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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

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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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing law.

Today’s song is from a rare and less known film ‘Lakharani’ from 1945.

Although this was a film made by the great Prabhat Film Company of Poona, unlike earlier Prabhat films this movie never became famous or a landmark film. The reasons were many. The main reason was that it was was made in the period when the company had become very weak after V Shantaram left Prabhat Studios along with some of his chosen people from various departments. Secondly, the storyline of this film was far away from the type of films Prabhat had made in the past. True to its tradition, however, the film had a central theme of “open entry for all castes into Hindu temples“. But it was told through a story of tribal folks and allied jungle people, with whom probably, the audience could not  identify themselves.

Thirdly, the songs and music of this film was below average. The music director, Master Krishnarao Phulambrikar (1891-1974) had a reputation of being an Orthodox Sangeet Natak classicist. His songs never became popular except perhaps the multi-language song of Shanta Hublikar in the film ‘Aadmi’ (1939) (‘Manoos’ in Marathi). Even his contemporary Keshvrao Bhole gave more popular songs. His only film giving good music was Rajkamal’s ‘Mali’ (1944), wherein he himself was the hero opposite Ameerbai Karnataki.

The film was directed by Vishram Bedekar – more famous as a playwright and a script writer. His scripts used to be quite complex. He wrote the story of ‘Lakharani’, in addition to directing it. Vishram Bedekar (b. 1906), Marathi and Hindi film director, best known as a writer, was born in Amravati, Eastern Maharashtra. He started his career with the Sangeet Natak company Balwant Sangeet Mandali as a playwright-lyricist. From there, he moved to film-making when the theatre group expanded its box-office draw by producing ‘Krishnarjun Yuddha’, starring the group’s writer-actor Chintamanrao Kolhatkar. Unlike other films produced by Sangeet Natak companies (e.g. Lalitkaladarsh), the film succeeded commercially and he co-directed three more with the group’s owner-producer Vamanrao N Bhatt. He scripted the mythological ‘Pundalik’ (1936) and, according to his autobiography, he also co-directed the film with VN Bhatt.

He briefly studied film-making in the UK in 1938. In that same year, he published his first novel, ‘Ranangan’  on his return to India. He joined Prabhat Studios briefly to write Shantaram’s ‘Shejari’ / ‘Padosi’ (1941). In 1944, he returned to the studio to script ‘Ramshastri’, a re-edited version of which, credited to him, was later released as a children’s film entitled ‘Ramshastri Ka Nyay’. In 1945, he directed ‘Lakharani’ which incidentally is Guru Dutt’s début film. He went on to make classic melodramas for Baburao Pendharkar’s New Huns, Baburao Pai’s Famous Pics and Minerva Movietone. He wrote the script for Shantaram’s ‘Amar Bhoopali’ (1951). Later he directed the early productions of Ramsay Brothers, viz. ‘Rustom Sohrab’ (1963) and ‘Ek Nannhi Munni Ladki Thi’ (1970).

Vishram Bedekar worked in modernist frame defined by K Narayan Kale’s generation and GB Shaw. Most of his literary and film works recast stereotypes of pre-WW I Marathi social reform novels into the declamatory style of prose melodrama with increasingly complex storylines. As a playwright, his works include ‘Brahmakumari’, ‘Vaje Paool Apule’ and ‘Tilak Ani Agarkar’ (1980). In 1985, he published his autobiography – ‘Ek Jhaad Ani Don Pakshi’.
(Note: The above bio sketch of Vishram Bedekar is adapted from Encyclopedia of Indian Cinema.)

‘Lakharani’ is important for one reason – Guru Dutt made his acting debut with this film. Guru Dutt (9-7-1925 to 10-10-1964) did the role of Lachman, brother of the heroine Lakharani, in this film. After doing a basic course in dancing from the dance academy of the famous dancer Uday Shanker, in Almora, he joined Prabhat Studios as a choreographer. However, in his first film he was only an actor and an assistant director to Vishram Bedekar. In his second film ‘ Hum Ek Hain’ (1946), he worked as the choreographer and as an assistant to PL Santoshi, the debutant director of the film. Later he was assistant director to Anadinath Bannerjee for the film ‘Mohan’ (1947), to Amiya Chakravarty for the film ‘Girls School’ (1949) and to Gyan Mukherjee for the film ‘Sangram’ (1950). His first stint as an independent director came with iconic film ‘Baazi’ (1951).

Another actor Ramsingh had a major role in the film ‘Lakharani’. Earlier he had done a small role in the film ‘Ramshastri’ (1944). Ramsingh’s name is not very famous or well known, but in his times, he appeared as a hero and also in villain’s role in many films. Information about him was not available anywhere on the internet till today. For the first time, this information is appearing here today. His entry in films and his life story makes a very interesting read.

During the 1942 ‘Quit India’ movement, there was a riot in Allahabad. Police opened fire and along with several other people, Secretary of All University Students Union also was killed. Fearing a backlash from college students, the Government closed down all colleges and vacated the hostels. As a result of this, two persons became homeless. One was Ramchandra Thakur – later to become famous as Kavi Pradeep; and the other was Ramsingh – who became an actor.

After the riots, instead of informing his family about his welfare, Ramsingh left for Bombay and then went on to Poona, to become an actor. He was tall, fair and handsome. V Shantaram hired him as an assistant in the studio. Because he never returned home, his family thought that he must have been killed in the riots and grieved.

One day one of the villagers came to their house and told excitedly, that he had seen a Hindi film and in that film, an actor looked exactly like Ramsingh. The family went to the town and saw the film. Lo and behold ! there he was. Looking just like Ramsingh. Anxiously a group of elders reached Prabhat Studio in Poona and enquired. The officials brought them face to face with their own son – Ramsingh !! Everyone was happy. It seems he did not contact his household just to avoid the police investigations, as he too was an active participant in the agitation.

Ramsingh was born into a rich zamindar family of village Ishanpur in Pratapgarh (UP), in 1920. After graduating, while still doing his MA, he joined films. His first film was ‘Ramshastri’ (1944), then came ‘Chand’ (1944), ‘Lakhrani’ (1945) and ‘Hum Ek Hain (1946) – all Prabhat films. While with Prabhat Studios, he became friendly with Dev Anand and Guru Dutt. In his later years, they would give him a role in almost every film they made.

In his other films, Ramsingh worked with heroine Ranjit Kumari (real name Ranjit Kaur), to whom he got married later on. He was already married while in school and also had 3 children from his first wife. From the second marriage he got 4 children.

Ramsingh played hero, villain and character roles in 69 films. Some of his notable films, besides the four films from Prabhat Studios are, ‘Gaon’ (1947), ‘Shaheed’ (1948), ‘Khidki’ (1949), ‘Aparadhi’ (1950) – he was the hero, opposite to Madhubala, ‘Sargam’ (1950), ‘Sangram’ (1950), ‘Shrimati ji’ (1952),  ‘Jaal’ (1952), ‘Baaz’ (1953) etc. In the latter part of his career, he only got insignificant roles in B and C grade films and mythologicals. His last films were ‘Sati Sulochana’ (1969), ‘Veer Chhatrasaal’ (1971) and ‘Mere Bhaiya’ (1972); the last two being released after he retired from films.

When film ‘Jaal’ (1952) was imported into West Pakistan (on the East Pakistan quota), the Pak film industry started an agitation against Indian films, demanding a total ban on Indian films in Pakistan, as they believed the Indian films were killing their business. Leader of this agitation was WZ Ahmed, once a successful director/producer in India (from the erstwhile Shalimar Films of Poona and the mentor and husband of actress Neena). Consequently, Indian films were banned in Pakistan, at a later stage.

Ramsingh returned to his native place with Ranjit Kumari and children in 1970 and started doing agriculture. The then UP Chief Minister HN Bahuguna was his classmate and a very good friend. Ramsingh approached him. To help him, Bahuguna established the UP Film Corporation and made Ramsingh its chairman. However, due to political turmoil in the country, Bahuguna left congress and joined the off shoot party Congress For Democracy, against Indira Gandhi. As a result the film corporation was wound up and Ramsingh returned to the agriculture business again. He started drinking heavily, against medical advise and died in 1984, in his village.
(Note: The above bio sketch of Ramsingh is adapted with thanks, from Javed Hamid’s forthcoming book ‘हिन्दी सिनेमा के कुछ जाने अंजाने फनकार’.)

The spelling of film title – ‘Lakharani’, was an enigma. In many places, including the Encyclopedia of Indian Cinema, the film is spelt as LAKHRANI, while the HFGK says LAKHARANI. To get the correct information, I wrote to Shri Harmandir Singh ji. He promptly sent me a copy of the film booklet and confirmed that the correct name is LAKHARANI only. Thanks, Hamraz ji. The cast of the film is Durga Khote, Monica Desai, Azuri, Sapru, Ramsingh, Guru Dutt, etc. The story of this film is,

Bichwa (Durga Khote) is the queen of a devout untouchable community, which is not permitted to enter any temple. Her daughter Lakharani marries the prince from a community of atheists and hence is excommunicated by her own tribe.The devout group has their devotion tested by economic setbacks and a major conflict erupts between them and the atheists’ community. But God materialises on earth, thus solving the problems of belief and its attendant conflicts. Untouchability is abolished and they all can enter temples and worship also.

The film has 6 songs. Though the record numbers are given by HFGK, the name of singers is not mentioned for any song. The lyricist is Qamar Jalaalabaadi and the composer is Master Krishnarao Phulambrikar. No songs were found on the net or the You Tube, so I turned to our in-house collector, Sudhir ji. He promptly informed me that he has 4 songs of this film. On my request he not only sent me 2 songs, but also uploaded today’s song on my request. Thank you Sudhir ji, you are a great help indeed.

Lakharani makes her debut on this Blog today. Enjoy its first ever song. . .

(Ed Note: The title line of this song is modified, after listening to the song. In the Geet Kosh, this song corresponds to the song at sl. no. 6, which is listed as “Ab Moti Giraane Lagi Saawan Ki Ghataayen”. After listening to the song, it is observed that the refrain “Ik Gori Ki Aankhon Se. . .” is repeated after each antaraa, and is the more appropriate title line for the song.)


