘Ganja Shetty’. His only flaw was his faulty Hindi accent. It was this reason why he could not get the role of a main villain in Hindi films. But he continued working for a long time in hit films like Lalkaar, Kalicharan, Shalimaar, Don, Fakeera, Shankar Dada etc. There was a time when he worked in 50 to 60 films simultaneously.
Around the late 70s, something happened that sealed the fate of Shetty and his two families. Shetty was shooting for a film called Bombay 405 Miles (1980), starring Vinod Khanna and Shatrughan Sinha and directed by Brij Sadanah (Kamal Sadanah’s father). In one of the action scenes, a boy named Mansoor was playing the stunt double for Shatru. A petrol bomb was supposed to explode near him. Unlike today, safety measures were rudimentary and injuries were commonplace. But this got particularly messy. The bomb was flung at Mansoor but before he could jump away, the bomb hit his body and went off. Mansoor died on the spot.
Shetty was pretty close to his coterie of stuntmen and fighters, they were like his sons. He felt responsible and went into mourning. Alcoholism took over and he spent most of his days at the bottom of bottles.
In his last days, the various injuries which he suffered during the fight scenes started troubling him. He found himself unable to perform adventurous and daring fight scenes. During his last days, his second wife, Vinodini, who was a Kathak dancer, had to run the household by taking dance classes. Muddu Babu Shetty, who was once a formidable and courageous villain, became helpless and vulnerable and bid farewell to the world on January 23, 1982. Muddu Babu Shetty aka M.B. Shetty aka Fight Master Shetty passed away, almost penniless.
He had two sons and two daughters by his first wife Vinodini. One of them, Hriday Shetty grew up to be a director, debuting with the Sanjay Dutt-starrer Plan. He also had a son with his other wife Ratna. This son became a massively successful film director, even more successful and popular than his father. Rohit Shetty. And like his father, he works with stuntmen and ensures they are employed (safely) in all his films.
Today’s song is sung by Geeta Dutt, Balbir and chorus.
Song- Nazar Nazar Se Bijliyaan Giraate Aa Rahe Hain Wo (Room No. 17) (1961) Singers – S Balbir, Geeta Dutt, Lyricist – Anwar Farukhabaadi, MD – Bulo C Rani
Male Chorus
Female Chorus
Male + Female Chorus
Lyrics (Provided by Sudhir)
aaa aaa aaaaa aaaa
aaaa aa aaaaaa
nazar
nazar se
bijliyaan giraate aa rahe hain wo..oo..oo
nazar nazar se bijliyaan giraate aa rahe hain wo
to dil ko thaam lo ke muskuraate aa rahe hain wo
nazar nazar se bijliyaan giraate aa rahe hain wo
to dil ko thaam lo ke muskuraate aa rahe hain wo
nazar nazar se bijliyaan
akad akad ke shekhiyaan dikhaane aa rahe hain wo
to ban ke teesmaarkhan banaane aa rahe hain wo
akad akad ke shekhiyaan dikhaane aa rahe hain wo
to ban ke teesmaarkhan banaane aa rahe hain wo
akad akad ke shekhiyaan
ye husn waale bahut hi shareer hotey hain
fareb inke bade benazir hotey hain
zehr mein doobe huye inke teer hotey hain
aaa aaa aaa
tadapte rehte hain..ain..ain
tadapte rehte hain jo dil aseer hotey hain
to. . .
to phir usi ko jaal mein fasaaneaa rahe hain wo
to dil ko thaam lo ke muskuraate aa rahe hain wo
nazar nazar se bijliyaan giraate aa rahe hain wo
to dil ko thaam lo ke muskuraate aa rahe hain wo
nazar nazar se bijliyaan
ye naujawaan bade hoshiiyaar hotey hain
nazar mein laane ko to ye beqaraar hotey hain
magar ye mann ke lapak lab ke yaar hotey hain
qaraar loot ke..ey..ey
qaraar loot ke sar pe sawaar hotey hain
arre waah
na jaane hum pe rob kyun jamaane aa rahe hain wo
to ban ke teesmaarkhan banaane aa rahe hain wo
akad akad ke shekhiyaan dikhaane aa rahe hain wo
to ban ke teesmaarkhan banaane aa rahe hain wo
akad akad ke shekhiyaan
ye naazneen bewafa hain bemuravvat hain
jahaan mein ?? ijaad ki museebat hain
zamaana jaanta hai aapki sharaafat ko
jahaan mein ?? kiya aapne mohabbat ko
haa..aan
hameen ne rang bhara husn ke fasaane mein
hamaare dum se tum mashhoor ho zamaane mein
jo hum na hotey ishq aaj dar-b-dar hota
na iska koi thikaana na koi ghar hota
fasaane apni shaan ke sunaane aa rahe hain wo
to ban ke teesmaarkhan banaane aa rahe hain wo
nazar nazar se bijliyaan giraate aa rahe hain wo
to dil ko thaam lo ke muskuraate aa rahe hain wo
nazar nazar se bijliyaan
