Archive for January 2024
This article is written by Sadanand Kamath, 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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Blog Day : |
5675 | Post No. : | 18186 | Movie Count : |
4884 |
‘Nazar Andaaz’ (2022) is produced by T Series and Kathputli Productions and is directed by the debutant Vikrant Deshmukh. The main cast includes Kumud Mishra in a protagonist’s role of a visually impaired person with Divya Dutta and Abhishek Banerjee. Rajeshwari Sachdev makes a special appearance in the film. The outdoor shooting of the film took place in Mumbai and in Kutch (Gujarat). The film was released on October 7, 2022, in a very limited theatres without any marketing. In Mumbai, the film was released in two theatres only and that too the single show. Because of this, the film went largely unnoticed. After a month or so, the film was released on the OTT platforms. I watched the film on the OTT platform.
I was hesitant to watch the film after knowing that it was about a visually impaired man. It is distressing to watch the hard and the struggling life a visually impaired person. But a song of this film compelled me to watch this film. I was pleasantly surprised that the visually impaired man in the film was a ‘happy go lucky’ person who was smart, humourous and romantic. His life’s motto was ‘zindagi khoobsoorat hai, farak sirf nazariye kaa hai’ (Life is beautiful, the only difference is how you look at it). It is an off-beat film of light comedy genre with a message. The film’s story is as under:
Sudhir (Kumud Mishra) is a middle-aged visually impaired person since his birth. He has been brought up by an artist who after his death has bequeathed all his wealth to Sudhir who now lives in a comfortable house in Mumbai. His housemaid, Bhavani (Divya Dutta) had come to him for work after running away from her home in Haryana because of the ill-treatment from her stepmother. Sudhir thinks that she is cooking food for him as per his choice. The fact is that she orders food on-line for delivery at home.
One day, Sudhir rescues a petty thief (Abhijit Banerjee) from the crowd when he is caught stealing a mobile phone. He brings the thief to his home and gives him a job and shelter in his house on the assurance that he gives up thievish work. Since the thief does not have any fixed name, Sudhir gives him a new name, Ali. Both Bhavani and Ali treat themselves as competitor and try their best to outsmart each other. The reason is that both have set their eyes on Sudhir’s wealth after they secretly overhear his talks with a lawyer to prepared a Will with two names as beneficiaries. Since, Sudhir has no one as successor to his wealth, Bhavani and Ali think that they are the two whose names would be in the Will.
Sudhir plans a visit to Mandvi to recall his childhood days. Bhavani and Ali join him. After check-in a hotel, Sudhir takes Bhavani and Ali to his friend, Mohan’s house. Mohini (Rajeshwari Sachdev), his crush in his childhood, opens the door and is shocked to find Sudhir who is visiting after decades. Mohan also comes out and welcomes the visitors. Mohini prepares Khandvi, a Gujarati snack which is the favourite of Sudhir and serves him and his friends. In the evening, all the three visit a river front and enjoy the evening. After Bhavani and Ali have left for a walk, Sudhir sits alone as he is not in a mood to walk, At that time, Mohini visits him and angrily asks him as to why he had left her without a trace for so many years. He could have taken her also with him. Sudhir tells her that there is a difference between giving a company to one antoher and spending a whole life with one another.
The next day, Sudhir takes Bhavani and Ali to his house which is now in shambles. He tells them that from the childhood, he wanted to run but could not run even a few feet. Thereafter, they visit beach, take camel rides and even take plunge in the sea. Sudhir says that he is very happy that whatever he wanted to do in his life has been fulfilled. Ali says that he has to do one more thing. In the evening, they take him to Rann of Kutch where he can run to fulfil his desire. They walk on the Rann of Kutch and both of them tell Sudhir to run as much as he wants as there is no one except the three of them. He happily starts running, enjoying for the first time that he has run so much. However, after some time, he falls down. Both Ali and Bhavani rush towards Sudhir and tries to make him sit but in vain as he has died of heart attack. Both pleads to Sudhir to wake up. They do not want any wealth from him but want to see him as a simple Sudhir Bhai.
Both Bhavani and Ali return to Mumbai. Sudhir’s lawyer takes them in his car and reads Sudhir’s Will while proceeding to their destination. Sudhir says in the Will that he has brought both Bhavani and Ali to his house with a well-thought purpose. He has observed them in close quarter in his journey. Whatever the world may say about them, he has come to the conclusion that both have skills, abilities and humanity. So, he has given them an opportunity to serve the visually impaired children by bequeathing his wealth and property to a blind school. He has requested Bhavani and Ali to look after them in the same way as they have looked after him. The film ends with both of them hugging the visually impaired children with moist eyes signifying that Bhavani and Ali would fulfill his desire.
After a long time, I get to watch a realistic film which is absorbing thanks to its tight screenplay and dialogues which, at times, are witty, philosophical and motivational. All the four main actors – Kumud Mishra, Divya Dutta, Abhishek Banerjee and Rajeshwari Sachdev have given their best performances in the film. But top credit goes to Kumud Mishra who, in the role of a visually impaired Sudhir, has given a brilliant and heart-touching performance. That Sudhir’s face lingered in my mind for quite a long time after I finished watching film is the testimony of his realistic performance. In my view, Kumud Mishra role was worthy of a National Film Award.
The film is also a feather in the cap of the debutant director, Vikrant Deshmukh who has well-handled a sensitive story written by him jointly with Laxman Utekar. The last about 15 minutes of the film covering pre-climax and climax scenes are heart-touching. Unfortunately, the film flopped and it has almost become an ‘obscure film’ within a year of its release.
The icing on the cake is that all the six songs in the film are very melodious and to my liking. Kudos to the lyricist, Raj Shekhar and the music director, Vishal Mishra for composing one of the finest albums of the recent films.
I am presenting the first song from the film whose audio clips were released as two songs with the same tune and different lyrics. The song is ‘aaj kal aisaa lagtaa hai’/’ikk aadhi kahaani thhee’, rendered by Parampara Tandon/Jubin Nautiyal. The songs are written by Raj Shekhar which are set to music by Vishal Mishra.
In the film, only one stanza each of both the songs have been picturised and appear one after another. The video clips of both these songs released by T Series contain the actual song picturisation of the first stanza with additional stanzas of the songs being covered by video montages from the film relevant to the songs.
There is an interesting background to this song. Mohini (Rajehswari Sachdev) meets Sudhir who is sitting at the river front, and angrily asks Sudhir (Kumud Mishra) as to why he had suddenly left his house for Mumbai leaving her alone. Sudhir replies ‘ek doosre kaa saath dena aur ek doosre ke saath zindagi bhar bitaanaa, donon mein farq hotaa hai‘. In other words, Sudhir felt about their relationwhip what Sahir Ludhianvi had said – ‘wo afsaana jise anjaam tak laanaa na ho mumkin, usse ikk khoobsoorat mod de kar chhodnas achchaa‘. Just to divert the subject, Sudhir remembers that Mohini used to sing in her childhood and asks her whether she still sings. She responds by singing this song after which she goes back home. Sudhir, now alone, continues singing the song in the same tune. This is a piognant song highlighting the status of their short-lived romance. But they console themselves because ‘tum kabhi mere thhe bas ye bhi gawaaraa hai‘ (gawaaraa=acceptable).
The piognancy in the lyrics of Raj Shekhar in the song have been well captured by the singers, Prampara Tandon and Jubin Nautiyal with the soft piano orchestration. I am happy that in the current styles of Hindi film music in vogue, songs like the one under discussion also find place in Hindi films.
Female Version
Video Clip:
Male Version
Video Clip:
Audio Clip:
Song-Aaj kal aisa lagta hai..ik aadhhi khaani thhi (Nazar Andaaz)(2022) Singer-Parampara Tandon/ Jubin Nautiyal, Lyrics-Raj Shekhar, MD-Vishal Mishra
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Lyrics – Female Version:
——————————-
aaj kal aisa lagtaa hai
thhodaa zaadaa sanwarte hain
aisa lagtaa hai aangan mein
chaand taare utarte hain
chaand taare utarte hain
kyaa inhen jaadoo se tumne hi utaaraa hai
kyun meri aankhon mein teraa hi nazaaraa hai
kyaa inhen jaadoo se tumne hi utaaraa hai
hmm hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm hmm nazaaraa hai
mann ki daraazon mein
khat likhe kitne
khat maine kyon phir se
yaadon ki shaakhon mein
dard ke kitne gul khile
kyun phir se
phir milenge hum pehle se
baat ye naa zaroori hai
aadhe aadhe rahen hum par
na kahaani adhoori hai
na kahaani adhoori hai
tum kabhi mere thhe
bas ye bhi gawaaraa hai
aa tujhe dil ne bade dil se pukaaraa hai
hmm hmm hmm hmm hmm
hmm hmm hmm
———————————-
Lyrics – Male Version:
———————————-
ik aadhi kahaani thhee
jo milke sunaani thhee
hamen milna thhaa fursat mein
hasrat ye puraani thhee
hasrat ye puraani thhee
aa tujhe dil ne bade dil se pukaaraa hai
tu meri sooni si aankhon kaa nazaaraa hai
aa tujhe dil ne bade dil se pukaaraa hai
tu meri sooni si aankhon kaa nazaaraa hai
mann ki daraazon mein…
adh-likhe kitne khat miley
kyun phir se
yaadon ki shaakhon pe…
dard ke kitne gul khiley
kyun phir se
phir milenge hum pehle se
baat ye naa zaroori hai
aadhe aadhe rahen hum par
na kahaani adhoori hai
na kahaani adhoori hai
tum kabhi mere thhe
bas ye bhi gawaaraa hai
aa tujhe dil ne bade dil se pukaaraa hai..
hmm hmm hmm hmm hmm
hmm hmm hmm
ha aa aaa
ik aadhi kahaani thhee
Watan ki khaatir mit jaayenge
Posted on: January 30, 2024
This article is written by Avinash Scrapwala, 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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Blog Day : |
5674 | Post No. : | 18185 | Movie Count : |
4883 |
#the Decade of Seventies – 1971 – 1980 #
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(Martyr’s day 2024)
Today 30th January is the ‘martyr’s day’ where we pay our tributes to all the known and unknown martyrs of this great country. It is well known fact that during freedom struggle of India i.e. Bharat, many people fought against the British Empire and laid down their lives to see their fellow countrymen free. For years together we have grown-up reading stories of our freedom struggle and the great revolutionaries who sacrificed their lives on the way of their fight for freedom of this country.
Today 30th January’2024 is also the seventy-sixth death anniversary of the Father of Nation Mahatma Gandhi. He was assassinated on this day in 1948. Gandhiji’s death anniversary is declared as ‘Sarvoday Diwas’ and ‘Shaheed Diwas’ which is observed at national level in India. The other prominent ‘martyr’s day’ is observed on 23rd March remembering the great revolutionaries Bhagat Singh, Sukhdev and Rajguru. Five more ‘martyr’s day’ are observed at regional and national level as detailed below:-
(Till this post I was not aware of the other days observed as ‘martyr’s day’ except 30th January and 23rd March. It is while reading about 30th January that I came across this information which I am sharing below. It is taken from Wikipedia and other sources on internet).
1) 19 May – In Assam to remember the fifteen people killed by state police on this day in 1961 at Silchar Railway Station, Assam.