Song – Ik Gori Ki Aankhon Se Mujhe Pyaar Hua Hai (Lakharani) (1945) Singer -Unidentified Male Voice, Unidentified Female Voice, Lyrics – Qamar Jalaalabaadi, MD – Master Krishna Rao
Unidentified Male + Female Voices
Female Chorus

Lyrics 

ab moti giraane lagi saawan ki ghataayen
bagiya mein bikharne lagi bulbul ki sadaayen

ha ha ha haha

khilne ke liye phool bhi taiyaar hua hai
khilne ke liye phool bhi taiyaar hua hai
mujhe pyaar hua hai
mujhe pyaar hua hai

ik gori ki aankhon se mujhe pyaar hua hai
mujhe pyaar hua hai
sunder meri aashaon ka sansaar hua hai
mujhe pyaar hua hai

o koel duniya ko sunaao ye fasaana
o panchhio gaao meri duniya ko jagaana
o panchhio gaao meri duniya ko jagaana
ab haath pakad haath se iqraar hua hai
mujhe pyaar hua hai
ik gori ki aankhon se mujhe pyaar hua hai
mujhe pyaar hua hai

o gori ki paayal zara jhankaar suna de
ye bhed mere dil ka zamaane ko bataa de..ey..ey
abaad mere phoolon ka sansaar hua hai
mujhe pyaar hua hai
ik gori ki aankhon se mujhe pyaar hua hai
mujhe pyaar hua hai

o nadiya ke lehro ye kinaare ko bata do
toofaan ki maujon ko mera haal suna do..oo..oo
do lehron mein mil jaane ka iqraar hua hai
mujhe pyaar hua hai
ik gori ki aankhon se mujhe pyaar hua hai
mujhe pyaar hua hai

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

अब मोती गिराने लगीं सावन की घटाएँ
बगिया में बिखरने लगीं बुलबुल की सदाएं

हा हा हाहा

खिलने के लिए फूल भी तैयार हुआ है
खिलने के लिए फूल भी तैयार हुआ है
मुझे प्यार हुआ है
मुझे प्यार हुआ है

इक गोरी की आँखों से मुझे प्यार हुआ है
मुझे प्यार हुआ है
सुंदर मेरी आशाओं का संसार हुआ है
मुझे प्यार हुआ है

ओ कोयल दुनिया को सुनाओ ये फसाना
ओ पंछीओ गाओ मेरी दुनिया को जगाना
ओ पंछीओ गाओ मेरी दुनिया को जगाना
अब हाथ पकड़ हाथ से इक़रार हुआ है
मुझे प्यार हुआ है
इक गोरी की आँखों से मुझे प्यार हुआ है
मुझे प्यार हुआ है

ओ गोरी की पायल ज़रा झंकार सुना दे
ये भेद मेरे दिल का ज़माने को सुना दे॰॰ए॰॰ए
आबाद मेरे फूलों का संसार हुआ है
मुझे प्यार हुआ है
इक गोरी की आँखों से मुझे प्यार हुआ है
मुझे प्यार हुआ है

ओ नदिया की लहरों ये किनारे को बता दो
तूफान की मौजों को मेरा हाल सुना दो॰॰ओ॰॰ओ
दो लहरों में मिल जाने का इक़रार हुआ है
मुझे प्यार हुआ है
इक गोरी की आँखों से मुझे प्यार हुआ है
मुझे प्यार हुआ है

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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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

ना जाने क्यों॰ ॰ ॰ होता है ये ज़िंदगी के साथ
अचानक ये मन
किसी के जाने के बाद
करे फिर उसकी याद॰ ॰ ॰

Aah, Shyama. . . the vivacious, bubbly, chirpy, charming Shyama. That is the image that the mind always carries, of this spirited young lady, so full of life on the screen. Some memories and some reflections are so firmly engraved in the mind that it simply does not register or acknowledge the passage of time and the passing of eras. That is the beauty of these memories – that their beauty simply never fades away.

My very first encounter with her was the song “Mujhe Mil Gaya Bahaana Teri Deed Ka” (film ‘Barsaat Ki Raat’, 1960). I saw this song on Delhi TV, most probably in some edition of the Chitrahaar program. Shama (Shyama) is on screen with Shabaab (Ratna), her younger sister in the film. There is an exchange that leads to certain wrong impressions. Being secretly in love with Amaan (Bharat Bhushan), Shama interprets that conversation to be in her favour. And this happy song of an assumed fulfilment of love is the outcome. The expressions and the rendering of this love song trickled right into the mind and heart of a very young heart, and the lady on the screen became a favorite crush of mine.

A few years later, I would get a chance to see this complete film. And my heart was both joyous and asunder. I got to see more of her scintillating performance, especially the qawwaali “Ji Chaahta Hai Choom Loon Apni Nazar Ko Main”, in which she is brimming with excitement and delight. She makes you feel the thrill that she is experiencing, going in for the kill of the opposite party in the qawwaali competition. Her performance simply takes you along that joyous path of the victory of her singing group over that of Chand Khan’s (Khurshid Bawra’s) group. But then, I was also sad that in the final outcome, she is not the choice of the person she adores and worships. The film ends with her being the loser in the game of love. My heart wept for her, for her love was true and silent, and it made the sacrifice in face of knowing that her beau’s heart is smitten elsewhere. This film remains an all time favorite in my heart.

Then came other films, viewed some years later during college days. Films from the previous three decades were mostly showing as reruns in morning shows (9am to 12 am). We used to skip the morning classes in the college to go visit these unknown unseen films, for the love of that golden era. In that time, I would get to see ‘Aar Paar’ (1954), ‘Shart’ (1954), ‘Chhoo Mantar’ (1956), ‘Makkheechoos’ (1956), ‘Bhai Bhai’ (1956), ‘Sharda’ (1957), ‘Bhaabhi’ (1957), ‘Lala Rukh’ (1958), ‘Zabak’ (1961) and many more. The ‘puppy’ crush was long over and done with, but Shyama was a favorite actress – always would be ready to go see an unseen film, especially if Shyama was part of the cast of actors.

She was born as Khursheed Akhtar, in Lahore. Her date of birth is stated differently in different online sources. The anniversaries table on our blog gives the date as 12th June of 1935. Cineplot gives the date as 7th June, 1935. In his book ‘Beete Kal Ke Sitaare’, Shri Sriram Tamrakar quotes her birth date as 12th July 1933. There are other sources which are at variance with these dates too.

When she was two years old, her family moved to Bombay. Her father was a fruit merchant and had set up a shop in Byculla. With seven siblings, Shyama was part of a large family. School and studies never did interest her. Right from childhood, being a star on the silver screen was her dream. As a child, she had seen a film starring Ishwarlal and Khursheed (the famous singer-actress). She was very impressed by Khursheed’s singing and her acting. On seeing this role, a resolve started to form in her to become an actor. [Ed Note: This picture possibly could be ‘Shaadi’ (1941) or ‘Chandni’ (1942).]

As a young girl, she was quite mischievous and full of pranks. Her elder sisters would admonish her for being such a tomboy. In her own words (from an interview on Cineplot) she says that she always wanted a hungama, indulge in a little romance. But she was very disciplined and cultured too. She never smoked, or drank all her life. And she never appeared in a swimsuit throughout her career. She was very true to her Muslim upbringing and family traditions.

In 1944/45 she and her sisters and friends, one day went to see the shooting of a film at a studio in Dadar (Bombay). The shooting of the film ‘Zeenat’ (1945) was in progress. The specific sequence being filmed was the now iconic all female qawwaali “Aahen Na Bharin, Shiqwe Na Kiye”. As luck would have it, Shaukat Hussain Rizvi, the director of the film, wanted to have more girls to join the singing group. He asked this group of onlooker young ladies whether they would like to join the filming of this song. Without hesitation, Khursheed raised her hand. Rizvi Sb picked her to join the group and play the dholak. In the video of this song, one can see her sitting in the second row behind the main singers, wearing a traditional cap, with a dholak in her lap. The young lady got a billing in the star credits as Baby Khursheed. She was just about 10 years old.

Her father was very upset that his daughter had made this impromptu decision, and was set against her joining films. However, her mother and her sisters prevailed upon him and calmed him to get his consent to permit her to work in films. So out went the school and studies, and the little Khurshid started her career doing child roles and extras. By her own estimates, she probably has appeared 80 films in which she was just an extra or a chorus girl.

‘Nai Maa’ is a 1946 film, which Shyama herself indicates as being her first formal role as a child star. The film is from the banner of Prakash Pictures – the production house of the Bhatt brothers – Vijay and Shankar Bhai. With the consideration that there already were two actresses named Khursheed in the industry, Vijay Bhatt suggested for her to change her name to avoid same-name-confusions. He thought of the name ‘Shyama’. The young Khursheed happily took it on, and this name turned to be her career and her destiny.

Getting seriously into small roles as a child and a teenage artist, she did two very important things. One, she refused to be disheartened by the long succession of bit-roles and being a supporting cast member. Two, she took on to get trained in music and dance, and spent a good slice of her developmental years under the tutelage of the famous Badri Prasad, the multi-talented artist active in the industry at that time. Her perseverance paid off. Her roles started to get more prominent, and her co-stars the more famous ones. She appeared as the younger sister to KL Saigal in ‘Parwaana’ (1947). The same year, she also appeared as the younger sister of Motilal in ‘Beete Din’. On to 1949, and she was now the younger sibling of actor Shyam in the film ‘Kaneez’.

In 1950, she got a very prominent role as the wayward younger sister of Shyam and Karan Dewan in the film ‘Chhoti Bhaabhi’. The title role was played by Nargis (paired with Karan Dewan), but the role played by Shyama was pivotal as the rebellious daughter in the family, who is on the verge of eloping with Yakub, a self serving con-man. Then came 1951 – she was paired as the love interest of Balraj Sahni in ‘Hum Log’; and the same year, she got to play a prominent role in ‘Taraana’ as the third part of the love triangle completed by Dilip Kumar and Madhubala.

