Bhanwre Ne Khilaaya Phool, Phool Ko Le Gaya Raaj Kunwar
Posted on: May 20, 2023
- In: "Bhanwra" song | "bicycle" song | "Phool" song | Bicycle song | Blog Ten Year Challenge (2013-2023) | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Happy-Sad song | Lata song | Lata-Suresh Wadkar duet | Love song | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Sudhir | Song picturised abroad | Songs of 1980s (1981 to 1990) | Songs of 1982 | Songs of Encouragement | Songs picturised at well known locations | Suresh Wadkar songs | Yearwise breakup of songs
- 8 Comments
This article is written by Sudhir, 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.
|
Blog Day : |
5419 | Post No. : | 17776 |
———————————————–—————————————
Blog 10-Year Challenge (2013-2023)– Song No.119
————————————————————————————–
Ah.. Raj Kapoor – the Showman. Sometimes also referred to as the Greatest Showman of Indian Cinema. A lifetime affair with the camera – very prominently handled both ends, sometimes in front of it, and then also behind it. Starting with childhood appearances accompanying his illustrious father to studios. And on to be a performer himself. And very soon, a producer – to quench his thirst, rather his search, for the ultimate story of love.
Raj Kapoor – the eternal seeker, the eternal explorer – in quest for the meaning of love equation between a man and a woman. All his life he produced films. The subjects, the scenarios varied, but against all the scenarios the unwavering theme, the unchanging premise of emotions flowing from one heart to another.
What does it take to define this equation? He has explored this question incessantly through his films and the music of his films. It is said in the industry – he had a Midas touch for music. No matter which film one picks. There may be commentaries and reviews about the films, but always, the music. The music was always the winner. And it is through the songs and music of his films that he expressed this search, this quest – for the meaning of love – endlessly.
His films almost always bring together the lovers in disparate and trying situations. What does it mean to be in love when, by normal discourse, love may not, cannot happen. And yet it does. From his very first venture as a producer – film ‘Aag’ of 1948, he had Saraswati Kumar Deepak write for him
kahin ka deepak kahin ki baati
aaj baney hain jeevan saathi
These verses kind of set the journey in motion that lasted for almost for four decades till the Showman decided in 1988 to hang up his director’s cap. On and on, one film at time, one can trace this quest for the meaning of love throughout his journey. The words and verses never ever failed to chalk up the emotions that were the matter of his quest. ‘Barsaat’ came in 1949 and with it, it brought the timeless melodies of
o o o,
mujhe kisi se pyaar ho gaya
and
meri aankhon mein bas gaya koi re
mujhe neend na aaye main kya karoon
With ‘Awaara’ of 1951, the theme resounded with the melody of
ghar aaya mera pardesi
pyaas bujhi in nainan ki
In 1953, when ‘Aah’ came to the theater screens, audiences were not so enamored by the sad somber story of a love lost. But yet again, the music said it all, and forever.
sunte the naam hum, jinka bahaar se
dekha to bola jiya jhoom jhoom ke
The journey continued in 1955 with ‘Shri 420’, touching towering heights of emotional expressions with the simplest of words.
ramaiya vasta vaiya
maine dil tujh ko diya
To date, no verse writer worth his salt has expressed this emotion in words more simple than these.
The proverbial icing always has been the on screen presentation of these wonderful melodies. The visions of the song presentation are a heart warming journey of visuals stringed with the words played on arias of melodies that proved to be incomparable even to this day. There is no peer, no comparable expression that can, or that will replicate the emotional highs of
pyaar hua iraar hua hai
pyaar se phir kyon darta hai dil
And the voyage carries on with the search for that promised destination that may reveal that ultimate truth of this mystery of love. ‘Jis Desh Mein Ganga Behti Hai’ – 1961. A very brief verse in the middle of a song, seems to encompass the entire story of this quest.