2) 13 July – In Jammu & Kashmir remembering twenty-two people killed by royal soldiers on 13th July’1931 when they were demonstrating against Maharaja Hari Singh of Kashmir.
3) 21 October – as Police Martyr’s day observed nation-wide by Police departments in respect of members of Central Reserve Police Force patrol posted at Indo-Tibet border in Ladakh. The Chinese forces ambushed the police personnel in 1958 during the Border Dispute.
4) 17 November – Also the death anniversary of freedom fighter Lala Lajpat Rai is celebrated as Martyr’s day in Odisha in the honor of this great leader.
5) 19 Novemeber – The birthday of Rani Lakshami Bai the queen of Jhansi is celebrated as martyr’s day in the region remembering ‘Jhansi Ki Rani’ and other known unknown freedom fighters who rebelled against the British Rule in ‘1857’.
6) 24 November – the death anniversary of Sikh Guru Tegh Bahadur Singh who was executed by Mughal Emperor Aurangzeb on 24th Novermber’1674.
7) 15 February – is celebrated in Bihar as ‘Shaheed Diwas’ remembering the thirty-four freedom fighters killed by British Police in Tarapur in 1932 when the martyrs were trying hoist flag of India.
8) 26 December is the latest addition to the above list which is celebrated as ‘Veer Bal Diwas’ which is observed to pay respects to the four sons of Guru Govind Singh who sacrificed their lives and were buried alive by Mughal Emperor Aurangzeb in 1704.
On today’s day we pay our respects and tributes to the all great revolutionaries and the many known and unknown peoples of this country who sacrificed their lives for this great country.
On this occasion I am presenting a song from an ‘Unreleased’ movie from the 1970s.
The title of this movie is ‘Watan Ki Khaatir’.
“Watan Ki Khaatir” was produced under the banner of ‘Mamta Cine International’. There is not information about the director and cast of this movie in HFGK. It only mentions the ‘banner’ and the names of the lyricist and music director for this movie.
The song-list for this movie includes only one song which is being presented here today. Manna Dey is the singer. HFGK also mentions the record label for this song i.e. GCIL-Odeon Label.
Let us listen to this in the voice of Manna Dey. Lyrics are by Shakeel Ahmed. This song is in two parts and only the audio of this song is available.
Audio (Part I)
Audio (Part II)
Song-Watan ki khaatir mit jaayenge (Watan Ki Khaatir)(UR)(1970) Singer-Manna Dey, Lyrics-Shakeel Ahmad, MD-Kartik Kumar-Basant Kumar
Chorus
Lyrics
————————
(Part-1)
————————
Shaheedon ke mazaaron par
Ham mil ke phool chadhhaayen
watan pe mitnewaalon ko o
ham mil ke sheesh jhukaayen
watan ki khaatir
mit jaayenge ae
watan ki khaatir
mit jaayenge ae
par dushman ke aage
ham naa sar ko jhukaayenge ae ae
watan ki khaatir
mit jaayenge ae
watan ki khaatir
mit jaayenge ae
yaaron se yaari ee
dushman ke dushman
taaqat to bahot hai ae
par aman pujaari ee
gar waqt pade to o
ham khoon bhi denge
dushman pe rahenge
har tarah se bhaari ee
apne hiteshi ee
o o o o
apne hiteshi
desh ki khaatir
jaan lutaa denge ae
watan ki khaatir
mit jaayenge ae
watan ki khaatir
mit jaayenge ae
hindu muslim hon o
ya sikh isaayee ee
madrasi bangali
ya rajasthani ee
nahin bhed bhaav hai
koyi dil mein hamaare
ham sabse pehle
hain hindustaani ee
ham sab mein hai
o o o o
ham sab mein hain
paar ka naataa aa
isey nibhaayenge
watan ki khaatir
mit jaayenge ae
—————————–
(Part-2)
—————————–
watan ki khaatir
mit jaayenge ae
watan ki khaatir
mit jaayenge ae
jhaansi ki raani ee
aur veer shivaji ee
hain aaj bhi zindaa aa
un sab ki kahaani ee
naa bhool sake hain
aazaad bhagat ko o
hai yaad sabhi ko o
un ki qurbaani ee
netaaji ki ee ee
o o o o
netaaji ki
amar kahaani
bhool naa paayenge ae ae
watan ki khaatir
mit jaayenge ae
watan ki khaatir
mit jaayenge ae
jai bharat maata aa
rahe amar ye naaraa
ye desh hai Nehru u u
baapu ka pyaaraa
aazaad rahe hain
aazaad rahenge ae
rahe sar ye oonchaa aa
jaise ye himaalaa aa
jai jawaan
jai jawaan
jai kisaan
jai kisaan
jai jawaan
jai jai kisaan
sab mil kar gaayenge ae
watan ki khaatir
mit jaayenge ae
watan ki khaatir
mit jaayenge ae
par dushman ke aage
ham naa
sar ko jhukaayenge ae ae
watan ki khaatir
mit jaayenge ae
ho o o o o
watan ki khaatir
mit jaayenge ae
ho o o o o
watan ki khaatir
mit jaayenge ae
o o o o
Bhaagan ke rekhan ki bahangiyaa
Posted on: January 29, 2024
This article is written by Sadanand Kamath, 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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Blog Day : |
5673 | Post No. : | 18184 | Movie Count : |
4882 |
William Shakespeare’s plays such as ‘Othello’, ‘Macbeth’, ‘Hamlet’, ‘Romeo And Juliet’, ‘A Midsummer Night’s Dream’, ’12th Night’, The Comedy of Errors’ etc have been adapted in Hindi films. These Shakespearian plays have romance, emotions, tragedy, melodrama, actions etc and Hindi mainstream filmmakers thrive on such ingredients in the film. The most popular Shakespeare’s play which have been adapted for Hindi films is ‘Romeo and Juliet’. There may be at least a dozen Hindi films adapted and inspired from this play. From the summary version of this play which I have read, two important aspects in the play emerge. First, the lovers are from two different feuding families who desperately try to separate them. Second, from the incipient stage of their love, there are strong indications that they are not going to be united and at the end, they die as doomed lovers. So, the adapted films need to have these two important aspects to qualify as a fair adaptation of Shakespeare’s ‘Romeo and Juliet’. The viewers must feel that it is tragic love story from start to end. Insofar as Hindi adapted films are concerned, I feel that Jaddan Bai’s ‘Romeo and Juliet (1947), directed by her son, Akhtar Hussain with her daughter, Nargis playing the role of Juliet, can be said to be the first version in Hindi film with an earnest degree of adaptation of Shakespeare’s play. In fact, this film has accredited William Shakespeare as the ‘story writer’. Films such as ‘Ek Duje Ke Liye’ (1981) and ‘Qayaamat Se Qayaamat Tak’ (1988), also fulfill this criteria.
Recently, I have watched the film, ‘Issaq’ (2013) which is also based on Shakespeare’s play, ‘Romeo and Juliet’ although there is no such acknowledgement in the film’s credit titles. In this film also, there are two warring families and son of one family is in love with the daughter of other family. The two warring families are determined to separate the lovers. At the end, both the lovers die.
‘Issaq’ (2013) was produced by Dhaval Gada and Sailesh Singh and was directed by Manish Tiwary. The cast included Prateik Babbar, Amyra Dastur, Ravi Kishan, Rajeshwari Sachdev, Neena Gupta, Makarand Deshpande, Amit Sial, Vineet Kumar Singh, Prashant Narayanan, Sudhir Pandey, Sandeep Bose, Evelin Sharma, Yuri Suri, Malini Awasthi, Akhilesh Jha etc. It was Amyra Dastur’s debut film. By the way the name of the film is a colloquial pronouncian of ‘Ishq’.
In the film, the story of ‘Romeo and Juliet’ has been transformed from Two feuding Italian families to two elite families of Varanasi who are loggerhead with each other. Their feud is over the control of sand mafia resulting in unleashing of violence between the gangs of two families. The state’s minister intervenes to bring a rapprochement between two families. But it is short-lived as the boy of one family loves the girl of other family and they secretly get married. Both these warring families once again become a sworn enemy on this issue leading to violence and deaths of near and dear ones. At the end, both the boy and the girl kill themselves. The story in some details is as under:
The patriarch of Kashyap family (Sudhir Pandey) and the patriarch of Mishra family (Sandeep Bose) are old rivals over the control of sand mafias in around Varanasi. There is also a Maoist group led by their leader (Prashant Narayanan) to reap the benefit from the illegal sand business for their own agenda. Because of the rivalries, often there are gang wars resulting in violence and sometime deaths. One of the state government’s minister (probably the indirect beneficiary of the sand business) intervenes to bring rapprochement between the two families. There is a temporary truce.
Kashyap has a teenage daughter, Bachchi (Amyra Dastur) from his first wife (Neena Gupta). His second wife is the young Paro (Rajeshwari Sachdev). Mishra has also a teenage boy, Rahul (Prateik Babbar) with interest in girls and the guns. He already had a short-lived love affairs with a foreign girl (Evelin Sharma). During a Holi festivity, Rahul meets Bachchi and both falls in love with each other. Despite knowing that their families have been in loggerhead for a long time, they go ahead with the dictate of their hearts rather than the consequences of their relations. They secretly marry in a temple run by a Baba (Makarand Deshpande) with the presence of Bachchi’s mother (Neena Gupta). This development shatters the truce between the two families and they are again on the warpath over the relation of Rahul and Bachchi.
Rahul is on the run as Bachchi’s maternal uncle, Teeta (Ravi Kishan) is determined to eliminate him. With the result, there is virtually a gang war between two families with a few of their close friends and family members getting killed including Rahul’s friend, Murari (Amit Sial) and Bachchi’s maternal uncle, Teeta. In the midst of violence, pain in separation and the oppressive families, the couple secretly meet. During one of such clandestine meetings, Bachchi’s step mother, Paro sees them. She starts scheming to separate them permanently. She informs Bachchi that soon she would be betrothed to a boy selected by the family.
Paro assigns Inspector, Preetam (Prashant Gupta) to arrange elimination of Rahul and as a reward, he would get married to Bachchi. Preetam gives the contract to Maoist leader to kill Rahul for which he would arrange to give him right to remove sand from a part of the river bed. Soon, there is a fierce gun fights between Maoists and Rahul and his men.
In the meanwhile, Bachchi’s marriage with Inspector, Preetam is fixed against the wishes of Bachchi. She goes to Baba to save her from the marriage. He gives her a bottle with liquid which, if consumed, will make her to sleep for 24 hours. By this way, she can get the marriage postponed for sometime. Bachchi returns and get ready for her pre-marriage ceremony in her room. She drinks the liquid and goes in her deep sleep. However, people around her think that she is dead. In the midst of his encounter with Maoists, Rahul gets the news that Bachchi is no more.
After killing Preetam and the Maoist leader, Rahul see the ‘dead’ body of Bachchi. He kills himself with his gun. With the sound of the gunfire, Bachchi is woken and find Rahul dead with the gun in his hand. With the dead body of Rahul on her lap, Bachchi kills herself with the same gun.
I found the film to be more of an action-oriented one with good doses of gunfights and violence than the romance. The uncertainty and fear looming large on the lovers because of the families’ pressures were lacking in the performances of Prateik Babbar and Amyra Dastur. Some of the supporting actors like Neena Gupta and Rajeshwari Sachdev were underutilised. Visually, the film is interesting to watch with Banaras Ghats, Holi celebrations in a former Raja’s palace and some of the action sequences.