It was in 1952 that she was able to belie the popular adage in the industry – ‘once an extra, always and extra’. But this graduation was not without its moments of anxiety and a heart stopping near miss. IS Johar was looking for an effervescent and a lively young new face as the lead for his maiden directorial venture – ‘Shrimati Ji’. Familiar with Shyama and her capabilities from their earlier films together viz., ‘Chhoti Bhaabhi’ (1950) and ‘Ek Teri Nishaani’ (1949), Johar chose Shyama from a list of over 100 candidates for the role. Shyama was excited and happy with this groundbreaking development in her career.

But a scare was still in store, and the career that we see, was almost never. A couple of reels had been shot. One day on the studio floor, one of the financiers was present. On seeing Shyama, he made a curt remark that this girl is too thin to impress in a leading role, and walked away. One can imagine the turmoil that followed, with doubts appearing in the minds of the entire team. Shyama herself notes that she went home and cried all night – here was a once in a lifetime break that suddenly became so close to slip out of her fingers. After the crying session was over, she pulled herself together and made a resolve to address even this issue. Next day, she went out to seek medical help. Whoever would think of a thing like a diet to ‘gain’ weight? She went on a crash diet to do exactly this – gain weight. In a short period of time, she gained a reasonable amount of weight, and went right back in to complete the film.

One more significant episode occurred in the year 1951. Shyama was filming for ‘Sazaa’; she was the second lead to Nimmi and again, the third vertex of the love triangle that includes Dev Anand and Nimmi. The director and cinematographer of this film was Fali Mistry. Affections developed between the two, and two got married. Her family would have preferred a Muslim son-in-law. Fali Mistry being a Parsi, her father did not accept her new venture in life. She did get support from her mother, who was present at the small and quiet ceremony for the wedding. Her father  did not communicate with her for years. Shyama mentions in her interview that the ice between them was eventually broken when she gave birth to her first son, and went to him to get his blessings.

One of the understandings between Shyama and Fali was that she would continue to work in films. Apparently there were other suitors also, but as per herself, the proposals did not go further because the gentlemen did not agree to allow her to continue her work.

Through the 1950s, as well as early sixties, Shyama was in the top bracket of leading ladies in Hindi cinema. A golden period in her career, her popularity can be gauged by the fact that 82 of her films were released in the period from 1952 to 1960. In 1954 alone, 14 of her films came on the silver screen, and 13 in the year 1955. In all 27 films in a period of two consecutive years is a record in itself. An interesting aspect of her career has been that while she was in demand as the leading lady, she continued to do all kinds of roles, including second lead and even as a vamp. By her own admission, she was never too much hung up on being the leading lady, but was always more interested in the content of the role. In fact her only Filmfare award is for her performance in ‘Sharda’ in 1957 – as the best female actor in a supporting role. In the later part of 1960s, she transitioned into character roles and continued to work till the end of 1980s. Her last film as a character artist is ‘Hathyaar’ released in 1989.

Fali Mistry passed away unexpectedly in 1979, leaving behind a family of two sons and one daughter.

In the past 3, 4 days I was in travel myself, and was disconnected from the net for part of that time. Settling back after returning, as I processed through the email backlog, I got to see this message from Harish Raghuvanshi ji, informing about the sad demise of Shyama. She was 82, and as per her latest interviews some years back, she was quite satisfied with the full life she had led, and with her accomplishments on the silver screen.

As I sorted through the list of her songs as yet unpublished on our blog, searching for an appropriate song for this tribute, I came across this chirpy and playful song from the film ‘Ghar Basaa Ke Dekho’ from 1963. I had not heard it before. As I played this song, it struck me as so much Shyama herself, and I knew this is the song so suitable to go along with the write up about her. On screen, she leads the singing and dancing within a group of friends. Some of the faces are familiar, but I am unable to place any names. I request our knowledgeable readers and friends to help identify other actresses supporting Shyama in this song.

The words are from the pen of Rajendra Krishan and the lilting music comes from the mind of Chitragupt. The singing voices are of Suman Kalyanpur, Usha Mangeshkar and chorus. Shyama gets to lip sync most of the lines of Suman Kalyanpur, and the lines sung by Usha Mangeshkar are shared between more than one of the supporting ladies on screen.

A wonderful expression of a philosophy of life, that one can surmise from her interviews, was very dear to Shyama herself. The thought behind the bubbly vivacity in this song is just the same thought that first made her raise her hand unhesitatingly to Rizvi Sb’s query on who would like to join the filming of the group song (qawwaali song in ‘Zeenat’). That is Shyama.

Or to put it more correctly now – that was Shyama. Only the memories remain now.

bichhad kar chale jaao hum se kahin
magar ye na kehna mohabbat nahin

magar ye na kehna mohabbat nahin . . .

Dear Shyama, RIP – Rest In Playfulness, Always 🙂

[Acknowledgements: source material for the above article is referred from articles and interviews published on the blogs Cineplot, Beete Huye Din (by Shishir Krishna Sharma), Wikipedia, and a profile article in the book ‘Beete Kal Ke Sitaare’ by Shri Sriram Tamrakar.]

[Ed Note: This song also is a remembrance of Chitragupt; reviving memories of this prolific music director on the anniversary of his birth – 16th November.]

 

Song – Jidhar Jee Mein Aaya Udhar Hum Chale (Ghar Basaa Ke Dekho) (1963) Singer – Suman Kalyanpur, Usha Mangeshkar, Lyrics – Rajendra Krishan, MD – Chitragupt
Suman Kalyanpur + Usha Mangeshkar
Chorus

Lyrics

jidhar jee mein aaya
udhar hum chale
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

jinki kismet mein aish likha hai
aish karte hain aur jeete hain
jinki kismet mein aish likha hai
aish karte hain aur jeete hain
aah bharna hai jinki kismet mein
aah bharte hain ashq peete hain
zindagi kya hai ek hungaama
ek hungaama roz ho jaaye
kehkahon ke bagair kya jeena
zindagi kehkahon mein kho jaaye
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

aadmi ko mili hain kyon aankhen
dekh le jis qadar nazaare hain
aadmi ko mili hain kyon aankhen
dekh le jis qadar nazaare hain
baag tera hai phool tere hain
aur tere hi chaand taare hain
zindagi naam hain bahaaron ka
hum bahaaron ka ras nichodenge
zindagi ek baar milti hai
ek armaan bhi na chhodenge
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

zindagi teri ek hulchul hai
raqs hai saaz hain taraana hai
zindagi teri ek hulchul hai
raqs hai saaz hain taraana hai
ik jagah par qayaam kya karna
har chaman tera aashiaana hai
ek pal bhi na fikr mein beete
muskuraata ja geet gaata ja
aur duniya jo raah mein aaye
ek thokar usey lagaata ja
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-

जिधर जी में आया
उधर हम चले
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

जिनकी क़िस्मत में ऐश लिखी है
ऐश करते हैं और जीते हैं
जिनकी क़िस्मत में ऐश लिखी है
ऐश करते हैं और जीते हैं
आह भरना है जिनकी क़िस्मत में
आह भरते हैं अशक पीते हैं
ज़िंदगी क्या है एक हंगामा
एक हंगामा रोज़ हो जाये
कहकहों के बगैर क्या जीना
ज़िंदगी कहकहों में खो जाये
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

आदमी को मिली हैं क्यों आँखें
देख ले जिस कदर नज़ारे हैं
आदमी को मिली हैं क्यों आँखें
देख ले जिस कदर नज़ारे हैं
बाग तेरा हैं फूल तेरे हैं
और तेरे ही चाँद तारे हैं
ज़िंदगी नाम हैं बहारों का
हम बहारों का रस निचोड़ेंगे
ज़िंदगी एक बार मिलती है
एक अरमान भी ना छोड़ेंगे
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

ज़िंदगी तेरी एक हलचल है
रक़्स है साज है तराना है
ज़िंदगी तेरी एक हलचल है
रक़्स है साज है तराना है
इक जगह पर क़याम क्या करना
हर चमन तेरा आशियाना है
एक पल भी ना फिक्र में बीते
मुसकुराता जा गीत गाता जा
और दुनिया जो राह में आए
एक ठोकर उसे लगाता जा
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today, we are celebrating the 3400th day that this blog has been operating.

And we Yippeee a film that has been waiting for more than two years for the final song to come online. 🙂

Sometimes, Atul ji springs a wonderful surprise. And at a very short notice too. It is 8.30 pm in the night (on 7th Nov). I am just casually checking my emails. Plop. There is a message from him. We have a significant and a very different type of milestone lined up for tomorrow (8th Nov). The immediate next sentence, he is quickly clarifying that no, the said milestone has nothing to do with demonetization anniversary or any other subject of Indian economy. The next sentence he clarifies, without building any suspense or delays in his words. 8th Nov is exactly the 3400th day of the continued existence of our blog. A few lights start blinking inside the head. Wow, – thanks ji, – what a surprise, – such a different type of milestone, – gosh tomorrow, – what a scramble, – and in a secret corner, another light blinks that says – अरे सर, थोड़ा एडवांस नोटिस तो देना चाहिए॰ ॰ ॰ खैर॰ ॰ ॰

Blinking lights aside, many congratulations to all members, friends and readers, and welcome to the 3400th edition of Atul Song A Day, in which, I must emphasize, at the cost of repetition, that the phrase song-a-day has been redundant for, well, let us see – 28th Aug, 2008, i.e. 40 days less, that is 3360 days – I mean the period of redundancy of this phrase. You see, 28th Aug, 2008 was the day (41st in the history of this blog) that Atul ji shifted gears and posted 3 songs in a single day, for the first time. See, that is how long his solemn promise lasted. In just forty days, he was so overwhelmed and got carried away that instead of song-a-day, it was three-songs-a-day that day.

[Tongue in cheek] – I am sure folks in all parts of this subcontinent will be aware and will agree; the tradition is to celebrate the 40th day after childbirth, as the day when the mother of the newborn child, is allowed to start moving outside the confines of the household. There is a celebration and a ceremony to mark this event. (Of course in the current times, quite a few people do not bother to abide by this tradition, which, if I may be allowed to emphasize, has very important reasons of health and well being behind it). But we note that Atul ji quite religiously followed this tradition, and stayed put on one song per day for forty days. And then he ventured out further – starting with the song “Aap Ke Anurodh Pe Main Ye Geet Sunaata Hoon” (film ‘Anurodh’, 1977), on the forty first day. I must add that Atul ji has been a very conscientious ‘mother’, for the first forty days, and for all the days thereafter. 🙂

So, in the tradition of adding new feathers to the caps, we are now adding one more dimension by which we measure the robustness of our blog and its level of enthusiasm / commitment  / entertainment value. No of days that we have been in operation. Today – it is 34 hundred days that are completed. And counting. . .

