Apne hee rang rang de saanwraa
Posted on: October 21, 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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Hampi, one of the World Heritage Sites of India, was once the capital of Vijayanagar Empire in the 16th century and was the wealthiest city under the Empire. Most of the monuments had been damaged and the wealth looted by the then neighbouring sultanates in the war with Vijayanagar Empire. We had visited Hampi in January 2012 and stayed there for 4 days. Some monuments are still intact, and they are awesome so also the remains of the ruined monuments. The visit to Hampi momentarily gave us a feeling that we were in the memory lane of the Vijayanagar Empire of the 16th century as Hampi, now as a village, retains the charm of a bygone era.
Hampi has been one of the popular locations for film shootings, especially the films made in the South India for song and dance sequences. Recently, I became aware that one feature film in Marathi was entirely shot in Hampi. It is an off-beat film in which the director seems to relate the ruined city of Hampi to the upheaval in the lives of the two lead characters of the film. While one character (girl) has come to Hampi as an escape from her disillusionment towards human relationship and love. She sees the ruins of Hampi as the culmination of conflict in human relationship. The other character (boy), after a break-up with his girlfriend, is visiting Hampi since he finds solace in watching the monuments and the scattered rocks in which he finds souls.
I have watched the film on one of the video sharing platforms very recently and liked it. The film has off-beat subject which may not appeal to the general cinegoers. The film is a bit slow pace like the slow life in Hampi. The film does not have a strong story line. Instead, the director has relied on the conversations between four main characters, the excellent framing of shots by the cinematographer and the background music to give a feel of the story creation to the audience. The resultant story is as under:
Isha (Sonalee Kulkarni) is travelling in a tourist bus to Hampi to escape the emotional upheaval she has been going through at home and to find the answers to her problems in a different setting. She is deeply upset as her parents who have been married for 28 years are going through a divorce proceeding. Her close friend, Girija (Prajakta Mali), a travel writer who was to accompany her, drops out at the last moment. Isha lands up alone in Hampi. A autorickshaw driver, Rajan (Priyadarshan Jadhav) who is also a guide, picks her at the bus stand and drops her to her pre-booked guest house.
Next day morning, Isha sees a tourist coming out of her adjunct room in the guest house and clicking her picture from his camera without her consent. This action itself put her off in their first meeting. They again meet during the breakfast when she points out to him how he could click her photo without her permission. He introduces himself as Kabir (Lalit Prabhakar), a backpacker and a photographer. He has a happy-go-lucky attitude towards life. While travelling, one of his hobbies is to click the photographs of persons at their works and write a few lines as to what is his interpretation of each photograph he took. He clicked Isha because she was putting her washed clothes for drying and he found her this act interesting. Anyway, she breaks the ice and introduces herself to Kabir and tells him about the purpose of her visit to Hampi.
Gradually, Isha and Kabir shed their inhibitions about each other and starts moving together to visit the monuments. During this period, Kabir comes to know that Isha is a person with extreme moods. She has extreme dislike for human relations and love. Even her casual meetings with auto driver cum guide, handicraft making woman, and a sadhu has her trust deficits on them when in realities, they all are kind to her. Having known the reason for her depressed mood, Kabir tries to cheer up her with some light moments and sometime giving his philosophical preachings. But even for this she thinks that he is trying to flirt with her.
After couple of days of moving together in Hampi, there is visible change in Isha’s attitudes towards life. Isha and Kabir’s chemistry have started gelling for the better. There is a subtle hint that they have fallen in love with each other. But both of them dare not reveal their feelings for each other. At this point of time, Girija (Prajakta Mali), Isha’s close friend who was to accompany Isha on the trip, lands in Hampi and visit her guest house to give her the company on the remaining days of the trip. Now, Girija also joins Isha and Kabir, and they move together in exploring the monuments in Hampi.