The film had 7 songs including a double version song which were written by Anil Pandey (3), Mayur Puri (2), Raj Shekhar (1) and Neelesh Misra (1).The songs were set to music by Sachin-Jigar (3), Krsna (2) and Sachin Gupta (2). I am presenting the first song from the film, ‘Bhaagan ki rekhan ki bahangiyaa’ to appear on the Blog. The song is written by Anil Pandey and is rendered by Malini Awasthi and Raghubir Yadav on the music direction of Krsna (real name: Amitav Sarkar). It is a wedding song which is picturised when Bachchi (Amyra Dastur) is getting ready for her pre-wedding rituals. The song is written in Bhojpuri dialect as conversations between a daughter who is getting married and her father/mother. This type of song is also sung during Chhath pooja.
The sum and substance of the song is that the daughter, whose ‘bhaagan ki rekhan’ (lines of destiny on her palms) tell that it is time for her marriage, asks a few innocent questions to her father. In olden days, daughters used to get married when they were minors, hence the innocent questions.
Father, why are you sending me from maternal home (peehar)?
Why are you transforming me from a girl to a married woman?
Where is the destiny taking me?
Since childhood, you have taken care of me and made me happy.
You have swung me in your arms.
Then why is this happening in the midst of happiness?
Why have you called the wedding procession (baaraatis)?
Why have you made a shaamyaana and ordered palanquin?
Why is turmeric getting applied?
The wedding procession has turned crazy. Where should I run away?
The mother says to her daughter:
When you leave for your in-law’s house, we will be desolate.
Do not ask your father as to how he ordered palanquin and made shaamyaana.
The palanquin career would continue to walk.
Your mother’s tears would continue to flow.
Even you will not stop crying.
Video Clip:
Audio Clip:
Song-Bhaagan ke rekhan ki bahangiyaa bahangi lackat jaaye (Issaq)(2013) Singers-Malini Awasthi, Raghubir Yadav, Lyrics-Anil Pandey, MD-Krsna
Female chorus
Lyrics (based on audio clip):
bhaagan ke o o….
bhaagan ke rekhan ki bahangiyaa
bahangi lachkat jaaye
bahangi lachkat jaaye
bhaagan ke rekhan ki bahangiyaa
bahangi lachkat jaaye
bahangi lachkat jaaye
bhejo re kaahe baabaa hamkaa peehar se
bitiya se banni banke kahaan pahunchaaye
sahaa bhi naa jaaye
ho ka kare haaye
kahaan khaatir chale re kahariyaa
bahangi kahaan pahunchaaye
bahangi kahaan pahunchaaye
bachpan se paale aisan bitiyaa..
kaahe bahiyan ki jhulnaa jhulaaye
khusiyan ke ras man mein kaahe re..
baabaa tumne baratiyaa liyo bulwaaye
kaahe doli banwaaye amma mandwaa chhawaaye
chale silwaayan haldi kaa pis pis jaaye
bhaagan ke rekhan ki bahangiyaa
bahangi lachkat jaaye
bahangi lachkat jaa….ye
hmm hmm hmm hmm
sooraj saa chamkegaa mor mukut pehnega
raajaa banke chalegaa bannaa hamaaraa re
jeeja ko naa poochhegaa
arre phoophaa ko naa laayegaa
maamaa ko lootegaa
chaachaa khisiyaayegaa
behanon ko thumkaa lagaataa laayegaa
kaalaa peelaa tedhaa medhaa
bannaa baaraati aisaa laayaa re
ka kari haaye
kahaan chali jaaye
banno saram se mar mar jaaye
banno saram se mar mar jaaye
bhaagan ke rekhan ki bahangiyaa
bahangi lachkat jaaye
bahangi lachkat jaaye
tu ru ru ru
tu ru tu ru
tu ru ru
tu ru ru ru
tu ru tu ru
tu ru ru
sunwaa piyaar bitiyaa sun lo
tore nikharat hi nikhar naa jaaye
bitiyaa ke baabaa se naa poochhaa re
mandwa ke kaisan hola bihaan
chale chalenge kahaar
maiyyaa ansuwan ki dhaar
banni ro ro ke huyi jaaye hai taar taar
bhaagan ke rekhan ki bahangiyaa
bahangi lachkat jaaye
bahangi lachkat jaaye……ae
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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5673 | Post No. : | 18183 |
Today’s song is a duet from the film ‘Pehla Aadmi’ (1950). This was a film from New Theaters, Calcutta, which had a background of Netaji Subhash Chandra Bose’s I.N.A. (Indian National Army or Azad Hind Fauz).
Following the outbreak of World War II, Japan invaded Southeast Asia. At the time 70,000 troops were stationed in the region, most of them along the Malayan coast. Japan conducted a lightning campaign which culminated in the fall of the Malayan peninsula and Singapore in 1942. In the Singapore campaign alone, 45,000 Indian prisoners of war were captured. It was from these prisoners of war that the Japanese decided to create an auxiliary army which would fight against the British.
The first INA was formed under Mohan Singh, a former officer of the British Indian Army captured during the Malay campaign. Conditions in the prisoner-of-war camps, as well as resentment against the British in general, saw many prisoners of war volunteer to join the Indian National Army. The initiative received considerable support from the Imperial Japanese Army and from the ethnic Indian population of Southeast Asia. However, disagreements between Mohan Singh and the Japanese Army Command regarding the autonomy of the Indian National Army led to the disbandment of the first INA in December 1942.
Although Mohan Singh had angered the Japanese Army Command through his actions, they relented to form a second Indian National Army. Mohan Singh himself recommended Subash Chandra Bose for the leadership role. His reputation as a committed nationalist was known to both the Indian diaspora of Southeast Asia and the Imperial Japanese Army. As such, they were more open to the idea of a nationalist army led by Subash Chandra Bose. The activities of Subash Chandra Bose in India had forced the British authorities to imprison him, but he escaped and reached Berlin in 1941.
Although the German leadership were sympathetic to his cause, logistic problems prevented them from granting any support to his quest for raising an army to fight the British. However, the Japanese were ready to support him and upon their personal invitation, Subash Chandra Bose arrived in Singapore in July 1943 to take command of what would be known as the Second Indian National Army, now known by its alternative name, the Azad Hind Fauj.
Rash Behari Bose had founded the Indian Independence League in March 1942. During the Second World War, Bose convinced the Japanese authorities to support the Indian independence movement. He was instrumental in raising support for the Indian freedom movement abroad. In the League’s second conference in June 1942, it was decided to invite and appoint Subhash Chandra Bose as the President of the League. The Indian National Army (INA), built by Subhash Chandra Bose on the broad framework given by Rash Behari Bose, was the military arm of the League.
After Subhash Chandra Bose took command of the Azad Hind Fauj, there was a swell of volunteers looking to join the INA. Although Subash Chandra Bose agreed for the INA to remain subordinate to the Japanese Army, he saw it as a necessary sacrifice towards the fulfillment of the ultimate goal of freeing India from the British Empire. The Azad Hind Fauj participated in Operation U-Go, the 1944 Japanese campaign towards British India. Although the INA saw initial success during the early phases of the operation, they were forced to withdraw during the Battle of Imphal and the Battle of Kohima (Fought on April 4th, 1944) which saw a disastrous defeat for the Japanese Army at the hands of the British.
The INA lost a substantial number of men and materiel in this retreat. A number of units were disbanded or used to feed into new divisions of the now-declining Japanese Army. Following the Japanese defeat in World War 2, most of the members of the INA were captured by the British. Subhash Chandra Bose himself eluded capture and was reported to have died in a plane crash near Taiwan in September 1945. (adapted from notes by Karthik of Byju’s study PDF, with thanks).
The film was directed by Bimal Roy. This was his last film with and for New Theaters. The music was by Rai Chand Boral. The cast of the film was Smriti Biswas, Balraj Vij, Pahadi Sanyal, Zahar Roy, Asit Sen, Bela Bose and many others. The 11 songs of the film were written by Prakash BA, Shyamal Gupta, Anant Krishnan and Deshraj.
The story of the film was,
Vijay Kumar and Chaudhari are thick friends, living in Rangoon, Burma. They have a son Kumar and daughter Lata. The children fall in love when young, and decide to get married, with elders’ consent. The year is 1943. Netaji Subhash Chandra Bose arrives in Singapore and tours Far Eastern areas. He invites the youngsters to join his INA to serve the motherland.
Kumar decides to join INA and promises Lata that they will get married after the war is over. Before going, Kumar’s father gives him a sword to use in the war. Kumar, after his training is over, is sent to the war front. During a battle, his leader is shot. Before dying he gives the Indian flag to Kumar and asks him to hoist it after victory.
The battle is won by Kumar’s unit and Kumar proudly unfurls the Indian Flag for the first time on a liberated Indian town. He becomes the ‘Pehla Aadmi’ to do so. Unfortunately, after hoisting the flag Kumar is shot dead. His body is brought to Rangoon for last rites. Lata is weeping. Kumar’s colleague in the war tells Lata to fulfill Kumar’s job in liberating the country. Lata too joins INA.
A cursory look at the Film Index book for 1931 to 2012, I found some names of films which were made on Netaji Subhash Chandra Bose. Film ‘Samadhi’ (1950), like today’s film had a background of I.N.A. or Azad Hind Fauz.
Netaji Subhash-1947
Subhash Chandra Bose-1966
Subhash Chandra Bose-1978 and
Netaji Subhash Chandra Bose – The forgotten Hero-2004.
While surfing on the Internet for more information, I found an article in The Economic Times dated 23-1-2023, which listed the names of 5 films that brought Netaji to life on screen….
1. ‘Netaji Subhash Chandra Bose- The Forgotten Hero’ (2004), written and directed by Shyam Benegal. The main actor was Sachin Khedekar.
2. ‘Bose – Dead/Alive’ (2017). This was based on the novel ‘India’s Biggest Cover Up or Netaji Rahasya Gatha’ by Anuj Dhar. The main actor was A Raj kumar Rao. This was a Web Series.
3. ‘Gumnami’ (2019). This was based on Mukherjee Commission hearings and the book ‘Counundrum’ by Anuj Dhar. Movie focusses on Bose’s retreat into anonymity post the plane crash and forging a career as a sadhu. He becomes known as The Gumnami Baba, an ascetic in Uttar Pradesh. The film starred Anirban Bhattacharya.
4. ‘Subhash Chandra’ (Bengali) (1966), directed by Piyush Bose. Shows his early years like student to a fighter, childhood and his ICS exam etc.
5. ‘Ami Subhash Bolchi’ (2011). Directed by Mahesh Manjrekar. Hero Mithun Chakraborti. this film is about the spirit of Netaji which motivates Deb Brata Bose to boost up his self confidence.
The story of ‘Pehla Aadmi’ was written by actor Nazir Hussain (ex INA), the lyrics were by Prakash (ex INA), and the music was by RC Boral. The film was directed by Bimal Roy, assisted by Hrishikesh Mukherjee. This was Bimal Roy’s last film with New Theaters. When he came to Bombay for the premier of the film, he met Hiten Chaudhari, who had worked in New Theaters earlier. He was the Pehla Aadmi to leave New Theaters and join Bombay Talkies in Bombay. Hiten took Bimal Roy to Bombay Talkies where he was offered the director’s position for the upcoming film ‘Maa’ (1952). Bimal Roy accepted it and settled in Bombay thereafter.
