Chhupke teree aankhon mein
Posted on: September 29, 2026
- In: "Aankh" song | "Get together" song | Asha Bhonsle songs | Asha Bhonsle Udit Narayan duet | Debut song of movie in the blog | Duet | expression of love | Feelings of heart | Guest posts | Post by Sadanand Kamath | Songs of 1990s (1991 to 2000) | Songs of 1994 | Udit Narayan Song | Yearwise breakup of songs
- Leave a Comment
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 : | 6647 | Post No. : | 20593 | Movie Count : | 5278 |
‘Bali Umar Ko Salaam’ (1994) was produced by Samar Purkayastha and Rajshree Biswas and was directed by Vasant R Patel. The cast included Kamal Sadanah, Priya Arora, Anupam Kher, Saaed Jaffrey, Tiku Talsania, Beena, Sudha Chandran, Amita Nangia, Dinesh Hingoo, Guddi Maruti etc.
The film’s lead actress, Priya Arora (real name: Tisca Arora/Chopra) was born on November 01, 1973, in Kasuali (Himachal Pradesh) to Satish Chandra Arora who was the principal of a high school and Pammi Arora who worked as Headmistress in a school. She spent about 10 years of her early childhood in Kabul where her father was posted as the Principal of India International School. However, sometime in mid-1980s, the family had to shift to India due to internal strife in Afghanistan. On returning to India, they were initially based in Kolkata and thereafter in Noida where her father was the principal of Apeejay High School. Tisca Arora completed her high school from the same school and later graduated in English literature from Hindu College, Delhi. It was during her college days that she got actively involved in amateur theatre.
Immediately after graduation, Tisca Arora shifted to Mumbai to study advertising and marketing. Instead, she chose to do the commercial modelling. At the same time, she also got trained for acting under Naseeruddin Shah and Feroz Abbas Khan who were associated with theatres.
There is an interesting anecdote about Tisca Arora getting her first Hindi film, ‘Platform’ (1993) in a bizarre way. She had narrated in one of her story-telling sessions on a Youtube channel as an interesting human relationship story. After shifting to Mumbai, Tisca was staying as a paying guest with an old landlady’s flat who was living alone. She had put many conditions, one of which was that she should not be associated with entertainment industry (Films and TVs). One day, the landlady came to know through her gurudwara acquittances that Tisca was giving audition for an acting role for a film. After hearing this, the landlady did not allow her to enter the flat the whole night because of which she had to spend the night outside. Next day, Tisca decided to look for alternative PG accommodation.
After few days, Tisca got to know that her landlady was bedridden with some seriously illness. She contacted her son in Pune who was unreachable. Tisca looked after her everyday bringing medicines and staying with her by giving up some of her assignments. After few days, the landlady recovered. She went for a pilgrimage to Golden temple during which she insisted that Tisca should stay in her flat until she returns. On the day of her return, Tisca found the landlady alighting from a car with two persons. The landlady introduced Tisca as a good human being to two persons accompanying her – the film producer and other the director. She told them that she was trying to get a break in the film and they should consider her. Thus, Tisca got her first film as a lead actress in ‘Platform’ (1993) for which the producer was Mukesh Duggal. But landlady reminded Tisca that her condition to return home by 8:00 pm should be strictly followed by her.
Priya Arora had two distinct phases of her acting career. She debuted in the Children’s Film Society’s ‘Aasmaan Se Gira’ (1992) as a supporting actress with her original name, Tisca Arora. In her second film, ‘Platform’ (1993) she was the lead actor paired with Ajay Devgan. In this film she was given a new screen name, Priya. From her next film, ’15th August’ (1993), she added her surname, to be known as Priya Arora which she continued for her next six films up to ‘Kaarobaar’ (2000). Unfortunately, all her films as Priya Arora did not do well.
Priya Arora’s second phase of acting in Hindi films started after her marriage in December 2000 with Captain Sanjay Chopra, a pilot and the senior cammander in an International airlines, after which she became Tisca Chopra. It is with this name that she is popularly known as actor, director, writer and motivational speaker. After marriage, she has acted in 19 Hindi films so far in addition to some web series which includes ‘Hyderabad Blues-2’ (2004), ‘Taare Zameen Par’ (2007). ‘Firaaq’ (2009), ‘Dil To Bachha Hai Ji’ (2010), ‘ABCD – Any Body Can Dance-2’ (2015), ‘Dono’ (2023) etc. She has debuted as director in ‘Saali Mohabbat’ (2025). She turned writer and published her two books, ‘Acting Smart: Your Ticket to Showbiz (2015) and ‘What is Up With Me?’ (2021). She is also the motivational speaker on the topics like creative leadership, emotional resilience and self-expression. She is a familiar face on Television and is very popular among the live audience when they listen to her story-telling sessions. Tisca Chopra’s husband Captain Sanjay Chopra is also a writer having published half a dozen books.