Girija has a gut feeling that Isha has started liking Kabir. But due to her mental block about not trusting the human relationship and the love, the progress in relationship is stalled. On the contrary, Girija flirts with Kabir more as a part of her nature of making friends while on travel rather than her intention in developing a serious relationship. Girija’s open-mindedness with Kabir momentarily create some mild jealousy in Isha but reconciles herself that she has no interest in relationship and love.
During one of their visits to a monument, Girija points out Kabir that his occasional philosophical preaching indicates that he has gone through some sad moments in his life. At this point, Kabir reveals that after the breakup with his girlfriend, he has come to Hampi to get over the emotional turmoil. But instead of brooding over it, he has reconciled to the reality. Now, hundreds of rocks scattered around Hampi have become his new girlfriends. On this issue, there is some arguments between Isha and Kabir which turn into a major verbal fight. She walks back to her guest house with Girja leaving Kabir alone.
In the night, Isha realises that she has unnecessarily lost her temper on Kabir and decides to personally convey her apology first thing in the next day morning. However, she finds that Kabir has already checked out from the guest house without informing her. Girija consoles Isha that being a backpacker, in the spur of the moment he must have decided to move elsewhere and in that process, he must have forgotten to inform them. Isha thinks that Kabir is still around some monuments in Hampi. She and Girija go for searchng him but they do not find him. She tells Girija that she is looking for Kabir just to convey her apology but in reality, she had realised as to how much she is missing Kabir.
Now it is the time for Girija to take leave of Isha as she has to reach back to her house for some urgent work. Once again alone, Isha has no interest left in staying in Hampi. She leaves Hampi to return home. The same autorickshaw driver takes her to drop at the bus stand. However, on the way, there is a religious procession which has temporarily blocked the road. From the autorickshaw, she finds Kabir among the dancers in the procession. She goes towards him and stand in front of him for a moment without any conversation. She slaps Kabir on his face and returns to autorickshaw. At this point, Kabir shouts at her sarcastically that whether she has met a girl who said to him few days back that she had no interest in relationship and love. Hearing these words, she runs towards Kabir and hugs him with her pent-up emotion.
Some of the highlights of the film discussed below are, in my view, its plus points.
1. It is an off-beat film with the duration of about 90 minutes. The film has avoided unnecessary details. For instance, two dialogues each of Isha and Kabir establish the backgrounds as to why they are away from their respective homes. The dialogues are crisp and to the point.
2. The dialogues between characters playing local people are in Kannada and between local people and the main characters are in Hindi. It is mainly the three main characters in the film whose dialogues among themselves are in Marathi.
3. In keeping with the location at which the film was entirely shot, the background music is in Carnatic style which creates an ambience of the local flavour. Three Kannada devotional songs of Purandara Dasa have also been appropriately used for background music. The orchestration of the songs has some shades of Carnatic music.
4. Cinematographer, Amalendu Chaudhary has beautifully captured the scenic wonders of important monuments in Hampi which has made me to think over a revisit to the place. At the same time, the director, Prakash Kunte has ensured that the feature film does not veer toward becoming a documentary film. He ensures this by giving equal weightage to the performances of the main characters despite having Hampi monuments in their background most of the scenes.
5. The climax scene towards the end of the film has been nicely conceptualised with Purandara Dasa’s devotional song, Krishna nee begane baaro (O Krishna, come here soon) playing in the background. The song is very appropriate to the situation in the film.
While going through the credit titles at the end of the film, I found the name of Vaidehi as Assistant Costume Designer which Peevesie’s Mom, the Blog’s guest writer has confirmed that she is indeed Peevesie, her daughter. She has also pointed out to me that Peevesie has a 2-minute role in the film as one of the tourists in Hampi.
The film has two songs – one in Hindi and the other a mix of Telugu and Marathi. I am presenting the Hindi song, ‘apne hi rang rang de saanwraa’ which is rendered by Rahul Deshpande and Amita Ghugri. The song is written by Vaibhav Joshi which is set to music by Narendra Bhide. It is a kathak based dance song picturised on Sonalee Kulkarni. Lalit Prabhakar and Prajakta Mali among others watch her dance.