Bimal Roy was born on 26-7-1909, in Suvapur village in East Bengal. His father Hemchandra Roy was a very rich landlord. He was a simple and kind person. After he died, it was known that his servants had misappropriated all his money and land, and the family came on the road. The big family shifted to Calcutta in 1930-31.
Bimal Roy joined New Theaters as an assistant to Nitin Bose. He soon became an expert cameraman and shot films like ‘Chandidas’, ‘Devdas’, ‘Manzil’, ‘Grihdaah’, ‘Maya’, ‘Mukti’ etc. In 1937, he was married to Manobina Sen. He continued as a cameraman till 1942 doing more films like ‘Abhagin’, ‘Badi Didi’, ‘Abhinetri’, ‘Haar Jeet’ and ‘Meenakshi’.
By 1942, due to restrictions on supply of raw film and financial crisis, added to ego problems of big artistes and the management, New Theaters came into problems. One after another most artistes like Barua, Debaki Bose, Nitin Bose, Saigal, Prithviraj Kapoor, Kumar, Kidar Sharma etc left Calcutta and reached Bombay. Bimal Roy did a documentary on the Bengal Famine in 1943 and then directed his first Bangla/Hindi bilingual film ‘Udayer Pathe’/’Hamraahi’ in 1944. The successful film ran for an year in Calcutta and established him. Then came ‘Anjangadh’, ‘Mantramugdha’ and ‘Pehla Aadmi’.
Bimal Roy came to Bombay for the premiere of the film ‘Pehla Aadmi’ (1950). Here he met his old colleague Hiten Chaudhari,who was working in Bombay Talkies, which was supposed to be a hub for all artistes coming from Bengal. He took Bimal Roy to Bombay Talkies and he got his first film in Bombay- ‘Maa’ (1952), as a director. Then came ‘Parineeta’ (1953). Bimal Roy then established his own Bimal Roy Productions and made many films. He directed films like ‘Do Bigha Zamin’, ‘Naukri’, ‘Devdas’, ‘Madhumati’, ‘Sujata’, ‘Parakh’, ‘Prempatra’ and ‘Bandini’ for his own productions. For others too he directed films like ‘Biraj Bahu’, ‘Baap Beti’ and ‘Yahudi’. Bimal Roy Productions made films like ‘Amaanat’, ‘Parivaar’, ‘Apradhi Kaun’, ‘Usne Kaha Tha’, ‘Kabuliwala’ and ‘Benazir’ where other directors did the films.
Bimal Roy got 11 Film Fare Awards for Best films and Best Direction in all. He got several National and International awards too. He was a heavy smoker. In 1965, lung cncer was detected and he died on 8-1-1966
Bimal Roy was not only a very sensitive person, but he was like an institution for subordinates, who learnt a lot from him. He was like a complete school of film making and gave the film industry great filmmakers and writers like Hrishikesh Mukherjee, Gulzar, Nabendu Ghosh, Basu Bhattacharya, and Salil Chaudhari. ‘Do Bigha Zameen’ (1953) was based on Salil Da’s story ‘Rikshawala’, written in the 40s. ‘Parakh’ was also his story. He also wrote the screenplay for ‘Prem Patra’ and. After Bimal Roy’s death, Hrishikesh Mukherjee dedicated the film ‘Anupama’ to his memory.
One special characteristic of Bimal Roy was song picturisation on character and unknown artistes (like Guru Dutt). Sachin Shankar sang ‘Parakh’ song “Kya Hawa Chali”. His production manager’s wife Dolly Kapoor sang 2 songs in ‘Bandini’. Rajdeep, a character artiste sang “Mat Ro Mata Laal Tere Bahutere” in the same film. Wazir Mohammed Khan sang in ‘Kabuliwala’. In the same film a small-time actor MV Rajan also sang a song.
Bimal Roy shot a major part of the film ‘Madhumati’ in Nainital. When he came back to Bombay, to his dismay, he found that 60% of the shots were spoiled. Without losing head, he shot all those scenes in Bhandardara, near Bombay and the film was edited so well that nobody felt any difference !
[Adapted, with thanks, from the book ‘Bimal Roy’ by Shashikant Kinikar.]
Today’s song is a duet sung by Aparesh Lahiri (father of Bappi Lahiri) and Sandhya Mukherjee. Aparesh Lahiri was the inhabitant of Jalpaiguri, West Bengal. He was a famous Bengali singer. He was born in 1924. He used to sing in All India Radio, Calcutta. In one of the sessions, he met Bansuri Ghosh, a singer. They fell in love and got married.
Bappi Lahiri is the only child of Aparesh Lahiri. Aparesh Lahiri trained Bappi Lahiri about each and every aspect of music. The modern age of Bengali song can be said to have begun from the middle of the 19th century. Aparesh contributed quite a lot to this. Aparesh died on 28-5-1998.
Enjoy the song video. . .
Song-Taaron ki Raushni mein duniya nayi basaayen (Pahla Aadmi)(1950) Singers-Aparesh Lahiri, Sandhya Mukherjee, Lyrics-Prakash BA, MD-R C Boral
Both
Lyrics
o o o o o
o o o o o
taaron ki raushni mein duniya nayi basaayen
taaron ki raushni mein duniya nayi basaayen
rangeen bahaaren hain masti bhari fijaayen
rangeen bahaare hain masti bhari fijaayen
ye kaun aun
ye kaun sunaata hai mujhe prem ka gaana aa
ye kaun sunaata hai mujhe prem ka gaana aa
madhosh banaata hai mujhe kiska fasaana
afsaana nahin hai ye meri zindagi ka taar
afsaana nahin hai ye meri zindagi ka taar
duniya se door hamko basaana hai ye sansaar
raaten hon suhani khilen phoolon ki chaandni
phoolon ki chaandni
raaten hon suhaani khilen phoolon ki chaandni
phoolon ki chaandni
bajti ho mast jhoomke lehron ki raagini
lehron ki raagini
is prem ki duniya mein
is prem ki duniya mein
is prem ki duniya mein hamen do preet jhalak do
o o o
o o o
khaamosh nigaahon mein mohabbat ki chamak ho
o o o o
bedard zamaane ki wo baaten na sataayen aen aen
bedard zamaane ki wo baaten na sataayen
taaron ki raushni mein ham ek duniya basaayen
taaron ki raushni mein ham ek duniya basaayen
taaron ki raushni mein duniya nayi basaayen
taaron ki raushni mein
Ho aaya dekho re salona din
Posted on: January 28, 2024
- In: "Mela" song | Antara Chaudhry Songs | Dance song | Duet | Feelings of heart | Guest posts | Lyrics contributed by readers | Post by Sadanand Kamath | Songs of 1990s (1991 to 2000) | Songs of 1994 | Sonu Nigam - Antara Chaudhry Duet | Sonu Nigam Songs | Tractor song | Yearwise breakup of songs
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This article is written by Sadanand Kamath, 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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5672 | Post No. : | 18181 | Movie Count : |
4880 |
There are some prominent Hindi film actors whose names are mainly associated with ‘middle of the road’ and ‘off-beat’ cinemas though they have also worked in mainstream Hindi films. The names that comes to my mind are Naseeruddin Shah, Om Puri, Girish Karnad, Shabana Azmi, Smita Patil, Dipti Naval etc. Almost all of them made their Hindi film debut under the direction of Shyam Benegal. I was not aware that Rajeshwari Sachdev was also one of such actors until recently while checking her filmography. She has worked on stage, television and films. She is also a singer and a dancer.
Rajeshwari Sachdev (real name: Raj Kaur Sachdev) was born on 14/04/1975 and studied in Mumbai. Her father, Inderjeet Singh Sachdev is a Sikh while her mother, Meenakshi Iyer is a Tamilian from Pallakad. Both were associated with Indian People’s Theatre Association (IPTA). She graduated from Khalsa College and completed post graduation in English literature from Mumbai University. She learnt Bharatanatyam dance from the age of 5 and continued till 14 years. With her parents connected with IPTA, Rajeshwari was exposed to theaters in her early age as a child artist. She also participated in her school plays.
Interestingly, Rajeshwari made her debut in a Marathi Film, ‘Aaytya Gharaat Gharoba’ (1991) directed by Sachin Pilgaonkar in which she was paired with Laxmikant Berde. For this film, her name was changed from Raj Kaur Sachdev to Rajeshwari Sachdev, the name which continues in all her subsequent films. She got the Maharashtra State Government Award for the Best Actress for this film. Next, she got selected for Shyam Benegal’s ‘Sooraj Ka Saatwaan Ghoda’ (1992) which was her first Hindi film. Soon after, the film’s shooting was completed, Rajeshwari got selected for playing Yashodhara’s role in ‘Little Buddha’ (1993), an international film co-production of France, Italy and the UK. (Rajeshwari’s early prsofile is based on her interview with Aparajita Krishna which was published in The Daily Eye).
In 1994, Rajeshwari worked in two films – ‘Mammo’ (1994), directed by Shyam Benegal in which she had a small role and ‘Triyaacharitra’ (1994), directed by Basu Chatterjee in which she was in the lead role. She has so far worked in 18 Hindi films which includes, other than the films referred to above, ‘Sardari Begum’ (1996), ‘Samar’ (1999), ‘Hari Bhari’ (2000), ‘Bose: The Forgotten Hero’ (2005), ‘Welcome To Sajjanpur’ (2008), ‘Baazaar-e-Husn’ (2013), ‘Nazar Andaaz’ (2022). She has also acted in Marathi ‘middle of the road’ films such as ‘Aaramb’ (2011), ‘Samhita’ (2013), ‘Ek Saangaychay’ (2018), ‘Dombivali Return’ (2019) and ‘Firebrand’ (2019).
Rajeshwari was also active on the Television serials which included ‘Margarita’ (1997), ‘Gubbaare’ (1999), ‘Kahaani Ghar Ghar Ki’ (2003), ‘Samvidhaan’ (2014), ‘Peshwa Bajirao’ (2017) etc. In the recent period, Rajeshwari has acted in a Hindi play ‘Shabdleela’ along with her husband, Varun Badola. Varun Badola is the son of Vishwa Mohan Badola, a very famous actor on the Delhi theater circuit and Delhi AIR.
I have so far watched about half-a-dozen films in which Rajeshwari Sachdev had acted whether in small or lead roles. One of her best performance I feel she has given is in the off-beat film, ‘Triyaacharitra’ (1994). It was only her third film and that too opposite two stalwarts, Om Puri and Nasiruddin Shah.
‘Triyaacharitra’ (1994) was produced by NFDC and Doordarshan and was directed by Basu Chatterjee. The cast included Om Puri, Nasiruddin Shah, Rajeshwari Sachdev, Vijay Kashyap, Deepak Qazir, Mansi Upadhyay, Inderjeet Sachdev, Radha Asrani, Kanika Shivpuri, SM Zaheer etc. The film was based on Shivamurhty’s novel of the same title. In this film, Inderjeet Sachdev, Rajeshwari’s real father donned the role of her father in the film as well. Basu Chatterjee offered Rajeshwari to play a pivotal role in the film after watching one of her Hindi plays. The film was majorly shot in around Allahabad (now Prayagraj).
