Laage unkee sooratiyaa kuchh aisee bhalee
Posted on: December 18, 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.
|
Blog Day : |
5997 | Post No. : | 18689 |
‘Maa Baap’ (1960) was produced by Trikambhai Dave under the banner of Ratnadeep Pictures and was directed by V M Vyas. The star cast included Rajendra Kumar and Kamini Kadam in lead roles supported by Pran, Anwar Hussain, Bipin Gupta, Leela Chitnis, M Kumar, Leela Mishra, Kuldeep Kaur, Baby Naaz, Kammo, Keshav Rana, Sunder etc. The film belonged to the genre of family drama. This was the third successive film of Rajendra Kumar pairing with Kamini Kadam who had made her debut in ‘Talaaq’ (1958) in a lead role with Rajendra Kumar. Her next film with Rajendra Kumar was Santaan’ (1959).
Kamini Kadam (03/08/1933 – 29/06/2000) was born as Manik Mudaliar in Belgaum (now Belagavi) in then Bombay Presidency. Her family shifted to Mumbai when she was 7. She did her schooling in Orient and GEI Girls’ High School during which she developed interest in sports and represented her school in Kabaddi and Kho Kho tournaments.
Bhalji Pendharkar, producer-director of Marathi films and the maternal cousin of V Shantaram spotted Manik and selected her in a lead role in Marathi film, ‘Ye Re Majhyaa Maaglyaa’ (1955) with the screen name of Smita. The film failed at the box office. But Bhalji Pendharkar selected her for his next Marathi film, ‘Gaat Padlee Takaa Takaa’ (1956). Thereafter she worked in as many as eight successful Marathi films with top Marathi actors in a span of three years. Incidentally, Manik was the sister-in-law of V Avadhoot, Cinematographer and younger brother of V Shantaram.
Pandit Mukhram Sharma who was producing Hindi film, ‘Talaaq’ (1958) was impressed with the performance of Smita in Marathi films. He recommended Smita to his film’s director and co-producer, Mahesh Kaul. Meanwhile, Smita got married to Anil Kadam who was in Air India, changing her name to Kamini Kadam after the marriage. Thereafter, she appeared in Hindi and Marathi films under the name, Kamini Kadam.
Kamini Kadam worked with three successive films with Rajendra Kumar – ‘Talaaq’ (1958), ‘Santaan’ (1959) and ‘Maa Baap’ (1960). All these three films were successful at the box office. Other Hindi films in which she worked were ‘School Master’ (1959), Miyaan Bibi Raazi’ (1960) and Sapne Suhaane’ (1961) which was her last Hindi film. Thereafter, there was a hiatus of about 4 years in her filmy career. From 1965 to 1969, Kamini Kadam returned to Marathi films working in five films. ‘Dharmapatni” (1969) appears to be her last Marathi film. She also worked in a popular Marathi play ‘Apraadh Meech Kelaa’ (1964) based on Commander Nanavati case of 1960.
Kamini Kadam had a successful career in Hindi films in terms of box office criterion. Between 1961 to 1965, there was a break in her filmy career in that she did not work in any films – Hindi or Marathi. Probably, there may be some family expediencies as she was already married when her first Hindi film, ‘Talaaq’ (1958) was released. From 1965 to 1969, Kamini Kadam worked only in five Marathi films some of which were successful at the box office. It is not known as to why she did not work in any films after 1969 when she was only 36.
After spending last three decades of her life in anonymity, Kamini Kadam passed away on June 29, 2000, in Mumbai at the age of 66.
Coming back to the film under discussion, ‘Maa Baap’ (1960) has a story which gives a message that it is the duty of the sons to take care of their dependent parents. While one son who is financially hard-pressed, takes care of his parent, the other son, who is well off, neglects them. The story of the film in detail is as under:
Sohan (Pran) stays in a joint family consisting of his wife Sarju (Kuldeep Kaur), their son, Kundan, parent (M Kumar and Leela Chitnis) and his handicapped unmarried sister, Pratima (Naaz) in Mumbai. Raju (Rajendra Kumar), Sohan’s younger brother works in a Tea Estate in Ooty. Sohan and Raju’s father has lost his eyesight, and he is virtually blind. Sohan works in a textile mill owned by Badrinath (Bipin Gupta) as Manager. Badrinath has lost his wife and now he stays with his unmarried daughter, Sarita (Kamini Kadam), a maid, Barkha (Kammo) and her husband, (Sunder).
Sohan and Sarju do not take proper care of parents and Pratima. There are constant frictions between Sarju and Sohan’s parent. Things reach a flashpoint, when Sarju finds Rs.500/- stolen from her cupboard. She suspects, Pratima. But in reality, it was her son, Kundan who stole the money and lost in a street gambling. Fed-up with the constant harassment from Sarju, Pratima sends a telegram to Raju to come back to Mumbai urgently. Instead of granting advance for travelling to Mumbai, Raju is sacked by the Tea Estate Manager (Keshav Rana).
Sunita and her friends who were returning from a picnic, finds one of the tyres of her car punctured. Raju who was on his return journey to Mumbai helps Sunita in replacing the punctured tyre with a new tyre. Sunita drops Raju to his house. After watching the maltreatments to his parents, Raju decides to leave the house with his parent and his sister, Pratima. They spend a night in a temple. Next day, Barkha who had come to the temple to distribute sweets, find Raju and his parents in the temple, She helps Raju in getting some accommodation in mill workers colony and also gets him a menial job through Sunita in the mill owned by Badrinath in which Sohan works as Manager.