na hota husn to duniya mein rang na hota
haa..aan
na hota ishq to jeene ka dhang na hota
jo aankh aankh hai to nor hamen kehte hain
jo naaz aap hain guroor hamen kehte hain
hazaar baar kaha chhed hum se na kijey
haa..aan
janaab thookiye gussa nazar mila lijey
na baaz aaiyega aap apni baaton se
huzoor taali to bajti hai donon
haathon se
na hum se door reh saken karee baa rahe hain wo
to dil ko thaam lo ke muskuraate aa rahe hain wo
nazar nazar se bijliyaan giraate aa rahe hain wo
to dil ko thaam lo ke muskuraate aa rahe hain wo
nazar nazar se bijliyaan
na hum se door reh saken karee baa rahe hain wo
to dil ko thaam lo ke muskuraate aa rahe hain wo
nazar nazar se bijliyaan giraate aa rahe hain wo
to dil ko thaam lo ke muskuraate aa rahe hain wo
nazar nazar se bijliyaan
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
आ आ आ आ
आ आ आ
नज़र
नज़र से
बिजलीयां गिराते आ रहे हैं वो॰॰ओ॰॰ओ
नज़र नज़र से बिजलीयां गिराते आ रहे हैं वो
तो दिल को थाम लो के मुसकुराते आ रहे हैं वो
नज़र नज़र से बिजलीयां गिराते आ रहे हैं वो
तो दिल को थाम लो के मुसकुराते आ रहे हैं वो
नज़र नज़र से बिजलीयां
अकड़ अकड़ के शेखियाँ दिखाने आ रहे हैं वो
तो बन के तीसमारखां बनाने आ रहे हैं वो
अकड़ अकड़ के शेखियाँ दिखाने आ रहे हैं वो
तो बन के तीसमारखां बनाने आ रहे हैं वो
अकड़ अकड़ के शेखियाँ
ये हुस्न वाले बहुत ही शरीर होते हैं
फरेब इनके बड़े बेनज़ीर होते हैं
ज़हर में डूबे हुये इनके तीर होते हैं
आ आ आ
तड़पते रहते हैं॰॰ऐं॰॰ऐं
तड़पते रहते हैं जो दिल असीर होते हैं
तो॰ ॰ ॰
तो फिर उसी को जाल में फसाने आ रहे हैं वो
नज़र नज़र से बिजलीयां गिराते आ रहे हैं वो
तो दिल को थाम लो के मुसकुराते आ रहे हैं वो
नज़र नज़र से बिजलीयां
ये नौजवान बड़े होशियार होते हैं
नज़र में लाने को तो ये बेक़रार होते हैं
मगर ये मन के लपक लब के यार होते हैं
क़रार लूट के॰॰ए॰॰ए
क़रार लूट के ये सर पे सवार होते हैं
अरे वाह
ना जाने हम पे रोब क्यों जमाने आ रहे हैं वो
तो बन के तीसमारखां बनाने आ रहे हैं वो
अकड़ अकड़ के शेखियाँ दिखाने आ रहे हैं वो
तो बन के तीसमारखां बनाने आ रहे हैं वो
अकड़ अकड़ के शेखियाँ
ये नाज़नीन बेवफा हैं बेमुरव्वत हैं
जहां में ?? ईजाद की मुसीबत हैं
ज़माना जानता है आपकी शराफत को
जहां में ?? किया आपने मोहब्बत को
हाँ॰॰आं
हमीं ने रंग भरा हुस्न के फसाने में
हमारे दम से मशहूर हो जमाने में
जो हम ना होते इश्क़ आज दर-ब-दर होता
ना इसका कोई ठिकाना ना कोई घर होता
फसाने अपनी शान के सुनाने आ रहे हैं
तो बन के तीसमारखां बनाने आ रहे हैं वो
अकड़ अकड़ के शेखियाँ दिखाने आ रहे हैं वो
तो बन के तीसमारखां बनाने आ रहे हैं वो
अकड़ अकड़ के शेखियाँ
ना होता हुस्न तो दुनिया में रंग ना होता
हाँ॰॰आं
ना होता इश्क़ तो जीने का ढंग ना होता
जो आँख आँख तो नूर हमें कहते हैं
जो नाज़ आप हो गुरूर हमें कहते हैं
हज़ार बार कहा छेड़ हमसे आ कीजे
हाँ॰॰आं
जनाब थूकिए गुस्सा नज़र मिला लीजे
ना बाज़ आएंगे आप अपनी बातों से
हुज़ूर ताली तो बजती है
दोनों हाथों से
ना हमसे दूर रह सकें करीब आ रहे हैं वो
तो दिल को थाम लो के मुसकुराते आ रहे हैं वो
नज़र नज़र से बिजलीयां गिराते आ रहे हैं वो
तो दिल को थाम लो के मुसकुराते आ रहे हैं वो
नज़र नज़र से बिजलीयां
ना हमसे दूर रह सकें करीब आ रहे हैं वो
तो दिल को थाम लो के मुसकुराते आ रहे हैं वो
नज़र नज़र से बिजलीयां गिराते आ रहे हैं वो
तो दिल को थाम लो के मुसकुराते आ रहे हैं वो
नज़र नज़र से बिजलीयां
4 Responses to "Nazar Nazar Se Bijliyaan Giraate Aa Rahe Hain Wo"
April 27, 2023 at 5:57 pm
Arun Ji
Thanks for the post.
The account of funny sounding titles was humourous, including one about ‘ B13’
I knew some details about Shetty.But your post gives a lot more noteworthy details about him.
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April 27, 2023 at 7:45 pm
Dear Satish ji,
Thanks.
I am glad you enjoyed the post.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
April 27, 2023 at 9:58 am
Enjoyed a lot reading this article. Thanks for the interesting information about movie titles and details about this movie ‘Room No. 17’.
Many thanks for writing about Shetty. He was very much in the movies of 70s when I was growing. It was always a thrill to watch him on screen and particularly his fighting scenes with Dharmendra in the movies during those years. I like his role very much in Trishul, Kahani Kismat Ki etc
Thanks and regards,
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April 27, 2023 at 10:38 am
Avinash ji,
Thanks for enjoying the post.
Whenever possible, I try to give details about less known or ‘less written about’ artistes.
Glad that you also liked Shett’s information.
He was of my liking also.
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