itna sa dil tu de de agar
saara jag tera ho jaaye
saara jag tera ho jaaye
‘Sangam’ came in 1964. It came with a bevy of emotions that crossed through so many layers of the mind’s labyrinths encompassing compassion, sacrifice, friendship, betrayal – and yes, love of course. And the hearts would sing these lines forever
har dil jo pyaar karega
wo gaana gaayega
and
o mere sanam, o mere sanam
do jism magar ik jaan hain hum
ik dil ke do armaan hain hum
Then came the magnum opus in 1970. ‘Mera Naam Joker’ – a commercial disappointment initially which has later ended up becoming a cult film in its own right. A lifetime’s search for love, culminating in show at a circus. One after another, love appears in life of the Joker, but always leaves him alone at the end. And the heart of the Joker has these words to sing
bhoologe tum, bhoolenge wo
par hum tumhaare rahenge sada
Beyond that, now new generations were taking over. Romance and love donned new faces and new dresses in ‘Bobby’ (1973). The words got a different expression, the music changed, but the soul sound of love remained what it has for centuries – unchanged. A new voice was now strumming the drums and saying
. . . par pyaar bhara dil kabhi na todo
is dil mein dilbar rehta
And alongwith came the declaration that
deta hai dil de, badle mein dil ke
. . . . . . pyar mein sauda nahin
Then in 1978 came another significant milestone in this journey – ‘Satyam Shivam Sundaram’. With the thesis that the truth is always akin to God, and thus, it is always beautiful. The mind’s conflict between the truth of the beauty and the beauty of imagination is again a timeless discourse, dealt once again with the verses of tradition
bhor bhaye panghat par
and
sainyaan nikas gaye main naa ladi thi
‘Prem Rog’ appeared in 1982 and the Showman’s last venture – ‘Ram Teri Ganga Maili’ appeared in 1985.
‘Prem Rog’ was was a creation that came forth three and a half decades after his quest had debuted in ‘Aag’. And the wonder of the outcome thus far, thirty five years in the making, and the explorer still ended up with the question that started his quest way back in 1948. For in this film, he yet once again poses the question
ye din kyon nikalta hai
ye raat kyon hoti hai
ye peed kahaan se uthti hai
ye aankh kyon roti hi
….
mohabbat hai kya cheez, hum ko bataao
ye kis ne shuru ki, hamen bhi sunaao
The essence of a lifetime of search. At the end of his energies after years of exploring. And the explorer is yet asking the same question. Again. A lifetime spent in synthesis, after having sung so many beautiful verses in its praise, after equating it to God and saying – that which is true, it also is beautiful. And then negating all these achievements, discarding all the experiences of the landmarks of the journeys, the seeker once again picks up the question that had started his journey decades earlier.
And thus remains the enigma – as it is. The final offering of 1985 – ‘Ram Teri Ganga Maili’ brings a last message
sun saiba sun
pyaar ki dhun
Just listen to this aria of love. Do not search it with a question. Just savor the strumming emotions, and let this dhun immerse oneself, take one into the unknown unseen depths. Just relish and delight in this feeling of love – do not ask any questions of it. The wheel of life having come a full circle, and yet a definitive and culminating statement still could not be made. Such is it – the mystery of LOVE.
Ah yes, now for the song presented with this post. 1982 was the year when the young mind was still innocently concerned with the questions about this emotion. The film came along and I do remember I had seen it on the big screen. The analysis of how the realities of the society and the bitter truths of life, were still years ahead in time. The mind always was simply happy at witnessing a happy ending. Always assuming that all the hiccups and tribulations on the way are a conjuring of the story tellers mind, and that lovers are always destined to meet. Ah, the loveliness of that innocence, believing in the good always.
But that discussion in maybe another post, for another song of love.
‘Prem Rog’ is a story of unexpressed love, and maybe also love about which the lovers themselves are not aware. A young girl from a rich traditional family, a young lad – and orphan without any antecedents. And they are good friends, for the boy frequents the home of the girl to do sundry jobs for the household. The girl gets married, and widowed, in quick succession – in like a blink of the eye. Circumstances bring her back to her parent’s home. The contact is re-ignited. And the emotoions that were not expressed not understood till then, now come floating into the heart. There follows a long and grueling struggle, ultimately violent, with the social norms and traditions. However, a happy ending at the end.
I liked the film on two counts. One was a very stark, almost harsh portrayal of the tribulations of a young widow in a very conservative family. And second, it was a refreshing feeing to see Nanda and Tanuja both on screen after a gap. Of course, Shammi Kapoor was the added attraction.
A minor trivia. Padmini Kolhapure, at 17, became the youngest individual recipient of the Filmfare Best Actress Award for this film.
Songs of ‘Prem Rog’ are quite hummable and became very popular in their time. There are 6 songs in this film, five of which are already showcased on our blog. This is the sixth song to make it here, which brings us to declare ‘Prem Rog’ to be Yippeee’d on the blog.
The shooting of this song sequence is something special to mention. The film was shot in the studio and some scenes in and around a farm house on way to Poona. This particular song, no guesses, is shot in the tulip fields at Kukenhoff, close to Amsterdam in Holland. Yes, the same place where the ‘Silsila’ (1981) song “Dekha Ek Khwab To Ye SilSile Huye” was also shot.