A diamond ring is found on the floor of Raju’s house which he feels that it belonged to Sarita who had visited his house after he has started working in her father’s mill. He visits Sunita’s house for the first time to return her diamond ring. She is impressed by Raju’s honesty. Also, during their short meeting, she comes to know that Vivek, one of the poets she is fond of is in fact Raju who writes poems with Vivek as his pseudo name. A common interest develops which leads to Sarita falling in love with Raju. But Raju is initially cautious about revealing his feeling towards Sarita due to a big gap in their status.
Badrinath is aware that Sarita is spending time with Raju. But instead of reprimanding her, he shows his disapproval indirectly by telling her that he would expect that she would not do anything which will hurt him. At the same time, Badrinath is keen that Sarita should marry Barrister Premnath (Anwar Hussain), brother of Sohan’s wife, Sarju. Sarita is encouraged to spend time with Premnath to know each other. But she has already made up her mind on Raju to be her life partner which she is afraid to reveal to her father.
While Sarita keeps Premnath in good humour, she finds out that Premnath is already married to one Kamla who was a stage artist and Premnath acted with her. He is not a barrister as people call him as such. He was called Barrister Premnath because in a play he did the role barrister. On the marriage day, when the final marriage ritual was being conducted, Premnath finds his real wife, Kamla as the bride instead of Sarita. After knowing the real status of Premanth, Badrinath cancels Sarita’s marriage with Premnath and gives his approval for Raju on the same day. At that time, Raju is participating in a boxing match to raise money for his father’s eye operation. He wins the boxing, and the public is felicitating Raju.
In Sohan’s house, Sarju is extremely annoyed with the cancellation of her brother’s marriage with Sarita in favour of Raju. She sends her son, Kundan with a bottle of acid to be thrown on Raju. But Sohan comes in front of Raju to save him. The result is that Sohan losses his eyesight. He is taken to hospital where the doctor successfully complete eye operations for both Sohan and his father. The entire family of Raju gets united when he gets married to Sarita.
‘Maa Baap’ (1960) had eight songs written by Rajendra Krishan which were set to music by Chitragupt. Two songs have been covered on the Blog. I am presenting the 3rd Song, ‘laage unkee suratiyaa kuchh aisee bhalee’ which is rendered by Lata Mangeshkar. The song is picturised on Kamini Kadam. Anwar Hussain as her prospective groom is there to listen to her singing. It is a taunting song through which Kamini Kadam is indirectly giving Anwar Hussain a hint of what she think of him. Before she starts singing, she tells him that it is a fun song, and he should not make fun of her for singing such a song.
———————————————————————————-
Note: The profile of Kamini Kadam is mainly based on a Marathi article on her which appeared on a website, maharashtranayak.in.
Video Clip:
Audio Clip:
Song-Laage unkee sooratiyaa kuchh aisee bhalee (Maa Baap)(1960) Singer-Lata, Lyrics-Rajinder Krishan, MD-Chitragupta
Lyrics(Based on Video Clip):
ek tasweer ek moorat hai
haaye
wo kitne khubsoorat hain
laage unkee sooratiyaa kuchh aisee bhalee
laage unkee sooratiyaa kuchh aisee bhalee
jaise kauwwae kee chonch mein anaar kee kalee
jaise kauwwae kee chonch mein anaar kee kalee
ho laage unkee sooratiyaa kuchh aisee bhalee
jaise kauwwae kee chonch mein anaar kee kalee
jaise kauwwae kee chonch mein anaar kee kalee
baaten wo karten hain aisee kamaal kee
jaise umariyaa ho pandhraa saal kee
baaten wo karten hain aisee kamaal kee
jaise umariyaa ho pandhraa saal kee
soch le soch le
nikle chonchley
isi liye to kaheen daal naa galey
laage unkee sooratiyaa kuchh aisee bhalee
jaise kawuwae kee chonch mein anaar kee kalee
jaise kauwwae kee chonch mein anaar kee kalee
chipkoo bhee aise ke jaane kaa naam naa len
ghadi hai baandh rakhee lekin kaam naa len
chipkoo bhee aise ke jaane kaa naam naa len
ghadi hai baandh rakhee lekin kaam naa len
jahaan bhee thham gaye samjho ke jam gaye
din se raat huyee raat bhee dhalee
laage unkee sooratiyaa kuchh aisee bhalee
jaise kauwwae kee chonch mein anaar kee kalee
jaise kauwwae kee chonch mein anaar kee kalee
rakhte hain tajurbaa wo har baat kaa
dekhenge darwaazaa kabhee hawaalaat kaa
rakhte hain tajurbaa wo har baat kaa
dekhenge darwaazaa kabhee hawaalaat kaa
muft kaa banglaa baahar janglaa
khaayenge baithe baithe moong kee falee
laage unkee sooatiyaa kuchh aisee bhalee
jaise kauwwae kee chonch mein anaar kee kalee
jaise kauwwae kee chonch mein anaar kee kalee
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
Leave a comment