Changing the topic briefly – I would like to touch upon the query that was raised yesterday by Peevesie’s Mom, regarding the number of posts and the number of songs contained therein. Although we count one post only once, there are many occasions that a single post carries more than one song.

Yes, there are posts that have multiple songs on account of the songs being present more than once in the film, or have been sung by different singers in the same film. Sometimes the multi singer songs are exactly the same, and sometimes they have different antaraas. Same for multi part songs. In some cases, the multiple appearances of the song in the film carry the same lines, and in some cases, they carry different lines.

In cases where the multiple appearance of the song is in the voice of the same singer, and the words are unchanged, then we count them as one song only. However, if the singing voice is different then we count them as multiple songs. Also, if the singing voice being the same, if the words and lines are different, then also we count them as multiple songs.

Another criteria that we follow is to adhere to the listings in the HFGK. In the Geet Kosh, songs which are multi part, or multi singer are listed separately. And so we also follow that scheme to count the songs. An interesting aside here is that the Geet Kosh counts the different parts of the multi-lingual songs, as separate songs. And so do we, counting each part of the multi lingual song as a separate song. The case in point is the last line in the table below. This is the muti lingual song from the film ‘Teen Batti Chaar Raasta’ (1953) “Orey Oo Poraan Bondhu Re. . .”. This song is the post number 10967 (dt 24Mar2015). Geet Kost lists this song as seven separate lines, one for each language covered. And so, on our blog too, we count them as 7 songs, albeit contained in one post.

A few posts carry the original song as well as the version song, which is not carried in the film. E.g. the song “Chhupo Na Chhupo Na Chhupo Na” from film ‘My Sister’ (1944); both the versions – in the voices of KL Saigal and Pankaj Mullick – are contained in the post no. 807 (dt. 26Feb2009), although the film carries the Saigal Sb version only.

Please note that the audio and video versions of the same song are not counted as extras.

When the blog arrived at the 13700th milestone on 4th November just passed, the total number songs contained within these posts reached the number of 14200, exactly five hundred more than the number of posts.

The breakup of multi-songs within posts is as follows,

  • Posts containing 2 songs counted – 410 –  410 extra
  • Posts containing 3 songs counted – 34     –  68 extra
  • Posts containing 4 songs counted – 4       –  12 extra
  • Posts containing 5 songs counted – 1        –   4 extra
  • Posts containing 6 songs counted – 0
  • Posts containing 7 songs counted – 1        –   6 extra

In the above listing, the first number in the row is the number of posts for that category (2 songs or 3 songs etc.), and the second number is the number of additional songs that we count, because of this phenomena. The above list tells us that there are a total of 450 posts out of 13,700, which carry more than one song. This number is the total of the first column in the above lines. The total of the second column gives us the number of additional songs that are carried in these posts, which round figure of 500 extra songs (till 4th Nov that is).

A thought here is that we can request Atul ji to also publish the number of songs, along with the number of posts, on the home page.

Now coming to the song for today. At first, I had some courageous and wishful thoughts to try and search for a song that has something to do with ‘thirty four thousand’ or even ‘thirty four’, you know, just like we had a readymade song for the 11000th post (“Gyaarah Hazaar Ladkiyaan”). But I very soon gave up that pursuit as impractical. And so, in consultation with Atul ji, I bring on board a Yippeee song – a rare one that was not even available online so far. The film is ‘First Love’ from 1961. This film carries six songs. Five of these songs are already posted here. These are

  1. Beete Huye Din Kuchh Aise Hi Hain
  2. Maano Ya Na Maano
  3. Mujhe Mil Gayi Hai Muhabbt Ki Manzil
  4. Wo Dekho Aayi Bahaaren Laayi
  5. Mere Pyaar Mein Ya Wafa Na Thhi

The first two songs listed above, were posted in Dec 2011. The third song came on board in Jun 2012. Then after almost two years, the fourth song made its appearance in Apr 2014. Exactly a year later, the 5th song arrived in Apr 2015. After that, likely the lack of online availability of this song disallowed this film from being Yippeee’d. i.e. till now, more than two and half years later.

This last song which is a wonderful duet by Suman Kalyanpur and Kamal Barot, has now been uploaded and the Yippeee call for this film can now be made. The words are from the pen of Gulshan Bawra and the music is by Dattaram. The very prominent Dattu ‘theka’ rhythm of dholak is very prominently heard in the antaraas.

The list of actors in this film includes Mehmood, Naaz, Preetibala, Raj Mehra, Amar, SN Bannerji, amongs others. The list contains only these two names of lady actors. Possibly this song could have been picturized on Naaz and Preetibala, but that is just a guess.

So, 3400 days, 13710 posts (yes, this post is no. 13710), and 14210 songs. So many milestones and measuring dimensions, and counting. But anyway, do listen to this fantastic duet song, with such an endearing rhythm created by Dattaram. And enjoy.

Song – Kis Ko Aai Hai Tu Mil Ke Mil Ke (First Love) (1966) Singer – Suman Kalyanpur, Kamal Barot, Lyrics – Gulshan Bawra, MD – Dattaram
Suman Kalyanpur + Kamal Barot

 

Lyrics

kis ko aai hai tu mil ke
mil ke
phool bani hai kali khil ke
khil ke
ye milan bada pyaara haaye
ye milan bada pyaara. . .

kis ko aai hai tu mil ke
mil ke
phool bani hai kali khil ke
khil ke
ye milan bada pyaara haaye
ye milan bada pyaara. . . pyaara
kis ko aai hai tu mil ke
mil ke
phool bani hai kali khil ke
khil ke

dekh ke
aaina
neeche nazar jo daali
aa gai
gaalon pe
maare sharam ke laai
dekh ke
aaina
neeche nazar jo daali
aa gai
gaalon pe
maare sharam ke laali
aaj kya baat hai
dil pe kyon haath hai
kis ko aai hai tu mil ke
mil ke
phool bani hai kali khil ke
khil ke
ye milan bada pyaara haaye
ye milan bada pyaara. . .
kis ko aai hai tu mil ke
mil ke
phool bani hai kali khil ke
khil ke

zindagi
mein kabhi
yun bhi ho jaata hai
gair ki
cheez pe
apna dil aata hai
zindagi
mein kabhi
yun bhi ho jaata hai
gair ki
cheez pe
apna dil aata hai
pyaar ki
kya khabar
lad gai
kab nazar
kis ko aai hai tu mil ke
mil ke
phool bani hai kali khil ke
khil ke
ye milan bada pyaara haaye
ye milan bada pyaara. . .

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-

किसको आई है तू मिल के
मिल के
फूल बनी है काली खिल के
खिल के
ये मिलन बड़ा प्यारा हाए
ये मिलन बड़ा प्यारा॰ ॰ ॰

किसको आई है तू मिल के
मिल के
फूल बनी है काली खिल के
खिल के
ये मिलन बड़ा प्यारा हाए
ये मिलन बड़ा प्यारा॰ ॰ ॰ प्यारा
किसको आई है तू मिल के
मिल के
फूल बनी है काली खिल के
खिल के

देख के
आईना
नीचे नज़र जो डाली
आ गई
गालों पे
मारे शरम के लाली
देख के
आईना
नीचे नज़र जो डाली
आ गई
गालों पे
मारे शरम के लाली
आज क्या बात है
दिल पे क्यों हाथ है
किसको आई है तू मिल के
मिल के
फूल बनी है काली खिल के
खिल के
ये मिलन बड़ा प्यारा हाए
ये मिलन बड़ा प्यारा॰ ॰ ॰
किसको आई है तू मिल के
मिल के
फूल बनी है काली खिल के
खिल के

ज़िंदगी
में कभी
यूं भी हो जाता है
ग़ैर की
चीज़ पर
अपना दिल आता है
ज़िंदगी
में कभी
यूं भी हो जाता है
ग़ैर की
चीज़ पर
अपना दिल आता है
प्यार की
क्या खबर
लड़ गई
कब नज़र
किसको आई है तू मिल के
मिल के
फूल बनी है कली खिल के
खिल के
ये मिलन बड़ा प्यारा हाए
ये मिलन बड़ा प्यारा॰ ॰ ॰

 


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Fabulous Foot Tappers – 8
– – – – – – – – – – – – – –

“What a find. Such a rollicking song.”

This the comment by our own Ava Suri ji, that I find on the YouTube upload page of this song. Yes, ‘rollicking’ is just the right word to describe the tenor of this song. By the way, the YouTube channel on which this is posted is titled ‘The Edwina Channel’. And for those who are familiar, this channel is managed by Dan Thomas (aka Thomas Daniel). Dan has been actively collaborating with dear Greta Memsaab, for cleaning and sprucing up digital videos of old Hindi films, subtitling them and putting them up on the YT. Our dear Raja ji is also part of this effort.

The eighth edition of this series comes on after a long gap. The previous (7th) episode was posted on 5th April earlier this year (which itself was posted after a gap of almost one and a half years after the 6th one). The delay is all mine, and so is the loss. In the interim, at least two or three songs that I had short listed for this series, got posted otherwise. 😦 🙂 So anyway, the search is on for more Fabulous Foot Tappers from the 1950s and 60s.

The Rock n Roll genre of music took shape and evolved in the United States during late 1940s and early 1950s. The phrase “rocking and rolling” originally described the movements of a ship on the ocean. Later, this phrase was used to describe the spiritual fervor of church rituals, especially the Afro-American church denominations. The phrase also started to be used as a term for amorous tryst between lovers. 😉

Developing from a combination of gospel music, jazz music and the R&B (rhythm and blues) of the Afro-American people, this music very soon caught the fancy of the white teenager population in the growing urban centres in America. Moving on from the origins, where the primary musical instrument used to be a piano or a saxophone, in the early 1950s, the guitar took the centre stage, supported by the drums. And soon, as the electric guitar came along, it became by itself, or in combination with the normal guitar, the lead instrument for this music. As this music became popular across the race divide in the US, radio stations started to dedicatedly play this music, and started to refer to it as Rock n Roll.

