Hamsafar ban ke ham saathh hain aaj bhee
Posted by: Atul on: December 4, 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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‘Aashiana’ (1986) was an obscure film which was produced by Kuldeep Pal under his banner of Anu Arts. The film was directed by Mahesh Bhatt. However, his name did not appear on the credit title nor any other name as director. The cast included Marc Zuber, Dipti Naval, Dalip Tahil, Soni Razdan, Aarti Gupta, Gulshan Grover etc. The film received the Censor Certificate on 13/02/1986 and was released on 21/02/1986. It is not known whether the film got the theatrical release or got released as a video film.
‘Aashiana’ (1986) appears to have a chequered history. In early 1980s, producer, Kuljeet Pal had three films under production – ‘Aaj’ (1987), Aashiana’ (1986) and ‘Arth’ (1982). All these films were directed by Mahesh Bhatt. However, after the completion of nearly 50 percent of these film, Mahesh Bhatt suspended directing the first two films to concentrate solely on the completion of ‘Arth’ (1982) [The reason could be obvious. ‘Arth’ was based on his own love story]. After the release of ‘Arth’ (1982), Mahesh Bhatt did not resume to direct ‘Aaj’ (1987) and ‘Aashiana’ (1986) to complete these two films. Obviously, these two films were delayed. The credit titles of these two films do not mention the name of Mahesh Bhatt as director. Instead, they only mention ‘a film by Kuljeet Pal’. A VCD of the film is available for watching on one of the video sharing platforms.
A further confusion about this film was added when Kuljeet Pal sold the right of ‘Aashiana’ (1986) to one Kingi who renamed the film as ‘Jism Kaa Rishta’ (1989) in an apparent bid to show to the audience as a new film by adding more scenes with new actors, adding three more songs, editing some scenes from the original film and adding unused footages from the original film. The film was certified by Censor Board on 23/12/1988 as a revised film. The film did not get a theatrical release. Instead, it was released as a video film. I have seen a few snippets of the film which give me the impression that it was an attempt to convert the film into a Bollywood masala film. In the event, ‘Jism Kaa Rishta’ (1989) has turned into more like a ‘B’ grade film with a different story.
The story ‘Aashiana’ (1986) is as under:
Shyam (Marc Zuber) and his wife, Sunita (Dipti Naval) along with their another couple friend, Shakti (Dalip Tahil) and his wife, Chitra (Soni Razdan) go on a short outing from the city to an isolated estate in the midst of dense jungle with a tribal hamlet. This estate was developed by Shyam’s uncle and after the death of the uncle’s wife, he had settled in the estate to look after the welfare of the tribals. After the death of his uncle, Shyam has been periodically visiting the estate to continue welfare work for the tribals.
Shyam and Sunita are in perfect harmony with showering of love on each other and they spend their time together. Shakti and Chitra on the other hand seem to be incompatible with Chitra having problem with Shakti which she is unable to explain. Shakti tries to be accommodative, but Chitra gets irritated without any reason. With some advice from Sunita to Chitra when they were together wandering in the estate, Chitra agrees to mend her attitude towards Shakti. Next day, the couple looks happy, and they depart from the estate back to their city. Shyam and Sunita continue their stay in the estate to finish their pending work relating to the tribal work.
One day, while driving his car in the estate, Shyam finds a fair looking Adivasi child who looks different among other Adivasi children. He finds his Adivasi mother (Aarti Gupta) taking back the fair looking child. He then remembers that the Adivasi mother is the one with whom he had the casual relationship during his bachelor days when he was required to stay in the estate for a longer period and the child is his son. After thinking over the matter, Shyam feels that he should apprise Sunita about his misdeeds. He breaks this news to his wife who after listening remains dumbstruck.
After some time, Sunita comes to terms with it thinking that this had happened before her marriage with Shyam, and she should not bother about it about his past misdeed so long as he is in love with her. She even buys new cloth for the child so that he is not wandering in the estate naked.
But internally, Sunita is not able to reconcile with the thought of her husband having a child with another woman. There is some internal turmoil going on in her mind. While she is kind to the boy, she finds fault with Adivasi woman for not taking good care of her son. Actually, it is her anger with Shyam which is driving her to abuse the Adivasi woman. Finding that Sunita’s anger management would be better in Mumbai than staying in the estate, they return to Mumbai earlier than the schedule.