The story of the film is a heart-wrenching one. It is a commentary on the oppressive patriarchal society of the rural India. At the same time, it is not about male versus female but goes beyond by highlighting as to why such things happen. The detailed story is as under:
Bimli (Rajeshwari) is the daughter of a poor farmer (Inderjeet Sachdev) and his wife (Radha Asrani) who had been betrothed to a village boy during their childhood. Now Bimli is working in a brick kiln and earning money to take care of her parents. Her husband has been working as a laborer in Kolkata whose face she has not seen for years. There is no communication from him either to his own father, Bisram (Nasiruddin Shah) or to Bimli.
Bimli also work as a part time cook for Brick-kiln owner (Deepak Qazir) to serve food to his workers. There are some admirers of Bimli in the brick-kiln which include a manager (Vijay Kashyap), a tractor driver and a truck driver, Billar (Om Puri) who brings truck load of coal for brick making. She has a friendly disposition towards him and Billar assumes that she is attracted to him. He starts flirting with her. However, Bimli sternly reminds him that she is married and he has also a wife.
Billar is hopeful that as Bimli’s husband has not returned from Kolkata for a long time, she would eventually agree to be his wife. He also keeps Bimli’s father happy with regular supply of tobacco for chewing and bottles of liquor for his consumption. One day, Billar gives her a gift of new saaree which she refuses to accept by telling that she knows the purpose of his gift. She makes it very clear to him that though she likes his company, she will continue to be faithful to her husband.
In an adjoining village, Bimli’s father-in-law, Bisram lives alone in his hutment. He is fond of sensual pleasure having affairs with a woman. He is uncomfortable with the rumor of Bimli’s ‘affair’ with the truck driver and going out with other men for village festival. He decides to recall Bimli to his home by arranging the ‘gauna’ (consummations of marriage) ceremony. Bimli’s parents are reluctant for gauna ceremony as her husband has not yet returned from Kolkata. However, Bisram forces them to perform the gauna ceremony in the guise of her ‘rumored affair’ and returns with Bimli in his hutment.
Bimli is respectful to her father-in-law and takes care of him. Bisram on the other hand does not call his son to join Bimli as his intention is to use her as an object of satisfying his sexual desire. In one evening, after his drinks, he tries to molest Bimli. With a knife in her hand for protection, she pushes him out of the house and locks the door. Bisram goes to a temple and spends the night there. Next day morning, Bisram returns home and offers his apology for his misbehavior. Under pressure from panchaayat members, Bisram decides to stay separately in a new hutment leaving his old hutment for Bimli. He spends most of his time praying in the temple.
After a couple of days, Bisram returns from the temple bringing with him a glass of milk as offerings from the temple which he has mixed with drug. Bimli consumes the milk as offering from the temple and soon falls into a deep slumber on the floor. Bisram returns and rapes her after which he spends night in the temple.
Next day, Bisram finds Bimli missing from her hut. She has already realized what happened to her in the night. She leaves the village with the intention of going to Kolkata in search of her husband. Bisram sends his men to locate her at the railway station. In the meanwhile, Bisram has already created enough alibis after which he calls for a panchaayat meeting where his men has brought Bimli and presented before the panchaayat. The panchaayat members are not prepared to go with what Bimli’s presentation of the actual happenings but go by the circumstantial evidences presented by Bisram. The panchaayat declares Bimli guilty and awards punishment to her by way of creating scar on her body by a red-hot iron rod by Bisram who has actually raped her. What an irony!
For the viewers of the film, it is known as to what has actually happened to Bimli. But for panchaayat members, the version presented by Bisram appears to them more reliable thanks to the alibis created by him. At the end of the panchaayat meeting, the temple’s priest says “. . .it is difficult to understand triyaacharitra” and he utters a shloka, “triyaacharitram purushasya bhaagyam”. I did not understand the context of the shloka in the film. A internet search revealed that ‘triya’ means ‘woman’. I also came across a shloka which is attributed to Manu Smriti (Writings of Sage Manu)
Triya charitram purushasya bhagyam
Devo na jaanati kuto manushya
(why man, even God cannot predict a woman’s character and a man’s destiny).
I am not sure whether the shloka connotes the positive or negative traits about Bimli in the film. I found the character of Bimli (Rajeshwari) very strong until she was outmaneuvered by Bisram at the end. Bimli’s story is incomplete as what happens to her in the aftermath of the punishment is unknown to the viewers. Probably, the writer has left to the imagination of the readers of the novel and the viewers of the film. I have read another interpretation of the word, ‘triyaacharitram‘ that a woman can kill her husband or jump on the pyre of her husband. Her character is unpredictabe. So, Bimli can either take revenge against her father-in-law or meekly shifts to her parents’ house.
By the way, why not ‘purushasya charitram and triya bhagyam’?
The film had two songs written by Yogesh Gaud and set to music by Salil Chowdhury. I am presenting the first song from the film, “Ho Aaya Dekho Re Salonaa Din” to appear on the Blog. The song is rendered by Sonu Nigam and Antara Chowdhury. The song is picturised on Rajeshwari and on a dholak player. Vijay Kashyap among other travelers is also seen in the song sequence. The song has been written in colloquial Hindi, probably using Awadhi words and giving a feel of a folk song. Incidentally, the film’s story is based around Prayagraj and Yogesh Gaud, the lyricist of the song, hailed from Awadh (Lucknow).
The background of the song is that on the occasion of Makar Sankranti, Rajeshwari and her other brick-kiln workers go to a village fair on a tractor. Bimli (Rajeshwari) travels with some male workers and roams with them till late night which gets reported to her father-in-law, Bisram. He later uses this as one of the evidences aganst Bimli in panchaayat, depicting her of loose character.
Video Clip:
Audio Clip:
Song-Ho aaya dekho re salona din (Triyaacharitra) (1994) Singers-Sonu Nigam, Antara Chowdhury, Lyrics-Yogesh, MD-Salil Chaudhary
Both
Lyrics:
ho aaya dekho re salona din
salona din
ho hui gawa magan magan mora mann
dhinak dhin
ho aaya dekho re salona din
salona din
ho hui gawa magan magan mora man
dhinak dhin
ho aaya dekho re salona din
salona din
sanwar sanwar hum aaj dekhan chalen melaa re
kaun mil jaaye man mitwa hamen albelaa re ae
sanwar sanwar hum aaj dekhan chalen melaa re
kaun mil jaaye man mitwa hamen albelaa re ae
jikraa se nain ladey jo saayad
arre jikraa se nain ladey jo saayad
jeewan ki dagariyaa pe
jeewan ki dagariyaa pe
mahak uthhe re chandan
ho aayaa dekho re salonaa din
salonaa din
ho hui gawaa magan magan moraa man
dhinak dhin
ho aayaa dekho re salonaa din
salonaa din
tukur tukur koi naar nihaare soone rahiya pe
kaun muskaan ke teer chalaaye dekho bhaiyaa re
tukur tukur koi naar nihaare soone rahiya pe
kaun muskaan ke teer chalaaye dekho bhaiyaa re
kauno chankaawe jhaanjhar kauno
arey kauno chankaawe jhaanjhar kauno
khankaawe kanganwaa re
khankaawe kanganwaa re
khanan khanan khankhan
ho aaya dekho re salonaa din
salonaa din
ho hui gawaa magan magan mora man
dhinak dhin
ho aayaa dekho re salonaa din
salonaa din
chhalak chhalak gayi rut pe ras ki gagri re
phulwaa ki aaj sugandh chaun dis bikhri re
chalak chalak gayi rut pe ras ki gagri re
phulwa ki aaj sugandh chaun dis bikhri re
ho jiyaraa hamraa besudh hoyi ke
jiyaraa hamraa besudh hoyi ke
rasiyaa kauno bhanwraa saa
rasiyaa kauno bhanwraa saa
karat hai ab gun gun
ho aayaa dekho re salonaa din
salonaa din
ho hui gawaa magan magan moraa man
dhinak dhin
ho aaya dekho re salonaa din
salonaa din
ho hui gawaa magan magan moraa man
dhinak dhin
ho aayaa dekho re salonaa din
salonaa din
ho hui gawaa magan magan moraa man
dhinak dhin
ho aayaa dekho re salonaa din
salonaa din
ho hui gawaa magan magan moraa man
dhinak dhin
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
हो आया देखो रे सलोना दिन
सलोना दिन
सँवर सँवर हम आज देखन चलें मेला रे
कौन मिल जाये मन मिटवा हमें अलबेला रे॰॰ए
सँवर सँवर हम आज देखन चलें मेला रे
कौन मिल जाये मन मिटवा हमें अलबेला रे॰॰ए
जिकरा से नैन लड़ें जो सायद
अरे जिकरा से नैन लड़ें जो सायद
जीवन की डगरीया पे
जीवन की डगरीया पे
महक उठे रे चन्दन
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
हो आया देखो रे सलोना दिन
सलोना दिन
टुकुर टुकुर कोई नार निहारे सूनी रहिया पे
कौन मुस्कान के तीर चलाये देखो भैया रे
टुकुर टुकुर कोई नार निहारे सूनी रहिया पे
कौन मुस्कान के तीर चलाये देखो भैया रे
कौनो छंकावे झाँझर कौनो
अरे कौनो छंकावे झाँझर कौनो
खंकावे कंगनवा रे
खंकावे कंगनवा रे
खनन खनन खनखन
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
हो आया देखो रे सलोना दिन
सलोना दिन
छलक छलक गई रुत पे रस की गगरी रे
फुलवा की आज सुगंध चहुं दिस बिखरी रे
छलक छलक गई रुत पे रस की गगरी रे
फुलवा की आज सुगंध चहुं दिस बिखरी रे
हो जियरा हमार बेसुध होई के
हो जियरा हमार बेसुध होई के
रसिया कौनो भँवरा सा
रसिया कौनो भँवरा सा
करत है अब गुन गुन
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
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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Blog Day : |
5672 | Post No. : | 18180 |
Today’s song is from the film ‘Char Din’ (1949).
The cast of the film was Suraiyya, Shyam, Badri Prasad, Jayant, Om Prakash, Ram Avtar, Ismail, Mohna and many others. The film was directed by M Sadiq. The songs were by Shakeel Badayuni and the music director was Shyam Sundar.
To be famous and to shine in this world, mere talent is not enough. You must also have Lady Luck with you. While it is generally true, it is more true in the case of our film industry. It is said that Laxmi and Saraswati do not stay together. Laxmi is the Goddess for wealth and Saraswati is the Goddess of arts, music and wisdom. We have seen several examples of actors, singers, directors and composers, where, despite being talented, the person did not shine in life and had to remain un-honored and unrecognized. But we have also seen cases where genuinely talented people in various fields do get honored, recognized and become wealthy too. So, what is the factor that binds Laxmi and Saraswati together ? It is, undoubtedly, LUCK ! Without having Luck, no one can get name, fame and wealth, however talented he may be.
But, what about those talented people who had almost everything coming their way, name, fame and wealth too, but just because of their own egos, bad tempers and bad habits, they lost everything and either died soon or spent their last days in neglect and sorrow ?
Yes, there are such examples too in the film industry. One such glaring example is that of music director SHYAM SUNDER. (Another notable example is that of SAJJAD HUSAIN). Songs composed by Shyam Sunder are one of my most favorite ones. His songs from ‘Nai Kahani’ (1943), ‘Bazaar’ (1949), ‘Lahore’ (1949) and ‘Village Girl’ (1945) are to be remembered eternally. ‘Bazaar’ song, “Saajan Ki Galiyan Chhod Chale” is Lata’s No. 1 favorite song (so is mine !). The 6 songs of Noorjehan in ‘Village Girl’ are simply matchless.