It is interesting to note that the song opens with the lead pair on a bicycle. The bicycle looks very typically Indian. So one must assume that the artifact was carried by the shooting team from India to Holland.
The words of the song are very beautifully crafted. As the song opens, Devdhar (role played by Rishi Kapoor) blesses Manorama (role played by Padmini Kolhapure) with the years of his own life. In the first stanza, Manorama tells of the extremely difficult phase she is passing through, and tells Devdhar that she is a flower that has already been plucked from the branch. In the second stanza, Devdhar tells her about the temporary nature of happiness and sorrow in life, and that the days past are already past. In the third stanza there is an exchange. Manorama tells Devdhar that the sleep from her eyes is gone, and also cautions him that the flower he trying to pursue is not sweet any longer. And Devdhar responds that the flower is beautiful and innocent. As we watch the video clip of the song, one can see some realizations dawn on the face of Manorama.
The words are crafted by Pt Narendra Sharma, and give a very sophisticated and literary feel to the verses. Music is by Lakshmi-Pyaare. The singing voices are of Lata Mangeshkar and Suresh Wadkar. Suresh Wadkar had appeared on the film scene as a singer in 1976. This song likely was recorded in 1981.
The video clip has two stanzas, whereas the audio clip carries all the three stanzas. The lyrics given below are based on the audio clip.
Enough said, I believe, so let us get on to listen to this sonorous melody.
Video
Audio
Song – Bhanwre Ne Khilaaya Phool, Phool Ko Le Gaya Raaj Kunwar (Prem Rog) (1982) Singers – Suresh Wadkar, Lata Mangeshkar, Lyrics – Pt Narendra Sharma, MD – Lakshmikant Pyaarelal
Lyrics (by Prakashchandra)
hmmm hmmm hmmm
hmmm hmmm hmmm
hmmm hmmm hmmm
hmmm hmmm hmmm
bhanwre ne khilaayaa phool
phool ko le gaya raaj kunwar
hmmm hmmm hmmm
hmmm hmmm hmmm
bhanwre ne khilaayaa phool
phool ko le gaya raaj kunwar
bhanwrey tu kehna na bhool
phool tujhe lag jaaye meri umar
bhanwrey ne khilaayaa phool
phool ko le gaya raaj kunwar
(lauging sound)
aaa…aaaa…aaaa…aaaa….
aaaaa…aaa…aaaaa….aaaaa….
aaaaaa…aaaaaaaaaaaaaaaaa
(laughing sound)
hmmm hmmm hmmm
(laughing sound)
hmmm hmmm hmmm
(laughing sound)
hmmm hmmm hmmm
(laughing sound)
hmmm hmmm hmmm
(laughing sound)
bhanwre ne khilaaya phool
phool ko le gaya raaj kunwar
bhanwre ne khilaaya phool
phool ko le gaya raaj kunwar
bhanwre tu kehna na bhool
phool tera ho gaya idhar udhar
bhanwre ne khilaaya phool
phool ko le gaya raaj kunwar
hmmm hmmm hmmm
(aaa…aaaaa)
hmmm hmmm hmmm
(ooooooo..ooo)
wo din..n..n..
ab na..aa..aa rahey
kya kya vipda padi phool par
kaise phool kahey
wo din ab na rahey
honi thi ya wo anhonee
jaane isey vidhaata
chhoote sab singaar
giraa gal-haar toota har naata
shesh phool mil gaya dhool mein
kya kya dukh na sahey ae
wo din ab na..aa rahey
bhanwre tu kehna na bhool
phool daali se gaya utar
bhanwre ne khilaaya phool
phool ko le gaya raaj kunwar
hmmm hmmm hmmm
(aaa…aaaaa)
hmmm hmmm hmmm
(ooooooo..ooo)
sukh dukh aaye jaaye
jaaye ae ae ae
sukh dukh aaye jaaye
sukh ki bhookh na dukh ki chinta
preet jisey apna..aa..aaye
sukh dukh aaye jaaye
meera ne piya vish ka pyaala
vish ko bhi amrit kar daala
prem ka dhaai akshar padhkar
mast kabeeraa gaaye
sukh dukh aaye jaaye