Hindi films could not be far behind in adapting this music genre into the film songs. From the mid 1950s onwards, we see quite a number of music directors that took this genre and constructed many a wonderful pieces. Listening to them, there is an urge to tap your feet, or even get up and start dancing to these fabulous rocking sounds.

Today’s treat is a great sampling of this genre. Coming from the obscure film ‘Love And Murder’ (1966), this fast paced song is composed by OP Nayyar. Right from the word go, the drum beats take the centre stage, and in the accompanying visuals we see a group of young men and women dancing to the tune of this wonderful rock n roll song. The dancers are led by Edwina. The other young lady accompanying her in the lead movements is identified as Aruna, as per the YT post by Dan.

If this song had not been so positively rollicking, I would have been tempted to use it in the other series titled “Rare Performances – Things Unique and Unexpected”. We have a surprise – an actor who I see lip syncing a song on screen for the first time – Hiralal, the noted villain character from many a films of the Golden Era. He is accompanied very enthusiastically by Suresh. There is one more bearded young man who accompanies them in the lead singing; I request for help from other knowledgeable readers to identify this actor.

I have noted this as a “diversion” song. As the opening shot shows, this song is being performed during late evening time, on open street in front of a building that carries the sign board of a bank. As the song proceeds, we are treated to some shots which explain what is happening – the plan is to rob the bank. Some members of the gang are inside the bank and are attempting to blast open the vault with explosives. Another part of this gang is on the road outside the bank, with loud music, singing and fireworks, obviously to mask the explosive sounds of the misdeeds of the miscreants inside the bank.

The words of this song are penned by Shewan Rizvi. The music, the drum rhythms, the quick-burst paced singing and the energetic dance action on the street, all combine to make a wholly fabulous foot tapper. When I started exploring this film for songs, and came across this one, I am simply not able to resist listening to it every so often for the past few days. As Ava ji has said it, and I repeat – “Such a rollicking song”.

I suggest you put on your dancing shoes, before playing it. 😉

 

Song – Dekhne Waale Dekh Karishma Yaaron Ka (Love And Murder) (1966) Singer – Mohammed Rafi, Lyrics – Shewan Rizvi, MD – OP Nayyar
Chorus
Rafi + Chorus

Lyrics

dekhne waale dekh karishma yaaron ka
takht mila ya hoga takhta chaaron ka
dekhne waale dekh karishma yaaron ka
takht mila ya hoga takhta chaaron ka

dekh palat ke dhyaan kidhar hai
kisi ki topi kisi ke sar hai
haath safaai bada hunar hai
naam hamaara jaadugar hai
hosh udaa de badey badey hoshiyaaron ka
dekhne waale dekh karishma yaaron ka
takht mila ya hoga takhta chaaron ka

chhuri bagal mein ram ka naara
galey lagaa ke phere aara
aankhen ho to dekh nazaara
raat mein suraj
din mein taara
kehl yahaan pe paise ki jhankaaron ka
dekhne waale dekh karishma yaaron ka
takht mila ya hoga takhta chaaron ka

ajab hai naksha aaj shehar ka
kahin chataakha kahin pataakha
door kahin par hua dhamaaka
koi na samjha shukar khuda ka
shehar mien hoga shor ye kal akhbaaron ka
dekhne waale dekh karishma yaaron ka
takht mila ya hoga takhta chaaron ka

dekhne waale dekh karishma yaaron ka
takht mila ya hoga takhta chaaron ka

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-

देखने वाले देख करिश्मा यारों का
तख्त मिला या होगा तख़्ता चारों का
देखने वाले देख करिश्मा यारों का
तख्त मिला या होगा तख़्ता चारों का

देख पलट के ध्यान किधर है
किसी की टोपी किसी के सर है
हाथ सफाई बड़ा हुनर है
नाम हमारा जादूगर है
होश उड़ा दे बड़े बड़े होशियारों का
देखने वाले देख करिश्मा यारों का
तख्त मिला या होगा तख़्ता चारों का

छुरी बगल में राम का नारा
गले लगा के फेरें आरा
आँखें हों तो देख नज़ारा
रात में सूरज दिन में तारा
खेल यहाँ पे पैसे की झंकारों का
देखने वाले देख करिश्मा यारों का
तख्त मिला या होगा तख़्ता चारों का

अजब है नक्शा आज शहर का
कहीं चटाखा कहीं पटाखा
दूर कहीं पर हुआ धमाका
कोई ना समझा शुकर खुदा
शहर में होगा शोर ये कल अखबारों का
देखने वाले देख करिश्मा यारों का
तख्त मिला या होगा तख़्ता चारों का

देखने वाले देख करिश्मा यारों का
तख्त मिला या होगा तख़्ता चारों का


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Missing Films of 1960s – 36
– – – – – – – – – – – – – – –

Aisa to hota hi hai. The name of the film sometimes is not so interesting; it seems to automatically convey a B/C grade stunt cum familiar crime and punishment fare. And so we tend to pass over such names in our search of favorites. But as always, unfailingly, it is such films that carry some of the best music that we have heard. Plus, as I realized while checking out this film, the music director is OP Nayyar. The year is 1966, and OPN is quite much in the running as one of the top music directors in the industry. And the film that I am un-packaging on this blog for the first time – it is ‘Love And Murder’.

Sure you will say, with such a name, who would pay attention. Plus the star cast – lead pair is Ramesh Deo and Jaimala. Well, who would pause at this film while browsing the lists. Aah, but we err here. If there is Helen in the cast, and the music is by OPN, one can expect some real good songs with Asha Bhosle singing and Helen doing her moves on the screen. Yes, we need to be more sensitive to such tell tale signs as we look for songs to post. Plus given that this film is available, and all its songs are available online – that sure is an error on our part.

So the film ‘Love And Murder’ makes its debut on our blog today, with this signature Helen dance song. It surely caught my fancy as soon as I heard it, and I have repeated heard it many times over the past two three days. And there is more in this film – the other songs are no less exquisite.

This is a stunt film from the banner of Adarshlok, Bombay, and is directed by Raja Paranjape. Cast of actors includes Prithiviraj Kapoor, Ramesh Deo, Jaimala, Helen, Heeralal, Kammo and Chandrakant Ghokale, amongst others. This list is taken from the Geet Kosh details, and possibly more names can be added. One, maybe, in this song itself. Onscreen we see Helen and Ramesh Deo. Later during the performance, Jaimala makes an entry. There is one more familiar face in this clip; the gentleman who gets up and approaches Jaimala as she enters the scene. Is this the actor Suresh? I am guessing, and I request other knowledgeable readers and friends to please confirm or correct my statement.

The film has six songs. Geet Kosh lists names of three songwriters – Shewan Rizvi, SH Behari and Aziz Lucknawi. Of the six songs, two are attributed to Aziz Lucknawi and one each to Shewan Rizvi and SH Behari. Two songs are listed with no name of lyricist attached to it. Today’s song is one of those two songs without an attribution of a songwriter.

OPN + Asha Bhosle + Helen, the combination makes for some very good music and dance performance. This song is no exception. The rhythm and the beats in the song are just superb. OPN shifts between drums for the mukhda and the interludes, and tabla for the antaraas. A typical OPN style that can be seen is some more of his creations.

Enjoy this wholesome debut, wonderful music, and Helen – what more one can ask for. 🙂

 

Song – Mere Dil, Meri Jaan  (Love And Murder) (1966) Singer – Asha Bhosle, Lyrics – [Unattributed], MD – OP Nayyar

Lyrics

ha aa aa ha ha ha
ha aa aa ha ha ha
ha aa aa ha ha ha
ha aa aa ha ha haaa. . .

mere dil
meri jaan
tu keh de to kar daaloon main dil ka haal byaan
ho mere dil
meri jaan
tu keh de to kar daaloon main dil ka haal byaan..aa..aan

ho laara ho laara
ho laara ho laara
ho laara ho laara ho laara ho oo oo

khamoshi kehti hai
bechaini rehti hai
khamoshi kehti hai
bechaini rehti hai
tanhaai ki raaten hain
deewaaron se baaten hain
tanhaai ki raaten hain
deewaaron se baaten hain
ho ja re mujh par zara meharbaan
ho ja re mujh par zara meharbaan

ho mere dil
ho oo
meri jaan
haaaye
tu keh de to kar daaloon main dil ka haal byaan
ha ha ha ha ha
ho mere dil
ho oo
meri jaan
ho oo oo
tu keh de to kar daaloon main dil ka haal byaan..aa..aan

ho ra la ho la ho
o la la ho la ho
ra la ho ra ho ra ho oo oo

aankhon mein tu hi tu
saanson mein tu hi tu
aankhon mein tu hi tu
saanson mein tu hi tu
aa ja meri baahon mein
jannat hai in raahon mein
aa ja meri baahon mein
jannat hai in raahon mein
sun le mere pyaar ki daastaan
sun le mere pyaar ki daastaan

ho mere dil
ho oo
meri jaan
ho oo
tu keh de to kar daaloon main dil ka haal byaan
ha ha ha ha ha
ho mere dil
meri jaan
ho oo oo
tu keh de to kar daaloon main dil ka haal byaan..aa..aan
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हा आ आ हा हा हा
हा आ आ हा हा हा
हा आ आ हा हा हा
हा आ आ हा हा हा॰ ॰ ॰

मेरे दिल
मेरी जाँ
तू कह दे तो कर डालूँ मैं दिल का हाल बयां
हो मेरे दिल
मेरी जाँ
तू कह दे तो कर डालूँ मैं दिल का हाल बयां॰॰आ॰॰आं

हो लारा हो लारा
हो लारा हो लारा
हो लारा हो लारा हो लारा हो ओ ओ

खामोशी कहती है
बेचैनी रहती है
खामोशी कहती है
बेचैनी रहती है
तनहाई की रातें हैं
दीवारों से बातें हैं
तनहाई की रातें हैं
दीवारों से बातें हैं
हो जा रे मुझपे ज़रा महरबां
हो मेरे दिल
हो ओ
मेरी जाँ
हा॰॰ए
तू कह दे तो कर डालूँ मैं दिल का हाल बयां
हा हा हा हा हा
हो मेरे दिल
हो ओ
मेरी जाँ
हो ओ ओ
तू कह दे तो कर डालूँ मैं दिल का हाल बयां॰॰आ॰॰आं

हो रा ला हो ला हो
ओ ला ला हो ला हो
रा ला हो रा हो रा हो ओ ओ

आँखों में तू ही तू
साँसों में तू ही तू
आँखों में तू ही तू
साँसों में तू ही तू
आजा मेरी बाहों में
जन्नत है राहों में
सुन ले मेरे प्यार की दास्ताँ
सुन ले मेरे प्यार की दास्ताँ
हो मेरे दिल
हो ओ
मेरी जाँ
हो ओ
तू कह दे तो कर डालूँ मैं दिल का हाल बयां
हा हा हा हा हा
हो मेरे दिल
मेरी जाँ
हो ओ ओ
तू कह दे तो कर डालूँ मैं दिल का हाल बयां॰॰आ॰॰आं


This article is written by Peevesie’s Mom, 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

The small girl in the song with this post celebrates her 52nd birthday today—unbelievable she is so young. The birthday list on our blog says she is 1965 born, also the Filmfare awards list page says she was all of 15 when in 1980 she won the Best Supporting Actress award for her depiction of a rape victim (in ‘Insaaf Ka Taraazu’). She seems to have been around forever. I just do not want to use the phrase ‘past her prime.’ Come to think of it she is younger to the Khans who are ruling the industry these days.