Shyam Sunder himself was a highly respected and preferred composer for singers and producers. He had the capacity to scale heights much higher than other composers of his time. But…Alas ! The habit of drinking and talking rubbish when drunk, destroyed his career. Here is an anecdote of how much respected and remembered he was by the ace singers like Noorjehan and Lata Mangeshkar…
Thirty five years after the partition and two wars between India and Pakistan; in the year 1982 the melody queen, Malika-e-Taranum Noorjehan visited India. It was certainly a grand occasion for millions of music lovers of the Indian sub-continent. In her honor and to facilitate nostalgic music lovers, an impressive show was organised in Shanmukhanand Hall, Bombay which was attended by a large number of luminaries of Indian cinema. Notable amongst them were Anil Biswas, Naushad, the maestro music composers and matinee idols Devika Rani, Ashok Kumar, Dilip Kumar & nightingale of India Lata Mangeshkar to name a few.
Noorjehan came to the dais with a thunderous applause from the jam-packed auditorium and after a brief speech; as expected, she sang her most popular melody, “Awaaz De Kahaan Hai, Duniya Meri Jawaan Hai” that she had recorded in India for film ‘Anmol Ghadi’ (1946). Music was composed by Naushad. Thereafter, it was Lata to sing, who found herself in a very difficult situation owing to a completely charged atmosphere all around the auditorium. She kept everyone guessing about the selection of her song.
Lata came out with one of her endearing melodies “Saajan Ki Galiyan Chhod Chale” from the film ‘Bazaar’ music for which was composed by Shyam Sunder. The applause was beyond imagination. The memory of the completely forgotten genius music director Shyam Sunder came alive, when in her next round Noorjehan sang– “Baithi Hoon Teri Yaad Ka Le Kar Ke Sahara” another immortal melody from the film ‘Village Girl’, music for which was composed by none other than Shyam Sunder.
The audience was indeed spellbound. Every one thought as to why she chose a completely forgotten Indian melody instead of a large number of songs she recorded in Pakistan after migrating from her performing place of origin – Bombay. Perhaps, it was in view of the fact that the singer and the composer of the film ‘Village Girl’ were from Punjab . The momentous event continued with lots of nostalgic and tearful exchanges and it became a history in the annals of pre and post partition Indian art, culture, music and all such related aspects of humane qualities !
Why such a legendary music composer has completely been forgotten, who composed music for some of the classics of his time, such as ‘Village Girl’ (1945), ‘Dev Kanya’ (1946), ‘Actress’ (1948) and ‘Ek Roz’ (1947), ‘Bazaar’ and ‘Lahore’ (both 1949), ‘Dholak’, ‘Kaale Baadal’ and Alif Laila’ (all 1951) just to name a few ? In 1943, he composed music for the film ‘Nai Kahani’. An alluring song of GM Durani and others, “Neend Hamari Khwab Tumhare, Kitne Meethe Kitne Pyaare” which became an instant hit. Even today after a gap of more than seventy years, the melody richly deserves an eloquent place in the list of popular melodies of yesteryear.
In his next film ‘Village Girl’ (1945), Shyam Sunder came out with flying colors, wherein Noorjehan sang some of her fabulous melodies viz., “Baithi Hoon Teri Yaad Ka Le Kar Ke Sahara“, “Kis Tarah Bhoolega Dil Un Ka Khayaal Aaya Hua” & “Sajan Pardesi Balam Pardesi“. In these vital numbers, the feelings immersed in the lyrics written by Wali Saheb, she was in her complete command. The singer did not merely sing the words inscribed in the lyrics, but the depth of feelings. The class of accompanying instrumentation and the matching orchestration was superb and the genius of the composer was distinctly visible.
It is needless to reiterate that as and when a list of immortal melodies of previous century of Indian sub-continent in general and Noorjehan in particular will be drawn, these numbers will invariably find a prime place, music for which was composed by a totally forgotten genius called Shyam Sunder.
For Shyam Sunder, after the exit of Noorjehan from Indian film music, there came the film ‘Actress’ in the year 1948, wherein Mohammad Rafi gave his initial introduction to the music world by singing “Hum Apne Dil Ka Fasaana Unhen Suna Na Sakey” . This proved to be Rafi’s initial introduction.
The music-creating journey of Shyam Sunder can be matched with another maestro called Sajjad Husain, who also composed music for just 14 films, but composed some of the finest melodies of his era.
Both the masters were highly perfectionists; but ill-tempered and uncompromising. Shyam Sunder, additionally in view of his addiction to liquor and excessive drinking, occasionally uttered abusive language and consequently used to lose control over his head and heart. During the making of the film ‘Lahore’, he had some abusive interaction with Lata Mangeshkar, and as such, they were not on talking terms for a considerable time.
In the year 1952, when the film ‘Alif Laila’ was in making, Shyam Sunder died in the recording studio, owing to excessive drinking and consequent heart attack; the music thereby was completed by his assistant Madan Mohan. Due to his spat with Lata, she had stopped singing for him, but on his request she sang a song in his last film, Alif Laila (1953). She knew his caliber as a composer !
Shyam Sunder was born in Multan (now in Pakistan). He was an expert violin player and used to play in Jhande Khan’s orchestra in the early stage of his career. He started with Punjabi films from 1939. He gave a break to Mohammed Rafi in Punjabi film ‘Gul Baloch’ (1944). ‘Nai Kahani’ (1943) was the beginning of his bright career in Hindi films and ‘Village Girl’ (1945), ‘Lahore’ (1949) and ‘Bazaar’ (1949) were his pinnacle. He composed 187 songs in 20 films.
Shyam Sunder died on 15-7-1952.
The case of Shyam Sunder is not unusual. In the Hindi film industry there are many such examples of MDs, directors and actors who were addicted to alcohol and spoiled their own careers. I remember how another talented music director – Shridhar Parsekar also ruined his blooming career due to alcohol addiction. The case of Parshuram, the actor is also well known. In his case, he not only died begging on the road, but was cremated by the municipality as ‘ unclaimed/unidentified ‘ beggar, even though his daughter was alive but got the news too late !
Today’s song is a duet sung by Premlata – famous for her song “Chup Chup Khade Ho Zaroor Koi Baat Hai” from the film ‘Badi Bahen’ (1949), and Master Sonik, one of the pair of the music director duo Sonik-Omi. Master Sonik was one of the only 3 blind music directors of Hindi films. The first was KC Dey and the third was Ravindra Jain. Master Sonik aka Manohar Lal Sonik was born on 26-11-1926 in Sialkot, Punjab. By his third year, he lost his vision completely. Undaunted, he learnt music first from the Music School of Lahore and then from Lucknow. For sometime, he was assistant to Pt Amarnath Batish.
After Partition he joined All India Radio (AIR) in Delhi. Later, he sang 8 songs in 7 Hindi films, namely ‘Chaar Din’ (1949), ‘Stage’ (1951), ‘Kashmir’ (1951), ‘Khyber’ (1954), ‘Mast Qalandar’ (1955), ‘Inquilab’ (1956) and then after 20 years he sang in film ‘Umar Qaid’ (1975) also. He gave music to film ‘Ishwar Bhakti’ (1951) along with Giridhar and then film ‘Mamta’ (1952), with Hansraj Behl.
Meanwhile, his nephew Om Prakash Sonik, who was a singer in Delhi AIR, came to Bombay and they both worked as assistants to Madan Mohan for a few years. Then Omi proposed working as a team of composers, calling themselves SONIK-OMI. They got their first break with the film ‘Dil Ne Phir Yaad Kiya’ (1966). The songs became popular. They continued to give music till ‘Anaadi Dada’ (1993), when Master Sonik passed away on 9-7-1993. As a team, music was given to another 5 films by Omi alone till the film- ‘Yeh Hai Basti Badmashon Ki’ (1999). As a team, they gave music to 104 films composing 536 songs. During their tenure as composers, Omi gave a comment that most of Madan Mohan’s popular songs were composed by him, to which they were challenged by Madan Mohan’s son, asking for proof and then Omi withdrew his statement.
Enjoy today’s duet. . .
Song- Sajan ghar jaane waale balam ghar jaane waale (Chaar Din)(1949) Singers-Master Sonik, Premlata, Lyricist- Shakeel Badayuni, MD- Shyam Sundar
Both
Lyrics
sajan ghar jaane waale
balam ghar jaane waale
ho o o
ghar jaane waale
ho manzil door nahin hai
ho manzil door nahin hai
sajan ghar jaane waale
balam ghar jaane waale
ho o o
ghar jaane waale
ho manzil door nahin hai
ho manzil door nahin hai
sajan ghar jaane waale
des tera pardes tera
des tera pardes tera
chhod ye rona dhona rona dhona
des tera pardes tera
chhod ye rona dhona rona dhona
aage chal ker khushee milegee ee ee ee ee ee ee
aage chal ker khushee milegee
dil kee
aas na khonaa
aas na khonaa
tu dil ko zara samjhaa le
tu dil ko zara samjhaa le
ho o o
dil ko zara samjhaa le
ho manzil door nahin hai
ho manzil door nahin hai
sajan ghar jaane waale
balam ghar jaane waale
ho o o
ghar jaane waale
ho manzil door nahin hai
ho manzil door nahin hai
sajan ghar jaane waale
haan aan aan
dekh ummeeden toot na jaayen
haar na manwaa rogee
dil kee dhadkan bata rahee hai ae ae ae ae ae ae
dil kee dhadkan bata rahee hai
gham kee
jeet na hogee
jeet na hogee
ab geet khushi ke gaa le
ab geet khushi ke gaa le
ho o o
geet khushi ke gaa le
ho manzil door nahin hai
ho manzil door nahin hai
sajan ghar jaane waale
balam ghar jaane waale
ho o o
ghar jaane waale
ho manzil door nahin hai
ho manzil door nahin hai
sajan ghar jaane waale
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
सजन घर जाने वाले
बलम घर जाने वाले
हो ओ ओ
घर जाने वाले
हो मंज़िल दूर नहीं
हो मंज़िल दूर नहीं
सजन घर जाने वाले
बलम घर जाने वाले
हो ओ ओ
घर जाने वाले
हो मंज़िल दूर नहीं
हो मंज़िल दूर नहीं
सजन घर जाने वाले
देस तेरा परदेस तेरा
देस तेरा परदेस तेरा
छोड़ ये रोना धोना रोना धोना
देस तेरा परदेस तेरा
छोड़ ये रोना धोना रोना धोना
आगे चल के खुशी मिलेगी॰॰ई॰॰ई॰॰ई॰॰ई॰॰ई॰॰ई
आगे चल के खुशी मिलेगी
दिल की
आस ना खोना
आस ना खोना
हो ओ ओ
दिल को ज़रा समझा ले
हो मंज़िल दूर नहीं
हो मंज़िल दूर नहीं
सजन घर जाने वाले
सजन घर जाने वाले
बलम घर जाने वाले
हो ओ ओ
घर जाने वाले
हो मंज़िल दूर नहीं
हो मंज़िल दूर नहीं
सजन घर जाने वाले
हाँ॰॰आं॰॰आं
देख उम्मीदें टूट ना जाएँ
हार ना मनवा रोगी
दिल की धड़कन बता रही है॰॰ए॰॰ए॰॰ए॰॰ए॰॰ए॰॰ए
दिल की धड़कन बता रही है
गम की
जीत ना होगी
जीत ना होगी
अब गीत खुशी के गा ले
अब गीत खुशी के गा ले
हो ओ ओ
गीत खुशी के गा ले
हो मंज़िल दूर नहीं
हो मंज़िल दूर नहीं
सजन घर जाने वाले
सजन घर जाने वाले
बलम घर जाने वाले
हो ओ ओ
घर जाने वाले
हो मंज़िल दूर नहीं
हो मंज़िल दूर नहीं
सजन घर जाने वाले
- In: "Ghunghroo" song | Asha Bhonsle Mahendra Kapoor duet | Asha Bhonsle songs | Dance song | Devnagri script lyrics by Sudhir | Duet | Lyrics contributed by readers | Mahendra Kapoor songs | Paaon/ Painyya song | Songs of 1960s (1961 to 1970) | Songs of 1963 | Yearwise breakup of songs
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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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Blog Day : |
5671 | Post No. : | 18179 |
‘Dev Kanya’ (1963) was a directed by SN Tripathi for Sur Sagar Chitra, Bombay. This movie had Mahipal, Anita Guha, BM Vyas, Krishna Kumari, Babu Raje, Mukri etc in it.