The background to the dance song in the film is that Sonalee Kulkarni, Lalit Prabhakar and Prajakta Mali are on a visit to Lotus Mahal in Hampi when Lalit tells them that on every full-moon night, the queen used to dance in the Lotus Mahal for the public. However, they could watch her dance in silhouette as there used to be a curtain between the public and the dancer. At this point, Prajakta says that since Sonalee knows dancing, let the dance be recreated here. After some persuasion, Sonalee starts dancing on the song played on Prajakta’s mobile.
Audio Clip (Full Song):
Video Clip (film soundtrack):
Song-Apne hee rang rang de saanwraa (Hampi)(Marathi)(2017) Singers-Rahul Deshpande, Amita Ghugri, Lyrics-Vaibhav Joshi, MD-Narendra Bhide
Rahul Deshpande + Amita Ghugri
Lyrics (Based on Audio Clip):
di ta na na da re na ta da re na di
ta na na da re na ta da re na di
sa ga ma ma ga pa sa ni gha ni
saa dha ga ma ni dha ma pa dha
ni dha pa ga ma pa ni saa
apne hi rang rang de
saanwraa
moraa koraa jiyaraa aa
apne hi rang rang de
saanwraa
moraa koraa jiyaraa
apne hi rang rang de
saanwraa
chitwan ko de dhaani chunaree
main piyaa baawree ee ee
akhiyan ko de dhoop sunahree
main bhayi saanwree
rang de ae ae ae ae ae ae
saanwraa
apne hi rang rang de
saanwraa
moraa koraa jiyaraa
apne hi rang rang de
saanwraa
re ga re ga re saa
saa re saa re saa re
re saa re saa re saa dha ni
pa dha ni ma dha ga ma pa
tore rang jo dhal dhal jaaun …un
di ta na na da re na ta da re na
aa aa aa aa aa aa aa aa aa
(dhim ta na na da re na ta da re na)
aa aa aa aa aa aa aa aa aa
(dhim ta na na da re na ta da re na)
aa aa aa aa aa aa aa aa aa
(dhim ta na na da re na ta da re na)
tore rang jo dhal dhal jaaun
mujh mein kaheen mein nazar na aaun
mujh mein kaheen mein nazar na aaun
aiso samarpan kar doon tan mann
tumhri chhabi ho mora darpan
sun le arajiyaa
sun rang rasiyaa
morey mann basiyaa
rang de…ae ae ae ae ae
saanwraa
apne hi rang rang de saanwraa
moraa koraa jiyaraa aa aa aa aa
rang de
saanwraa
laagi lagan lagan
laagi saanwree lagan
dhali piyaa jee ke rang dhali
chaloon sanan sanan
udoon ban ke pawan
main to saanwre ke sang chali
sang chali
koi des na moraa aa aa
koi des na moraa
koi des na moraa pardes na moraa
lagi neel gagan ki aas lagi
kaheen chain na paaun
pal pal waari jaaun
jagi kaisi nirmohi pyaas jagee…ee ee ee
rang utaraa moraa
jag bisuraa moraa
manwaa dole moraa
rang de..ae ae ae ae ae
saanwraa
apne hi rang rang de
saanwraa
moraa
koraa jiyaraa
apne hi rang rang de
saanwraa
de saanwraa
rang de saanwraa….aa.aa
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
October 22, 2024 at 10:17 am
Sadanand Ji
Thanks for the post. I have seen this movie on OTT and liked it. In case you and some other Atulites dont know, (Atulite) Peeveecee ( Vaidehi Krishnan) was costume designer in this movie.
I wish to share another nice song from the movie
A good fusion between Telugu classical song and Marathi
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October 22, 2024 at 9:39 pm
Satish ji,
I entirely agree with you. The Telugu part, I guess, is Thyagraja Kritis.
I liked this song more than the Hindi song I have covered in my article.
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