Born as the eldest child to Pandarinath Kolhapure – a cousin of the Mangeshkars – she was cast as a child actor for the first time in Dev Anand’s ‘Ishq Ishq Ishq’ in 1975. From there she has not looked back and worked with all the three pillars of Bollywood- with Dev Anand in ‘Ishq Ishq Ishq’, Raj Kapoor cast her in ‘Satyam Shivam Sundaram’ (1978) and then later in ‘Prem Rog’ (1982), and Dilip Kumar was her co-star in ‘Vidhaata’ (1982). Added to that her filmography shows that there was hardly any big star who has not acted with her; the sole exception being Amitabh Bachchan. She was romantically paired opposite Rajesh Khanna and Jeetendra. She got a best supporting actress for her performance in B.R.Chopra’s ‘Insaaf Ka Tarazu’. That same year saw her in her first heroine role in ‘Zamaane Ko Dikhaana Hai’ opposite to Rishi Kapoor. But her best actress award was for Raj Kapoor’s ‘Prem Rog’. She also got a special award for ‘Ahista Ahista’ (1981).  She took a break after marrying Tutu (Pradeep) Sharma in 1989 and made a comeback in a Marathi film “Chimani Pakhar” in 2003. Last I remember seeing her in a serial on Sony TV with her friend Poonam Dhillon as costar.

Here is wishing this multi-talented, cute, sweet, baby-faced actor a Very Happy Birthday. This song, from the 1978 film ‘Saajan Bina Suhaagan’, is filmed on Nutan, Radha Bartake, Arati Chopra and Padmini Kolhapure – today’s birthday gal. It is written by Indivar, and Usha Khanna is the music director. The film is produced by Sawan Kumar Tak. The playback singers are Arati Mukherjee, Chandrani Mukherjee and ShivangiKolhapure.

 

(Audio)

(Video)

Song – Happy Birthday To You (Saajan Bina Suhaagan) (1978) Singer – Aarti Mukherji, Chandrani Mukherji, Shivangi Kolhapure, Lyrics – Indivar, MD – Usha Khanna
Aarti + Chandrani + Shivangi

Lyrics

apna sab ko roop dikhaun
jab ishwar ke mann mein aaya
tab maa us ne tujhko banaaya
tujh mein apna roop sajaaya
aaj tera maa janam din aaya
happy birthday to you
o mamma
dear mamma
happy birthday to you
o mamma dear mamma
happy birthday to you

la lala
lala lala
lallaa la la laaa

la lala lalaallaa la la
la la laalla la la lalla
la lalla la la

jeewan ke jitne pal hum ne
god me teri guzaare
jeewan ke jitne pal hum ne
god me teri guzaare
maa wo pal jeevan mein humko
lagte hain sabse pyaare
o mamma dear mamma
o mamma pyaari mamma
happy birthday to you
o mamma
dear mamma
happy birthday to you

pyaar ko tu anuraag samajh ke
sab kuchh hum pe lutaaye
pyaar ko tu anuraag samajh ke
sab kuchh hum pe lutaaye
laakhon hi upkar kare
upkar kabhi na jataaye
o mamma dear mamma
o mamma pyaari mamma
happy birthday to you
o mamma
dear mamma
happy birthday to you

hum hain tere pyaar ki kaliyaan
tu mamata ki daali
hum hain tere pyaar ki kaliyaan
tu mamata ki daali
janam divas ho tujh ko mubaarak
hum ko janam dene waali
o mamma dear mamma
o mamma pyaari mamma
happy birthday to you
o mamma
dear mamma
happy birthday to you
o mamma
dear mamma
happy birthday to you

laa lala
lala lala
lallaala lallaala laa

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

अपना सबको रूप दिखाऊँ
जब ईश्वर के मन में आया
तब माँ उसने तुझको बनाया
तुझ में अपना रूप सजाया
आज तेरा जनम दिन आया
हॅप्पी बर्थडे टू यू
ओ माम्मा
डियर माम्मा
हॅप्पी बर्थडे टू यू
ओ माम्मा डियर माम्मा
हॅप्पी बर्थडे टू यू

ला लाला
लाला लाला
लल्ला ला ला ला॰॰॰

जीवन के जीतने पल हमने
गोद में तेरी गुज़ारे
जीवन के जीतने पल हमने
गोद में तेरी गुज़ारे
माँ वो पल जीवन में हमको
लगते हैं सबसे प्यारे
ओ माम्मा डियर माम्मा
ओ माम्मा प्यारी माम्मा
हॅप्पी बर्थडे टू यू
ओ माम्मा
डियर माम्मा
हॅप्पी बर्थडे टू यू

प्यार को तू अनुराग समझ के
सब कुछ हमपे लुटाये
प्यार को तू अनुराग समझ के
सब कुछ हमपे लुटाये
लाखों ही उपकार करे
उपकार कभी ना जताए
ओ माम्मा डियर माम्मा
ओ माम्मा प्यारी माम्मा
हॅप्पी बर्थडे टू यू
ओ माम्मा
डियर माम्मा
हॅप्पी बर्थडे टू यू

हम हैं तेरे प्यार की कलियाँ
तू ममता की डाली
हम हैं तेरे प्यार की कलियाँ
तू ममता की डाली
जनम दिवस हो तुमको मुबारक
हमको जनम देने वाली
ओ माम्मा डियर माम्मा
ओ माम्मा प्यारी माम्मा
हॅप्पी बर्थडे टू यू
ओ माम्मा
डियर माम्मा
हॅप्पी बर्थडे टू यू
ओ माम्मा
डियर माम्मा
हॅप्पी बर्थडे टू यू

ला लला
लाला लला
लल्लाला लल्लाला ला


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Ah yes, saving the best for the last. What a wonderful lilting song this one is. With this post we bring to completion the list of all songs for the film ‘Maan’ (1954). So, another Yippeee moment for this blog. Congratulations to all readers and all members of this musical bandwagon.

‘Maan’ is a costume drama which is produced by Rajendra Jain for the banner of Filmkaar Ltd., Bombay. The film is directed by Safdar ‘Aah’ Sitapuri, who has also penned five of the nine songs in this film. The remaining four songs are shared between Raja Mehdi Ali Khan (1) and Kaif Bhopali (3). Music is from the mind of Anil Biswas (assisted by Ram Singh). The cast of actors includes Ajit, Chitra, Durga Khote, Jaagirdar, Kumar, Achala Sachdev, Yashodhara Katju, Kamlesh Kumari and Chanda Bai etc.

As per the footnotes in the Geet Kosh, originally eleven songs in all were recorded for this film. Two songs were later cancelled and not included in the film. The mukhdas of the songs are – “Aati Na Yun Bahaaren. . .” in the voice of Lata Mangeshkar, and “Ye Achha Sauda Hum Ne Kiya. . .” in the voice of Shamshad Begum. It appears that these two songs, although recorded, were not released on gramophone records. No other information or trace of these songs is available as yet.

The eight songs posted earlier are listed below, in the order of their appearance on the blog. The Geet Kosh serial no. is added in brackets at the end of each line.

  1. Dam Bhar Ka Thaa Daur Khushi Ka (7)
  2. Mere Pyaar Mein Tujhe Kyaa Milaa (4)
  3. Allah Bhi Hai Mallah Bhi Hai (8)
  4. Keh Do Ke Muhabbat Se Na Takraaye Zamaana (6)
  5. Guzra Hua Ulfat Ka Zamaana (5)
  6. Main Kya Karoon Rukti Nahin Ashqon Ki Rawaani (1)
  7. O O O Phaili Hai Khabar (2)
  8. Kya Bataayen Chheen Kar Mutthi Mein Wo Kya Le Chale (9)

The foot notes in the Geet Kosh carry a very interesting side story. And it has to do with the iconic film ‘Mughal e Azam’ (1960). As per the foot note, which is short and cryptic, the song at serial no. 8 (in GK) – “Allah Bhi Hai Mallah Bhi Hai” was originally recorded for the film ‘Mughal e Azam’ by Anil Biswas, and later this song was included in this film.

A little more detailed background is available from the annual publication of Society of Indian Record Collectors (SIRC). When K Asif planned for this film originally in the mid 1940s, the mantle for being the music director was assigned to Anil Biswas. The original cast of actors included Chandramohan, Nargis, Sapru, and Veena. Apparently, the roles to be played were assigned as Chandramoha – Shahenshah Akbar, Sapru – Salim, Nargis – Anarkali and Veena – Jodha Bai. During the remaining part of the decade, all the original planning was disturbed. Partition was foisted upon this country. The financier for this film migrated to the new nation of Pakistan in 1947. And in 1949, Chandramohan passed away. Sapru, who was a rising star in 1945, turned out to be not so popular a hero over the next 3 to 4 years. A few reels of this film were already shot.