The film had seven songs in it. Two songs have been covered in the past. Interestingly, Asha Bhonsle was the only female playback singer in the movie but there were as many as three male playback singers in the movie. Each of them had sung one duet each with Asha Bhonsle. The duets of Mukesh and Rafi with Asha Bhonsle have been covered in the past.
Here is the third (and final) duet from the movie. It is sung by Mahendra Kapoor and Asha Bhonsle.
BD Mishra is the lyricist. Music is composed by SN Tripathi. This rare song is quite a catchy song and it appears like a dance song.
Only audio of the song is available. It would be interesting to know why three duets in the voices of three male singers were recorded with Asha Bhonsle being the common female voice. It could well be that the lead actress playing Dev Kanya sings there three duets with three different suitors. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.
Song-Pag ghunghroo boley chhanana chhum(Dev Kanya)(1963) Singers-Mahendra Kapoor, Asha Bhonsle, Lyrics-B D Mishra, MD-S N Tripathi
Both
Lyrics
pag ghunghroo boley chhananan chhum
chhananan chhum
jaago hey devta aa
pag ghunghroo boley chhananan chhum
aa aa aa
aa aa aa
pag ghunghru boley chhananan chhum
chhananan chhum
jaago hey devta aa aa
pag ghunghru boley chhananan chhum
tujhse lagi hai lagan man ki ee
tujhse lagi hai lagan man ki
pyaasi hain ankhiyaan ye darshan ki
tere dwaar pe kabse khade hum
aa aa aa
aa aa aa
aa aa aa
tere dwaar pe kabse khade hum
vinti humaari bhi sun sun sun
pag ghunghroo boley chhananan chhum
chhananan chhum
jaago hey devta aa
pag ghunghroo boley chhananan chhum
ga ma dha
ni dha ni
ga ma dha ma
ga ma dha ma ni sa
ga ma dha
ni sa
ga
sa ga sa ni
sa dha ni ma dha
ga ma
sa ga
aa aa aa aa aa
tu hi to jeevan ka hai daata
tu hi to jeevan ka hai daata
amrit ka sagaar hai kehlaata
ek boond se pyaas bujha de
aa aa aa
aa aa aa
aa aa
ek boond se pyaas bujha de
gaate rahen tere gun gun gun
pag ghunghroo boley chhananan chhum
chhananan chhum
jaago hey devta aa aa
pag ghunghroo boley chhananan chhum
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
पग घुंघरू बोले छननन छुम
छननन छुम
जागो हे देवता॰॰आ
पग घुंघरू बोले छननन छुम
आ आ आ
आ आ आ
पग घुंघरू बोले छननन छुम
छननन छुम
जागो हे देवता॰॰आ
पग घुंघरू बोले छननन छुम
तुझसे लगी है लगन मन की॰॰ई
तुझसे लगी है लगन मन की
प्यासी हैं अखियाँ ये दर्शन की
तेरे द्वार पे कब से खड़े हम
आ आ आ
आ आ आ
आ आ आ
तेरे द्वार पे कब से खड़े हम
विनती हमारी भी सुन सुन सुन
पग घुंघरू बोले छननन छुम
छननन छुम
जागो हे देवता॰॰आ
पग घुंघरू बोले छननन छुम
गा मा धा
नि धा नि
गा मा धा मा
गा मा धा मा नि सा
गा मा धा
नि सा
गा
सा गा सा नि
सा धा नि मा धा
गा मा
सा गा
आ आ आ आ आ आ
तू ही तो जीवन का है दाता
तू ही तो जीवन का है दाता
अमृत सागर है कहलाता
एक बूंद से प्यास बुझा दे
आ आ आ
आ आ आ
आ आ
एक बूंद से प्यास बुझा दे
गाते रहें तेरे गुण गुण गुण
पग घुंघरू बोले छननन छुम
छननन छुम
जागो हे देवता॰॰आ
पग घुंघरू बोले छननन छुम
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.
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Blog Day : |
5670 | Post No. : | 18178 |
Greetings and wishing all friends and readers a very Happy and a Promising Republic Day.
The nation has come a long way from the first Republic Day in 1950. 73rd celebration of this momentous event that proclaimed and established India as a Republic. The new Constitution of the nation, which had been under discussion, preparation, reviews and approval process for the previous three years, was finally signed by the members of the Constituent Assembly and adopted as the guiding document for the nation.
The Constituent Assembly was setup in December of 1946 with 389 members – partly elected by the Provincial Assemblies and partly nominated. Some members got disengaged from the team during it progress through the years. On the day it was adopted, the membership stood at 299. The major drafting work was done by the seven member drafting committee, led by Dr BR Ambedkar. The other six members of the drafting committee were KM Munshi, Muhammed Sadulla, Alladi Krishnaswamy Iyer, N Gopalaswami Ayyangar, Devi Prasad Khaitan and BL Mitter.
The signing ceremony took place on 24th January, 1950, and the Constitution came into force on 26th Januray.
It is interesting to know – in the intervening period of about 3 years, i.e. from 15th August 1947 to 26th January, 1950, India continued to have a status of a Dominion under the British Crown. The defense forces of the country were controlled by the British. India continued to be governed by the Govt Of India Act (1935).
A part of the Constitution – 16 articles of the total 395 articles – came into force on 26th November 1949. Finally, on 26th January 1950, the previous governing instruments i.e. the Govt Of India Act (1935) and the Indian Independence Act (1947), both belonging to the British regime, were officially repealed and India was declared a Republic. Over years, more than 100 amendments have been made to the constitution, bringing the total no. of articles to 470.
Lest we forget, the Preamble of our Constitution states as follows,
WE, THE PEOPLE OF INDIA having solemnly resolved to constitute India into a SOVEREIGN SOCIALIST SECULAR DEMOCRATIC REPUBLIC and to secure to all its citizens:
JUSTICE, social, economic and political;
LIBERTY of thought, expression, belief, faith and worship;
EQUALITY of status and of opportunity; and to promote among them all
FRATERNITY assuring the dignity of the individual and the unity and integrity of the Nation;
IN OUR CONSTITUENT ASSEMBLY this twenty-sixth day of November, 1949, do HEREBY ADOPT, ENACT AND GIVE TO OURSELVES THIS CONSTITUTION.
A powerful set of statements, established by profound thought and discussion, from which flow all the remaining components of the Constitution, and all the laws that are enacted by the Parliament or State Assemblies must adhere to this framework.
Independence came to our nation on 15th August, 1947, but the concluding part of this process that established the sovereignty and the framework to govern came on 26th January, 1950.
An event of profound significance, it is a celebration of continued existence of this nation.
I present today, a poetry snippet from the 1973 film by Chetan Anand – ‘Hindustan Ki Kasam’. The film is a life drama that plays itself out on the background of the India-Pakistan war of 1971. The films is a salute the guardians of the independence and sovereignty of our nation – our armed forces.
There are two parts to this snippet. The first part is rendered at the beginning of the film. The scene is simply the view from a plane in its flight through the clouds and its landing back on the ground. This part is in the background. The rendering voice clearly is of Chetan Anand. This part is setting the stage for the second part. It is a brief summary of the message of Bhagvadgita – as Krishna tells Arjun the secrets of Atma and non-attachment.
The second part of this snippet is delivered by Ranbir (role played by Vijay Anand). He is a Wing Commander with the Indian Air Force. He is posted on a forward air base. He flies sorties to counter enemy planes and attack enemy on the ground. He is celebrating his promotion at a party when the war breaks out.
The scene is of this snippet is that he is ready to take off on a sortie. In the maintenance hangar he spends a few minutes with his friends on the maintenance team. A jolly exchange about the birth of a son to one of the mechanics leads into the question – when will this war come to an end. Vijay Anand responds by talking about the message of Karma from the Bhagvadgita. He mentions that he learnt it from the writings of a poet of Urdu. The mechanics team requests to listen to that poetry. And the pilot obliges by reciting the lines he has read.
Then he marches off to his plane, never to return – his plane is shot by the enemy during that sortie, and he is fatally injured.
The verses are written by Kaifi Azmi. Chetan Anand, the director, has made excellent use of the message of Bhagvadgita as a preamble to the call of duty that a soldier, a pilot has to respond to.
The two brothers, Chetan and Vijay, need no introduction. This trio of brothers – with Dev Anand – is the second most prominent family in Hindi films, next only to the Kapoors. Last Monday, 22nd January, it was the birth anniversary of the youngest of these three – Vijay, also known by his other popular name – Goldie. Born on 22nd January in 1934 at Gurdaspur in Punjab, he is probably the most talented of all the three brothers.
But it has to be a passing reference today. Will take another opportunity to write more about him.
Once again, greetings for the Republic Day.
And an honorable tribute to our defense forces – the guardians of our independence and sovereignty.