In Mumbai, some coldness in Sunita towards Shyam is visible. She is also under mild depression. Shyam tries his best to prop-up her mood but in vain. She does not even accompany Shyam when they have got invitation to attend a party. Looking Sunita’s condition, Shyam requests Chitra to occasionally meet Sunita to cheer-up her. During one of their meetings, Sunita reveals Chitra that she is pregnant and has decided to abort her pregnancy.
Shyam has hosted a party to his clients in which he asks Sunita to be ready by 6.00 p.m. In the evening, Shyam comes to pick Sunita for the party, but she is not in the house having left a message that she is going out. When she returns, she tells Shyam that she had gone to abort her pregnancy. Shyam is shocked as he was not even aware that she was pregnant. He loses his cool and asks her as to why she has done it. She angrily responds by saying that he has lost his right to bear child with her as he has already given that right to Adivasi woman. She admits that she had tried to reconcile with his misdeeds but has failed in her attempts. This has been affecting her mental health and she cannot live with him anymore. With this, Sunita leaves his house.
In the next scene, which is the last, Shyam visits his estate and picks up his child. The Adivasi woman follows him.
The story of the film was unusual, and it was nicely presented to appear realistic. I feel that if Mahesh Bhatt had continued as director till the film was completed, it could have qualified as a ‘middle of the road’ film. The film’s last scene leaves to the audience to interpret how they would see the story to unfold further.
The VCD of the film had three songs but the vinyl record had four songs written by Madan Pal (3) and Ila Arun (1) which were set to music by Jagjit Singh-Chitra Singh. I am presenting the first song from the film, ‘hamsafar ban ke ham saathh hain aaj bhee’ rendered by Jagjit Singh on himself in a party during which he welcomes Shyam (Marc Zuber). The song is written by Madan Pal. The background to the song is that Shyam and Sunita (Dipti Naval) are invited to a party. But Sunita having lost in her thoughts over Shyam’s misdeed, is not interested in attending the party. So, Shyam joins the party alone.
In the video clip of the song, I have added a short clip of the second stanza of the song. It is repeated as a background song in the film when Shyam (Marc Zuber) is driving away from his house, submerged in his thoughts as to how their happy married life has been crumbling.
The song is the replication of the current situation in the life of Shyam and Sunita. They are living together yet they are stranger to each other.
Audio Clip:
Video Clip:
Song-Hamsafar ban ke ham saathh hain aaj bhee (Aashiyana)(1986) Singer-Jagjit Singh, Lyrics-Madan Pal, MD-Jagjit Singh-Chitra Singh
Jagjit Singh and a Male Voice
Lyrics (Based on Audio Clip):
hamsafar ban ke ham saathh hain aaj bhee
phir bhee hai ye safar ajnabee ajnabee
raah bhee ajnabee mod bhee ajnabee
jaayenge ham kidhar ajnabee ajnabee
zindagee ho gayee hai sulagtaa safar
zindagee ho gayee hai sulagtaa safar
door tak aa rahaa hai dhuaan saa nazar
jaane kis mod par kho gayee har khushee
deke dard-e-jigar ajnabee ajnabee
hamsafar ban ke ham saathh hain aaj bhee
phir bhee hai ye safar ajnabee ajnabee
ham ne chun chun ke tinke banaayaa thhaa jo
ham ne chun chun ke tinke banaayaa thhaa jo
aashiyaan hasraton se sajaayaa thhaa jo
hai chaman mein wahee aashiyaan aaj bhee
lag rahaa hai magar ajnabee ajnabee
hamsafar ban ke ham saathh hain aaj bhee
phir bhee hai ye safar ajnabee ajnabee
kisko maaloom thhaa din ye bhee aayenge
kisko maaloom thhaa din ye bhee aayenge
mausamon kee tarah dil badal jaayenge
din huaa ajnabee raat bhee ajnabee
har ghadi har pahar ajnabee ajnabee
hamsafar ban ke ham saathh hain aaj bhee
phir bhee hai ye safar ajnabee ajnabee
raah bhee ajnabee mod bhee ajnabee
jaayenge ham kidhar ajnabee ajnabee
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
December 6, 2024 at 5:29 pm
Sadanand Ji,
With this and many of your posts as basis, I admire your efforts to watch patiently many obscure films, under difficult to watch conditions of prints/videos, some even incomplete, and to present to us notable contents of those films. Wah. Take a bow.
The song of this post has some appeal.
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December 6, 2024 at 6:33 pm
Satish ji,
Thanks for your appreiciation.
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