bhanwre tu kehna na bhool phool
guzre din gaye guzar
bhanwre ne khilaaya phool
phool ko le gaya raaj kunwar
hmmm hmmm hmmmmadhur
hmmm hmmm hmmm
aaa..aaa..aaa..aaa..aaaa
aaa…aaaa…aaaa…
aaaa….aaaa
aaa..aaa…aaaa…aaa
o o oo o
oo oooo
na..aa..aa
na re na..aa
phaili phooli phulwaari mein
bhanwraa gunn gunn gunn gunn gunn gunn gunn gunn gaaye
kaahey sowat nindiya jagaaye ae ae
kaahey sowat nindiya jagaaye
laakhon mein kisi ek phool ne
laakhon phool khilaa..aaye
mand mand muskaaye
haaye kaahey sowat nindiya jagaaye
bhanwre tu kehna na bhool
phool tera madhur nahin madhukar
bhanwre ne khilaayaa phool
phool ko le gaya raaj kunwar
bhanwre tu kehna na bhool
phool mera sundar saral sughadh
bhanwre ne khilaayaa phool
phool ko le gaya raaj kunwar
(phool mera sundar saral sughadh)
phool ko le gaya raaj kunwar
(phool mera sundar saral sughadh)
phool ko le gaya raaj kunwar
(phool mera sundar saral sughadh)
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
हम्मम हम्मम हम्मम
हम्मम हम्मम हम्मम
हम्मम हम्मम हम्मम
हम्मम हम्मम हम्मम
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
हम्मम हम्मम हम्मम
हम्मम हम्मम हम्मम
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
भँवरे तू कहना ना भूल
फूल तुझे लग जाये मेरी उमर
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
(हास्य ध्वनि)
आss आsss आsss आsss
आssss आss आssss आssss
आsssss आsssssssssssss
हम्मम हम्मम हम्मम
(हास्य ध्वनि)
हम्मम हम्मम हम्मम
(हास्य ध्वनि)
हम्मम हम्मम हम्मम
(हास्य ध्वनि)
हम्मम हम्मम हम्मम
(हास्य ध्वनि)
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
भँवरे तू कहना ना भूल
फूल तेरा हो गया इधर उधर
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
हम्मम हम्मम हम्मम
(हास्य ध्वनि)
हम्मम हम्मम हम्मम
(हास्य ध्वनि)
वो दिन॰॰न॰॰न
अब ना॰॰आ॰॰आ रहे
क्या क्या विपदा पड़ी फूल पर
कैसे फूल कहे
वो दिन अब ना रहे
होनी थी या वो अनहोनी
जाने इसे विधाता
छोटे सब सिंगार
गिरा गल-हार टूटा हर नाता
शेष फूल मिल गया धूल में
क्या क्या दुख ना सहे
वो दिन अब ना रहे
भँवरे तू कहना ना भूल
फूल डाली से गया उतर
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
हम्मम हम्मम हम्मम
(आss आssss)
हम्मम हम्मम हम्मम
(ओsssssss ओssss)
सुख दुख आए जाये
जाये॰॰ए॰॰ए
सुख दुख आए जाये
सुख की भूख ना दुख की चिन्ता
प्रीत जिसे अपनाए॰॰ए॰॰ए
सुख दुख आए जाये
मीरा ने पिया विष का प्याला
विष को भी अमृत कर डाला
प्रेम का ढाई अक्षर पढ़ कर
मस्त कबीरा गाये
सुख दुख आए जाये
भँवरे तू कहना ना भूल फूल
गुजरे दिन गए गुज़र
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
हम्मम हम्मम हम्मम
हम्मम हम्मम हम्मम
आs आs आs आs आsss
आss आsss आsss
आsss आsss
आss आss आsss आss
ओ ओ ओs ओ
ओss ओsssssss
ना॰॰आ॰॰आ
ना रे ना॰॰आ
फैली फूली फुवारी में
भँवरा गुन गुन गुन गुन गुन गुन गुन गुन गाये
काहे सोवत नींदिया जगाए॰॰ए॰॰ए
काहे सोवत नींदिया जगाए
लाखों में किसी एक फूल ने
लाखों फूल खिलाये
मंद मंद मुसकाए
हाए काहे सोवत नींदिया जगाए
भँवरे तू कहना ना भूल
फूल तेरा मधुर नहीं मधुकर
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
भँवरे तू कहना ना भूल
फूल मेरा सुन्दर सरल सुघढ़
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
(फूल मेरा सुन्दर सरल सुघढ़)
फूल को ले गया राज कुँवर
(फूल मेरा सुन्दर सरल सुघढ़)
फूल को ले गया राज कुँवर
(फूल मेरा सुन्दर सरल सुघढ़)
8 Responses to "Bhanwre Ne Khilaaya Phool, Phool Ko Le Gaya Raaj Kunwar"
May 21, 2023 at 8:16 am
Sir,
Your writeup has taken me back to golden era of Hindi film music. Showman’s contribution to Hindi film music is very well presented in your brief writeup.