With all these adverse changes forced by the circumstances, K Asif revamped his planning. By the time 1950s came about, he had brought in Prithviraj Kapoor in place of Chandramohan and Dilip Kumar in place of Sapru. Dilip Kumar and Nargis were already working together in Asif Sb’s other venture – ‘Hulchul’ which was released in 1951. Asif faced quite a bit of turbulent time on the sets with this lead pair. The relations between the two were very strained, and ‘Hulchul’ was somehow completed. Beyond 1951, Asif Sb realized the futility of having this lead pair to continue together for ‘Mughal e Azam’. He made a decision to replace Nargis, retaining Dilip Kumar in the role of Salim. Later on, Madhubala was approached for the role of Anarkali.

Now coming to the music director. Asif Sb in his productions seems not to have tied himself to any one music director. His first film, ‘Phool’ released in 1945, has Ghulam Haider Sb as the music director. Then the initial announcement of ‘Mughal e Azam’ had Anil Biswas as the MD. When this film was put on hold, and Asif Sb started to work on ‘Hulchul’, he contracted Sajjad Husain Sb for being the music director. The working relationship between the two was not amiable, and Sajjad Sb opted out before the music work was complete. Asif Sb then brought in Mohammed Shafi to complete the MD’s work for the film. Three of the ten songs of ‘Hulchul’ are composed by Shafi Sb. The next – as the work in ‘Mughal e Azam’ got restarted, we find Naushad Sb in the role of MD. I have not been able to locate any information as to why this change was made.

As per Geet Kosh, the song “Allah Bhi Hai Mallah Bhi Hai”, was originally recorded for ‘Mughal e Azam’. As I scan the list of songs of ‘Mughal e Azam’, my intuition says that in the final version of the film, the song “Bekas Pe Karam Kijiye Sarkaar e Madina” took the place of “Allah Bhi Hai . . .”. However, my intuition actually goes one step further. After I read about original recordings by Anil Biswas, I scanned the song lists of the two films and tried to do a comparison. It is possible that there may have been more songs originally created by Anil Biswas. In my mind, I can locate at least one more coincidence. The song from the final version of ‘Mughal e Azam’ – “Zindabad Zindabad, Ae Mohabbat Zindabad”, is very likely a replacement song for the original – “Keh Do Ke Mohabbat Se Na Takraaye Zamaana”. The fervor and the rebellious tone of the both the songs is quite similar in intensity.

So much for the digression, let me come back to the song for today. And the singer – Meena Kapoor. The mention of this name immediately brings to the mind the iconic song “Rasiya Re Man Basiya Re” from the 1957 film ‘Pardesi’. And then some others – “Kuchh Aur Zamaana Kehta Hai” from ‘Chhoti Chhoti Baaten’ (1965), “Kachchi Hai Umariya, Kori Hai Chunariya” from ‘Chaar Dil Chaar Raahen’ (1959), “Laagi Naahi Chhote Raama, Chaahe Jiya Jaaye” from ‘Sautela Bhai’ (1962), again from ‘Pardesi’ – “Rimi Jhimi Barse Paani Ho Aaj Morey Angnaa”. And the iconic “Mori Atariya Pe Kaaga Boley, Mora Jiya Doley” from ‘Aankhen’ (1950). And yes, she is the accompanying singer to C Ramchandra in another iconic, nay, almost a cult song – “Aana Meri Jaan Meri Jaan Sunday Ke Sunday” from ‘Shehnaai’ (1947). In a career that spanned two decades from 1946 to 1965, Meena ji has sung approximately 160 songs in Hindi films.

Meena ji was born on 27th August, 1930 in Calcutta, literally in the lap of New Theatres. Her father, Birkam Kapoor, was a character artist with the New Theatres at that time. He was a close associate and a good friend of KL Saigal, KC Dey, Prithviraj Kapoor and Pahadi Sanyal. We have seen him in films like ‘Karwaan e Hayaat’ (1935), ‘Dhoop Chhaaon’ (1935), ‘President’ (1937), and ‘Street Singer’ (1938). In 1940-41, when we see an exodus of the premier stars from Calcutta to Bombay, Bikrma Kapoor also moved to Bombay with his family. The young Meena grew up in the company of stalwart uncles, and the lights and cameras of shooting studios.

Not much details are available about her early years and her development as a singer. When she was sixteen, KC Dey gave her the first break as a singer in the film ‘Door Chalen’ (1946). KC Dey was the music director for this film. Meena ji sang three songs in this film, two duets (with KC Dey) and one solo – “Aa Gayi Aa Gayi Zindagi Mein Ik Nayi Kahaani Aa Gayi”. In the same year, SD Burman, who was making his debut in Hindi films with ‘Eight Days’ also gave her an opportunity to sing under his music direction – “Kisi Se Meri Preet Lagi Ab Kyaa Karoon”. Then 1947 happened to be, and the nation wide popularity of “Sunday Ke Sunday” made her a household name. With a sweetness and a scampering youthfulness in her voice, she soon became a singer popular and in demand with the music directors. Till 1954, she was a busy artist with almost 110 songs from about 60 films.

Many of her songs became very popular. A sampling – “Main Birhan Baithi Jaagun” (film ‘Gopinath’, 1948); “Yaad Rakhna Chaand Taaron” (film ‘Anokha Pyaar’, 1948); “Boot Polish Karwa Le Baabu” (film ‘Ghar Ki Izzat’, 1948); “Main Reh Gayi Ankhiyaan Malti Re” (film ‘Anyaay’ (1949); “Lo Jawaani Ka Zamaana Aa Gayaa” (film ‘Aadhi Raat’, 1950); “Kabhi Tum Khwaab Mein Chupke Se Aa Jaate” (film ‘Gul Sanobar’ (1953); “Chaand So Gaya Taare So Gaye” (film ‘Raahi’, 1953); “Ek Kali Aur Do Patiyaan” with Hemant Kumar (also from ‘Raahi’, 1953);“Aag Chhidak Gai Chaandni Morey Gorey Badan Pe” (‘Aagosh’, 1953); “Ek Dharti Hai Ek Hai Gagan” (film ‘Adhikaar’, 1954); “Mere Chanchal Naina Ras Ke Bhare” (‘Angulimaal’, 1960); “Dil Hamko Dhoondhtaa Hai” (film ‘Return of Mr Superman’, 1960); and many more in between.

As per Geet Kosh listings, her voice appears once again in the film ‘Suhaani Raat’ which was released in 1974. The music director is Ram Ganguly. It is noted that this film was produced much earlier, but its release was delayed significantly. I have not yet located more information on this film, and I request our more knowledgeable readers and friends to kindly add more information about this film if available. The Geet Kosh notes that Meena Kapoor’s voice is used in this film, but singer names against individual songs are not specified.

The song being presented today, is my favorite from the list of songs of this film. Other than “Keh Do Ke Mohabbat Se Na Takraaye Zamaana”. In a list of songs (of this film) that has many superb creations, I like this song for its natural perkiness, and a joyous celebration of having discovered the emotion of love. Simple words, simply rendered, but oh so effectively tuned together, bringing out the brimming happiness, even so that the play of words is unmindful of the words themselves. This is the first time I have come across the word ‘dilaar’, spoken in conjunction with ‘dilbar’ and ‘dildaar’, the latter one itself is somewhat accentuated as ‘dil e daar’. The lighthearted pleasure in the construction of the lines and cheerful levity in their rendering make this song so delightful and endearing.

Enjoy this lovely creation – Anil Biswas, Safdar ‘Aah’, and Meena Kapoor – superbly done.

[Ed Note: The song has been uploaded on YouTube by our very own Sadanand Kamath ji.]

Song – Dilbar Dilaar Dil e Daar Ho  (Maan) (1954) Singer – Meena Kapoor, Lyrics – Safdar Aah Sitapuri, MD – Anil Biswas

Lyrics

dilbar dilaar dil e daar ho
dilbar dilaar dil e daar ho
chhup na saka tera pyaar ho oo oo
chhup na saka tera pyaar ho oo oo
dilbar dilaar dil e daar ho
dilbar dilaar dil e daar ho

hothon ne kuchh na kaha
chitwan ne bol diya..aa..aa
chitwan ne bol diya
dil mein chhupaaye huye
raazon ko khol diya
raazon ko khol diya
aankhen jo hum se huin chaar ho oo oo
aankhen jo hum se huin chaar ho oo oo
dilbar dilaar dil e daar ho
dilbar dilaar dil e daar ho

laayegi rang naye do dil ki dhadkan
laayegi rang naye do dil ki dhadkan
daalo na jalte huye deepak pe daaman
daalo na jalte huye deepak pe daaman
bhole mere sarkaar ho oo oo
bhole mere sarkaar ho oo oo
dilbar dilaar dil e daar ho
dilbar dilaar dil e daar ho
chhup na saka tera pyaar ho oo oo
chhup na saka tera pyaar ho oo oo
dilbar dilaar dil e daar ho
dilbar dilaar dil e daar ho
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
दिलबर दिल्लार दिल ए दार हो
दिलबर दिल्लार दिल ए दार हो
छुप ना सका तेरा प्यार हो ओ ओ
छुप ना सका तेरा प्यार हो ओ ओ
दिलबर दिल्लार दिल ए दार हो
दिलबर दिल्लार दिल ए दार हो

होठों ने कुछ ना कहा
चितवन ने बोल दिया॰॰आ॰॰आ
चितवन ने बोल दिया
दिल में छुपाए हुये
राज़ों को खोल दिया
राज़ों को खोल दिया
आँखें जो हमसे हुईं चार हो ओ ओ
आँखें जो हमसे हुईं चार हो ओ ओ
दिलबर दिल्लार दिल ए दार हो
दिलबर दिल्लार दिल ए दार हो

लाएगी रन नए दो दिल की धड़कन
लाएगी रन नए दो दिल की धड़कन
डालो न जलते हुये दीपक पे दामन
डालो न जलते हुये दीपक पे दामन
भोले मेरे सरकार हो ओ ओ
भोले मेरे सरकार हो ओ ओ
दिलबर दिल्लार दिल ए दार हो
दिलबर दिल्लार दिल ए दार हो
छुप ना सका तेरा प्यार हो ओ ओ
छुप ना सका तेरा प्यार हो ओ ओ
दिलबर दिल्लार दिल ए दार हो
दिलबर दिल्लार दिल ए दार हो


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Saga Of Sleepless Nights – 4
– – – – – – – – – – – – – – –

kankariya maar ke jagaaya. . .
kal tu mere sapne mein aaya. . .