I have watched the film under discussion for the first time recently which reminded me of the story of ‘Dil’ (1990) in its basic structure. Even the characters of fathers of the lead actors are repeated – Anupam Kher as the miser father of the hero and Saeed Jaffrey as an affluent father of the heroine. The opening scenes of Anupam Kher in both the films are almost of the same. Anupam Kher sees in his dream that his son is distributing cash from the money he saved out of his misery nature among the crowd on the street. However, there is a twist in the end part of the story of the film under discussion. The hero and heroine are in love with each other who turn out to be the same as their parents had mutually chosen without their knowledge. But it is too late as both hero and heroine are killed after the court marriage by a contract killer hired by heroine’s father. In ‘Dil’ (1990), hero’s father has a change of heart which facilitates happy reunion of hero and heroine at the end.
The story of the film is as under:
Bhanwarilal (Anupam Kher) is a wealthy merchant who lives with his wife (Beena Banerjee) and a grown-up son, Rahul (Kamal Sadanah). He is a money-minded miser who strictly control the household expenses. He is worried about his son, Rahul who is arrogant, a spendthrift and not amenable to discipline. Having caught him hosting a costly party in a five-star hotel and dancing with girls, Bhanwarilal decides to get him married to bring in him some discipline. Being money-minded, he arranges the marriage with a daughter of a wealthy businessman who is his childhood friend. The independent-minded Rahul is not happy with his arranged marriage. He runs away from home and lands in Chamba (Himachal Pradesh) along with his friend, Peter (Ali Asgar) and stays in Pinto’s Garage whose owner Pinto (Tiku Talsania) is a friend of Peter’s father. They get the job in the garage.
In Chamba, Rahul encounters a headstrong girl, Nikita (Priya Arora), daughter of a wealthy businessman, Jalan (Saeed Jaffrey). Apparently, some ego clash and misunderstanding ensue between the arrogant Rahul and the headstrong Nikita whenever they accidentally meet. Their ego clashes turn into a major conflict during which Nikita damages Pinto’s Garage as a revenge which makes Rahul more stubborn. He forces her to repair the garage in her own hands. During this period, Rahul saves her from some anti-social elements at the cost of getting seriously injured. Their togetherness in the garage during the repair time make them to understand the good sides of their personalities. Gradually, they soften their attitudes and start loving each other.
Because of Nikita’s long absence from the house, Jalan comes to know of her romantic affair with Rahul. He forbids her to go out of the house and meeting Rahul for whom he is a mechanic not worthy of his potential son-in-law. At the same time, Rahul telephones to his mother that he has chosen his life partner for the marriage and he would be shortly returning home. This puts Bhanwarilal in a piquant situation as he has already promised his childhood friend about the marriage between their son and daughter. He at once decides to visit his childhood friend’s house to finalise the arranged marriage with his daughter. His childhood friend happens to be Jalan in Chamba. Jalan introduces Banwarilal to Nikita as her would be father-in-law. However, she creates such a frightening atmosphere in his room that Bhanwarilal abruptly leaves asking Jalan to visit his house in Mumbai for fixing the date of marriage.
Jalan has arranged a party in his house on the occasion of Nikita’s birthday and Rahul has gatecrashed to attend the party to present the portrait of her which he has painted himself. But after the birthday cake cutting, Jalan threatens Rahul that if he meets Nikita hereafter, he will not hesitate to kill him. After many emotional scenes between Rahul and Nikita in which they are prevented to meet each other by Jalan, it is her elder widowed sister (Sudha Chandran) who facilitates Nikita’s escape from the house. She meets Rahul in his garage house. Pinto manages to make them escape to Mumbai to get them married in Bandra court before Jalan comes to his house to get Nikita back home.