The true fact is whether you love him or hate him, Raj Kapoor’s contribution to enhance the quality of music is unparallel and will always be remembered by all music lovers in the globe.
Thanks for your interesting post.
Gandhi Vadlapatla
LikeLike
May 21, 2023 at 4:11 pm
This long article was read wid curiosity n was found interesting..i have seen all these films in vcr era…enjoyed it. N beautiful article sudher bhai…appreciated..god bless u.🌷❤🤲🙏🏼⚘✌👌👍
LikeLike
May 22, 2023 at 5:06 am
Sudhir Bhai,
That is lovely write on Raj Kapoor exploring the mindset of great showman from 1948 till his last movies produced.
Please allow me to add that him and his movies along with his heroine Nargis were quite popular throughout Soviet Union, Italy, Greece, Iran etc. and in the continent of Africa. Met several individuals who were very fond of him.
In addition, Rashid Behbudov of Azarbaijan (the singing actor), the French singer Pascal, Uzbekistan singer Bobomurod Hamdamov, Maju of Israel etc. recorded and sang Raj Kapoor movie songs. I have in 78, 45. Thank you for sharing!
LikeLike
May 22, 2023 at 4:48 pm
An absolutely wonderful post to accompany an equally wonderful song. With beautiful location and a handsome pair.
The whole album is my all time favorite. Thank you so much Sudhirji for the post.
Like I have mentioned in a post to one of the songs of this film, the dialogues were equally meaningful.
Padmini Kolhapure deserved the award for her brilliant portrayal of the young “bade ghar ki beti” who later becomes a young widow. She innocently asks “did I ask for the widowhood” (may not be the exact words as used in the film).
And the manner of her addressing Deodhar….. classic👌🏻
YYIIPPEEEE to “Prem Rog”
LikeLike
May 23, 2023 at 10:28 am
Sudhir Ji,
Thanks for a well written post on my favourite Film personality. I have seen most of his post ‘Aag’ films.
Icing on the cake is when I met him ( & exchanged few pleasantries) during interval of ‘Sangam’ when it was premiered in Bangalore ( Show was only to invitees).
If I have to select one (only) film of his , it is ‘Jaagte Raho’
If you all remember Hrishikesh Mukherji dedicated his film ‘Anand’ to Raj Kapoor
Regards
May 23, 2023 at 7:41 pm
Hello Sudhir, Thank you for drawing my attention to your writing.
Your delineation of Raj Kapoor’s obsession with love is evocative and nostalgic of the times. Not too many film makers of that era, barring the great Guru Dutt, have successfully (and so futilely!) attempted what Raj Kapoor did in his quest for love’s fulfillment (or it’s frustrations!). Whether or not he succeeded in plumbing the depths of romantic love, should and must be left to individual experience and response to it. Yours is beautifully balanced and ends up being a fine tribute to him, as you retrace the Tramp’s progress through his oeuvre.
***
However, ‘bhanwre ne khilaya phul…’ and other music in his later films post-Shankar-Jaikishan are a different matter. For me, the charm in the music in his films waned with Bobby. While the film itself exuded a certain youthful eloquence, Raj Kapoor himself lamented the fact that audiences rejected the depths of ‘Mera Naam Joker’ and fell head over heels in love with the hubris of Bobby.
MNJ saw the last of the RK-SJ collaboration and as always the musical score and Mukeshji’s and Manna Da’s singing swept us into our own depths, from which we have yet to emerge. Too bad Latabai was missing in that film–it would have been a fitting finale.
I never saw a RK film after that because I knew what I would be looking for. I, however, did become a bit familiar with the musical scores of his newer films but barring a track here and a track there…well, I’ll leave you to complete my thoughts.
There is a certain charm, admittedly, in the track under review but that is for a newer generation not very familiar with the past glory of a RK film.
Raj must have missed his days because LP’s music sounds so much like that of SJ’s. Even the male singer has been made to sing and sound like Mukeshji (or is that my own prejudice at work?).
A new generation of composers has taken hold and and people would rather listen to Rahul Dev Burman than his illustrious dad. RDB ruled the roost the 70s onwards and it took me a long time to appreciate this great new genius.
I would be going off on a tangent if I expounded further on the subject.
Thank you for this one.
Kersi
LikeLike
May 30, 2023 at 9:45 am
Kersi Ji,
You have expressed exactly what I have opined on RK-SJ golden era, and post that period, but could not put it so succinctly. Thanks. I agree fully
LikeLike
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
May 21, 2023 at 12:29 am
What a gorgeous write up. I loved every word of it.
Thank you for the post.
LikeLiked by 1 person