Song – Dosto Hum Aaj Ke Arjun Hi To Hain (Hindustan Ki Kasam) (1973) Singer – Chetan Anand, Vijay Anand, Lyrics – Kaifi Azmi, MD –
Lyrics
Part I
aur phir krishn ne arjun se kaha
na koi bhai na beta na guru
ek his shakl ubharti hai har aaine mein
aatma marti nahin
jism badal leti hai
dhadkan is seene ki ja chhupti hai us seene mein
jism lete hain janam
jism fana hote hain
jism lete hain janam
jism fana hote hain
aur jo ik roz fana hoga
wo paida hoga
ik kadi tootti hai
doosri ban jaati hai
khatm ye silsila e zindagi phir kya hoga
Part II
saathiyo dosto
hum aaj ke arjun hi to hain
hum se bhi krishn yahi kehte hain
ke zindagi sirf amal
sirf amal
sirf amal
aur ye bedard amal suleh bhi hai jung bhi hai
aman ki mohini tasveer mein hain jitney rang
unhin rangon chhupa khoon ka ek rang bhi hai
jung rehmat hai ke laanat
ye sawaal ab na utha
jung jab aa hi gayi sar pe
to rehmat hogi
door se dekh na bhadke huye sholon ka jalaal
isi dozakh ke kisi koney mein jannat hogi
saathiyo dosto
hum aaj ke arjun hi to hain
—————————————-—
Hindi script lyrics (Provided by Sudhir)
——————————————
Part i
और फिर कृष्ण ने अर्जुन से कहा
ना कोई भाई ना बेटा ना भतीजा ना गुरु
एक ही शक्ल उभरती है हर आईने में
आत्मा मरती नहीं
जिस्म बादल लेती है
धड़कन इस सीने की जा छुपती है उस सीने में
जिस्म लेते हैं जनम
जिस्म फना होते हैं
जिस्म लेते हैं जनम
जिस्म फना होते हैं
और जो इक रोज़ फना होगा
वो पैदा होगा
इक कड़ी टूटती है
दूसरी बन जाती है
खत्म ये सिलसिला ए ज़िंदगी फिर क्या होगा
Part II
साथियो दोस्तो
हम आज के अर्जुन ही तो हैं
हम से भी कृष्ण यही कहते हैं
के ज़िंदगी सिर्फ अमल
सिर्फ अमल
सिर्फ अमल
और ये बेदर्द अमल सुलह भी है जंग भी है
अमन की मोहिनी तस्वीर में हैं जितने रंग
उन्हीं रंगों में छुपा खून का एक रंग भी है
जंग रहमत है के लानत
ये सवाल अब ना उठा
जंग जब आ ही गई सर पे
तो रहमत होगी
दूर से देख ना भड़के हुये शोलों का जलाल
इसी दोज़ख के किसी कोने में जन्नत होगी
साथियो दोस्तो
हम आज के अर्जुन ही तो हैं
Ek hain sab Hindustani
Posted on: January 26, 2024
- In: Asha Bhonsle solo | Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Inspirational song | lullaby | Lyrics by Prakashchandra | Lyrics contributed by readers | Number song | Patriotic song | Songs of 1960s (1961 to 1970) | Songs of 1970 | Thousandth song for the artist | Thousandth song in the blog | Yearwise breakup of songs
- 7 Comments
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This song post marks the 1000th song of Laxmikant Pyarelal as music directors in the blog.
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Today (26 January 2024) is Republic Day of India.
India became a republic on 26 January 1950. That was easily a red letter day in the history of Modern India. It was on this day that India decided to be a country that would be a democracy where each citizen, irrespective of his caste, creed, religion, gender, economic status etc would enjoy equality without discrimination. The country would be governed according to the acts of Indian constitution that was adopted on this date.
It is to the great credit of India that the country has followed the constitution of India and the ideals of Indian constitution have been followed in spirit and letter. Today, 74 years later, India is in a much better position that what it was when the fledgling nation of India tried to find its feet. Foreign powers, including those who were the erstwhile rulers of India had predicted that India would fall apart in a matter of decades. Those people, long gone by now, have been proved wrong. Then there were foreign powers that kept interfering in the internal affairs of India, trying to destabilize and divide the nation and to keep it backward. Despite their efforts, India kept growing, albeit at glacial pace.
There are people who look back at past with selectively and opine that “hamaare zamaane mein sab kuchh achcha thha“. That was hardly the case if one collects facts and examines them and compare them with other nations of that time, and secondly when we make comparisons with today.
For instance, India today is in a much better position today than in 1950. Literacy rate was 18.3% in 1951. In 1947, it was 12%. It is 77.77 % in 2023. So India had come up a long way. Our literate population may not be all that educated and employable, but good progress has been made. Now we have to ensure that our population is not just literate but are also capable of acting as trained manpower in wide variety of industries. These industries, by the way, were conspicuous by their absence in 1940s, when India became independent and subsequently became a republic.
Economy is the backbone of any industry. Economically India continued to be a very week country till 1990. Present generation Indians will not believe it if they are informed that Indian economy ran on doles and loans till 1990. Foreign currency was scarce and so if some Indian wanted to get foreign currency in order to go abroad, he had to run from pillars to post. If he was lucky, he would get a ridiculously meager amount of foreign currency.
Though Indian constitution was formed with the aim of helping Indians realize their potential and lead dignified lives, the constitution was not really used that way all the time. In a democracy, it is expected that people are allowed to do something unless it is expressly forbidden. But Indian government often passed rules that forbid people to do things unless they were expressly permitted. One such draconian rule was FERA (Foreign Exchange Regulation Act). According to it, all foreign exchange was the property of Government. Holding foreign currency and dealing in it was forbidden. This act killed any kind of industrial and business activities in India because one simply could not import any goods and services from abroad.
It was only in 1999 that this draconian act was repealed and it was replaced by FEMA (Foreign Exchange Management Act). Now keeping foreign currency and trading in it is no longer an offence. One can freely buy foreign currency while going abroad. One can also import foreign items on Amazon etc. paying in foreign currency online. Till 25 years ago, it was expressly prohibited and forbidden.
In any case, foreign exchange was in short supply till 1990 because Indian economy itself was closed and isolated from world economy. Closed economy of USSR was called Iron Curtain. India economy that aped USSR was likewise called Bamboo Curtain.
USSR collapsed in late 1980s and early 1990s. India, whose economy was propped up artificially thanks to USSR, collapsed.
As fate would have it, India miraculously survived. It was very fortuitous that right man found himself becoming appointed as the PM of India in 1991. Once he realized that Indian economy was in dire straits, he systematically and with great planning and due diligence kept bringing in reforms after reforms, and that too in a manner that often flew under the radar yet they were major reforms that altered the course of Indian economy. People who were till then not allowed to be part of Indian economy were now allowed to participate in running the economy. Draconian acts that forbid people to do anything unless expressly allowed were replaced by new acts that allowed everything to be done unless expressly forbidden.
The results slowly began to come. Three decades have passed after the Indian economy was opened up. Now, Indian Government no longer has to borrow money from IMF (something that almost every neighbor of India still does). Unlike in the past, India is flush with foreign currency because foreigners believe in Indian economy and they invest their money in Indian stock exchange. The foreign businesses have their branches in India. Not just that, some Indian business houses have become global brands.
India still has a long way to go. Indians cannot rest on their laurels. Annual per capita earning of Indians is only $ 2,400 or so. A country is called high income country when annual per capita income of that country crosses $12,000. So Indian per capita income must become five times its present value for India to be considered as a high income nation viz a developed nation. Assuming that the population remains constant, it means India GDP must touch $ 18 trillions. If an economy grows at 7 % per annum, that economy doubles in ten years. With this rule of thumb, we can see that Indian GDP needs to become 5 times its current size. So India will need to keep developing its economy at 7 % per annum for 25 years. If the growth rate could be made higher than 7 % then the target could be achieved in lesser time.
On this occasion, here is a song from ‘Devi’ (1970). ‘Devi’ was produced by TM Kittu & AV Subramaniam and directed by V Madhusudana Rao for Olympic Pictures, Madras. The movie had Nutan, Sanjeev Kumar, Rehman, Lalita Pawar, Farida Jalal, Mehmood, Aruna Irani, Dina Gandhi aka Dina Pathak, Gajanan Jagirdar, Manorama, Madan Puri, Baby Sarika (aka Moppet Suraj), Mukri, Lalita Kumar aka Lalita Sinha, Manmohan Krishna, Vishwa Mehra, Mallik, Sulochana Latkar etc. in it.
The film had five songs in it. Three songs have been covered in the past.
This song, the fourth from the movie to appear in the blog is sung by Asha Bhonsle. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.
Lyrics of this song were sent to me by Prakashchandra many republic days and independence days ago. He had also sent a video link of the song. According to Prakashchandra, the song was picturised on Nutan, Dina Pathak, Baby Sarika aka Moppet Suraj and Manmohan Krishna.
Pyarelal Sharma has been given Padma Bhushan in the list of Padma awards that were announced on 25 January 2024, on the eve of Republic Day. So this song is an appropriate song to mark the occasion.
What is more, this song is the 1000th song of Laxmikant Pyarelal in the blog. They become the second music directors (firs being Shankar Jaikishan) to reach four figures of songs in the blog.
I take this opportunity to wish each and every Indian (wherever they are) a very happy Republic Day. India is marching ahead proudly and is on its way to take its rightful place among the nations of the world.
Audio
Video
Song-Ek hain sab Hindustani (Devi)(1970) Singer-Asha Bhonsle, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Lyrics (Provided by Prakashchandra)
ek
ek hain sab hindustani
ek hain sab hindustani
jo do samjhe ae
jo do samjhe
us ki hai ye naadaani ee
do
hum sa bke do haath hain
haath hain apne saath to saare saath hain ae
teen
aagey number teen hai
jhoothh bada bud-soorat hai
aur sach badaa haseen hai
chaar
chaar dishaaon mein sab dhaam
chaar dishaaon mein sab dhaam
purab pachchim uttar dakkhin unn ke naam
ek do teen chaar
chaar ke aagey paanch hai
phoolon mein khushboo hai
aag mein kyaa hai
aanch hai
chhe kaa roop niraalaa hai
aisa waisa darwaaze ka taalaa hai ae
saat
sur hai saat sitaar mein
sa re ga ma pa dha ni
sa ni dha pa ma ga re sa
sur hai saat sitaar mein
saat achchambhe hain saare sansaar mein
aathh
aathh baje hain sun aagey
woh achcha
jo jaldi soye
aur jaldi jaagey
number nau ka hai kehna
number nau ka hai kehna
paas bhalon ke
door buron se tum rehna aa
dus
bas
bas karo ab so jaao
bas karo ab so jaao
meethhe meethhe sapnon mein tum kho jaao…ooo
ek hain sab hindustaani
hmmm….hmmmm…hmmmm….hmm hmmm hmmmm
hmmm….hmmmm…hmmmm….hmm hmmm….hmmm
hmmmmm……hmmm hmmmm
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
एक
एक हैं सब हिंदुस्तानी
एक हैं सब हिंदुस्तानी
जो दो समझे॰॰ए
जो दो समझे
उसकी है ये नादानी
दो
हम सबके दो हाथ हैं
हाथ हैं अपने साथ तो सारे साथ हैं
तीन
आगे नंबर तीन है
झूठ बड़ा बदसूरत है
और सच बड़ा हसीन है
चार
चार दिशाओं में सब धाम
चार दिशाओं में सब धाम
पूरब पश्चिम उत्तर दख्खिन उन के नाम
एक दो तीन चार
चार के आगे पाँच है
फूलों में है खुशबू
आग में क्या है
आंच है
छह का रूप निराला है
ऐसा वैसा दरवाज़े का ताला है
सात
सुर हैं सात सितार में
सा रे गा मा पा धा नि
सा नि धा पा मा गा रे सा
सुर हैं सात सितार में
सात अचम्भे हैं सारे संसार में
आठ
आठ बजे हैं सुन आगे
वो अच्छा
जो जल्दी सोये
और जल्दी जागे
नम्बर नौ का क्या कहना
नम्बर नौ का क्या कहना
पास भलों के
दूर बुरों से तुम रहना
दस
बस
बस करो अब सो जाओ
बस करो अब सो जाओ
मीठे मीठे सपनों में तुम खो जाओ॰॰ओ
एक हैं सब हिंदुस्तानी
ह्म्मम ह्म्ममम ह्म्ममम
ह्म्म ह्म्मम ह्म्ममम
ह्म्मम ह्म्ममम ह्म्ममम
ह्म्म ह्म्मम ह्म्मम
ह्म्ममम ह्म्मम ह्म्ममम
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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