After knowing the whereabouts of Rahul and Nikita, Jalan hires a contract killer to eliminate Rahul and bring Nikita to Mahalakshmi temple where he would get her married to Banwarilal’s son. Jalan dashes to Mumbai and meets Banwarilal to complete the marriage ceremony in Mahalakshmi temple at 12 noon. However, when he sees the photograph of Rahul in Banwarilal’s room, Jalan gets to know that Rahul is not a mechanic but his friend’s son with whom he had consented to get Nikita married. Both rushes to Bandra Court. Rahul and Nikita completes the marriage formalities. However, the contract killer shoots Nikita by mistake and thereafter shoots Rahul before Banwarilal and Jalan reach the court and find their son and daughter killed. Rahul and Nikita are united in their death.
The film had seven songs (with one dual version song, thus making six songs) written by Nawab Arzoo which were set to music by Bappi Lahiri. The film makes a debut on the Blog with its 1st song, ‘chhupke teree aankhon mein’. The song is rendered by Asha Bhosle and Udit Narayan who sings for Priya Arora and Kamal Sadanah, respectively. Saeed Jaffrey and Sudha Chandran are also seen during the picturisation of the song.
The context of the song is that Jalan (Saeed Jaffrey) has prohibited Nikita (Priya Arora) from meeting Rahul (Kamal Sadanah). On the birthday party of Nikita, Rahul gatecrashes to present Nikita the bouquet while Jalan looks at them with anger in his eyes which Rahul points out to her. Nikita says to Rahul that they will hide in each other’s eyes so that not only her father but the entire world will not see them and the song starts. The film’s sound track of the song has only one antara as in between there are dialogues of Saeed Jaffrey calling the police. Thereafter, he is seen flogging Rahul followed by flogging Rahul by a whip. However, the video clip of the song has replaced the dialogues with music interludes. The audio clip has the full song with an additional antara.
It is a lovely song which is composed in waltz music style for ballroom dance which Rahul and Nikita are performing.
Video Clip:
Audio Clip:
Song-Chhupke teree aankhon mein(Baali Umar Ko Salaam)(1994) Singers-Asha Bhonsle, Udit Narayan, Lyricist-Nawaab Aarzoo, MD-Bappi LahiriBoth
Lyrics (Based on Audio Clip) :
chhupke teree aankhon meinsaaree duniyaa se ham chhup jaayenge
chhupke teree aankhon mein
saaree duniyaa se ham chhup jaayenge
dhoondhegaa saara zamaanaa
kisee ko nazar naheen aayenge
chhupke teree aankhon mein
saaree duniyaa se ham chhup jaayenge
chhupke teree aankhon mein
saaree duniyaa se ham chhup jaayenge
dhoondhegaa saara zamaanaa
kisee ko nazar naheen aayenge
chhupke teree aankhon mein
saaree duniyaa se ham chhup jaayenge
duniyaa kee parwaah kisey
la la la la la
hamraahee hain pyaar ke
aa aa aa aa
ab to jiyenge marenge
baahon mein dildaar ke ae ae
duniyaa kee parwaah kisey
la la la la la la la
hamraahee hai pyaar ke
aa aa aa
ab to jiyenge marenge
baahon mein dildaar ke
rukenge naheen kisee ke rokey se ham
peechhe na hatenge kabhee pyaar ke kadam
ho o
rukenge naheen kisee ke rokey se ham
peechhe na hatenge kabhee pyaar ke kadam
jis pe chalegee ye duniyaa
kadmon ke nishaan chhod jaayenge
dhoondhegaa saaraa zamaanaa
kisee ko nazar naheen aayenge
chhupke teree aankhon mein
saaree duniyaa se ham chhup jaayenge
kaanten bhee hain phool bhee
la la la
ulfat kee in raahon mein
hmm
hamko zamaane se kya
tu hai meree baahon mein ae ae
kaanten bhee hain phool bhee
la la la la la ulfat kee in raahon mein
hmm hmm
hamko zamaane se kya
tu hai meree baahon mein aen aen
jeena naheen tere bina ab to sanam
laage naheen kaheen jiyaa teree kasam
o o o
jeena naheen tere bina ab to sanam
laage naheen kaheen jiyaa teree kasam m m
chun chun ke chaahat ke tinke
aashiyaan ik naya ham banaayenge
dhoondhegaa saaraa zamaanaa
kisee ko nazar naheen aayenge
chhupke teree aankhon mein
saaree duniyaa se ham chhup jaayenge
chhupke teree aankhon mein
saaree duniyaa se ham chhup jaayenge
hmm hmm hmm hmm
hmm hmm hmm hmm hmm hmm hmm hmm
la la la la la laa laa laa laa laa
Leave a comment