I believe this is another so verily a commonplace experience, waking up in the darkness of the night. The structured minds and the regimented ‘scientific’ thought process, has a very different view of what this sleeplessness is. On the other hand, a romantic, poetic mind will have an expression so totally different, and so wonderfully human. And if that mind is familiar with, and is a connoisseur of Hindi film music, that mind will have simply no difficulty in understanding. For there is so much that the song writers have written, and so much that the singers have rendered. . . about this waking up in the middle of a deep sleep.

Sleep itself has been a subject of so much investigation, and philosophy, over the centuries as the human mind made efforts to comprehend this elusive phenomena, that is omnipresent, and yet it defies examination, for such obvious reasons. Philosophers have equated this state of human existence as a temporary ‘death’ – we know not where we are, or have been, from the moment that we lose the power to process the inputs coming in from the five senses, to the moment when we once again feel the pressure touch of the bed (or whatever one has reclined on), signaling that the mind and the senses are back once again to the world of the familiar. For a very brief, fleeting moment, we have this opportunity that we may focus and capture the last of the signals coming in from a world where we have been, for the past few hours. Alas, but the waking mind immediately starts to buzz with – ‘the things to be done’ in this new day. That fleeting opportunity vanishes in a fraction of a moment.

I recall the lines from the hit single by Peter Sarstedt. I am sure many readers will recall the song “Where Do You Go To My Lovely, When You Are Alone In Your Bed. . .”. This song made it to the top charts in 1969, and was a very popular number on the request programs in the 1970s. The song represents the seminal query in trying to understand what is this state of being asleep.

More than the moment of waking up in the new day, it is this waking up in the middle of night that probably could be a more opportunistic moment to consciously follow this exploratory thought process. The sensory inputs are minimal at that time. However, the greater distractions come from within the mind itself, as it immediately starts searching for the most recent input responsible for this midnight wakefulness. Sometimes it creates a worry and stress. Sometimes the mind may recall the remnants of a dream that was playing on the subconscious screen, just a moment before. Sometimes, the mind may zero in on an unfamiliar uncharacteristic sound of recent origin, that disturbed the mind strongly enough. Sometimes, the mind fails to register anything, and then just a fear, an unknown apprehension starts to build within. So many innumerable situations may develop immediately in the mind, to explain and to explore this disturbance in sleep.

For the poète romantique, this middle of the night wakefulness is yet another expression of an amorous tryst, wherein the sudden wakefulness is attributed to the presence of the beloved, or the presence of the thoughts of the beloved. The presence may be real, or it may be in thoughts and dreams, that feel so intensely real, that the personal consciousness that was lost somewhere in the planes of the subconscious, or maybe even deeper, gets a nudge that is sharp enough to push it back into the conscious plane. And so, the poet’s mind will spell it out in words like “Kankariya Maar Ke Jagaaya. . . Kal Tu Mere Sapne Mein Aaya. . .”. Or it may be “Balam Torey Kaaran Nindiya Na Aawe” (‘Calcutta After Midnight’, 1937).
Or maybe “Sapnon Mein Aane Waale Hamko Jaga Rahe Hain” (‘Parbat Pe Apna Dera’,1944).
Or maybe, “Chhed Gayo Mohey Sapne Mein Shyaam” (‘Jhaanjar’, 1953).
Or maybe “Meethi Meethi Neend Mein Soi Thee Jawaani, Jagaa Gaya Koi Deke Pyaar Ki Nishaani” (‘Laakhon Mein Ek’, 1955).
Or maybe “Apne Khayaalon Ko Samjhaa Deejiye” (‘Marine Drive’, 1955)
Or maybe another, “Aankhon Se Nindiya Aankhein Churaaye” (‘Kaala Chashma’, 1962).

And there are more, many more such expressions that tell so many variations of this theme. The song I present today is from an obscure Bhojpuri film, ‘Hamaar Sansaar’ (1965). Initially I was planning this post with the audio of the song, when I realized that I do have this film in my collection. As I looked it up, and it is better that I looked it up, I find one extra antaraa in the video version. The audio has two stanzas, and the video clip has three. The song is written by Majrooh Sb, and the music director is Shyam Sharma. Ah yes, a name that we are familiar with, as dear Bharat Bhai introduced him on this blog, with his series ‘Sureeli Suman’. Thus far, Shyam Sharma has appeared only as a composer for NFS. With this post, he is now also introduced as a music director for film songs. Although the two outings that one can trace in the Geet Kosh, are both Bhojpuri films.

The singers are Krishna Kalle and Suman Kalyanpur. The song is presented as a typical mujra session. It is a twin dance, and I am seeking help to identify the dancers on screen. Two names from the list of cast look very familiar. The names are Lakshmi Chhaaya and Madhmati. I request other knowledgeable friends and readers to confirm, or suggest the correct names.

And so continues the saga of sleepless nights. . .

Song – Kaanche Nindiya Jagaawe Bedardi Na Maane Rama  (Hamaar Sansaar) (1965) Singers – Krishna Kalle, Suman Kalyanpur, Lyrics – Majrooh Sultanpuri, MD – Shyam Sharma
Krishna Kalle + Suman Kalyanpur

Lyrics

aaaa aaaaaa aaaa
aaaaaaaa aaaa

haaaaaye..e..e..e

kaanche nindiya jagaa..aa..aawe rama
ae ji
kaanche nindiya jagaawe bedardi
na maane raama
kaanche nindiya jagaawe bedardi
na maane raama

aadhi aadhi ratiyaan julami ghar aawe
aadhi aadhi ratiyaan ji
aadhi aadhi ratiyaan ji
aadhi aadhi ratiyaan
julami ghar aawe
saanche dehiya jalaawe
ho oo oo oo
saanche nindiya jagaawe bedardi
na maane raama
kaanche nindiya jagaawe bedardi
na maane raama

ras ke lobhi maramio na jaane
lakh kahi mor kehnio na maane
ras ke lobhi maramio na jaane
lakh kahi mor kehnio na maane
ghaayal ji ke daradio na jaane
ghaayal ji ke daradio na jaane
daradio na jaane
kehnio na maane
aaaa aaaa haaye..ey..ey..ey…
saanche agia lgaawe ho raama
saanche agia lgaawe bedardi
na maane raama
kaanche nindiya jagaawe bedardi
na maane raama

dhai ke acharwa nidar naahi chhode
phiri phiri bairi je baiyyaan marode
dhai ke acharwa nidar naahi chhode
phiri phiri bairi je baiyyaan marode
ruslaap sainyyaan ji haath laage jode
ruslaap sainyyaan ji haath laage jode
haath laage jode
nidar naahi chhode
aaaa aaaa haaye..ey..ey..ey…
painyyaan padi ke manaawe ho rama
painyyaan padi ke manaawe bedardi
na maane raama
kaanche nindiya jagaawe
ho oo oo oo oo
kaanche nindiya jagaawe bedardi
na maane raama

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

आsss आsssss आsss
आsssss आsss

हा॰॰आये॰॰ए॰॰ए॰॰ए

कांचे निंदिया जगा॰॰आ॰॰आवे रामा
ए जी
कांचे निंदिया जगावे बेदर्दी
ना माने रामा
कांचे निंदिया जगावे बेदर्दी
ना माने रामा

आधी आधी रतियाँ जुलमी घर आवे
आधी आधी रतियाँ जी
आधी आधी रतियाँ जी
आधी आधी रतियाँ
जुलमी घर आवे
साँचे देहिया जलावे
हो ओ ओ ओ
साँचे निंदिया जगावे बेदर्दी
ना माने रामा
कांचे निंदिया जगावे बेदर्दी
ना माने रामा

रस के लोभी मरमिओ ना जाने
लाख कही मोर कहनीओ ना माने
रस के लोभी मरमिओ ना जाने
लाख कही मोर कहनीओ ना माने
घायल जी के दरदीओ ना जाने
घायल जी के दरदीओ ना जाने
दरदीओ ना जाने
कहनीओ ना माने
आsss आsss हाए॰॰ए॰॰ए॰॰ए
साँचे अगिया लगावे हो रामा
साँचे अगिया लगावे बेदर्दी
ना माने रामा
कांचे निंदिया जगावे बेदर्दी
ना माने रामा

धई के अचरवा निडर नाही छोड़े
फिरी फिरी बैरी जे बँईय्यां मरोड़े
धई के अचरवा निडर नाही छोड़े
फिरी फिरी बैरी जे बँईय्यां मरोड़े
रुसलाप संईय्यां जी हाथ लागे जोड़े
रुसलाप संईय्यां जी हाथ लागे जोड़े
हाथ लागे जोड़े
निडर नाही छोड़े
आsss आsss हाए॰॰ए॰॰ए॰॰ए

पंईय्यां पड़ी के मनावे हो रामा
पंईय्यां पड़ी के मनावे बेदर्दी
ना माने रामा
कांचे निंदिया जगावे
ओ ओ ओ ओ ओ
कांचे निंदिया जगावे बेदर्दी
ना माने रामा


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

 

पल दो पल का साथ हमारा
पल दो पल के याराने हैं
इस मंज़िल पर मिलने वाले
उस मंज़िल पर खो जाने हैं
 
pal do pal ka saath hamaara
pal do pal ke yaaraane hain
is manzil par milne waale
us manzil par kho jaane hain

This thought, expressed in these words, probably first came about four decades ago (film is ‘The BurningTrain’, 1980). It was March of 1980 that this film hit the theatres around the country. This qawwaali gained a good amount of popularity in its time, and still continues to be a part of selection of lists of qawwaalis in Hindi films. And in a matter of few months, the writer of these lines arrived at the manzil, from where, he was lost to us. 25th October of the same year. The iconic poet Abdul Hayee, decided to abandon this world – an act, a thought that he had expressed multiple times in his verses, over the previous three decades or so, of his career as a songwriter in Hindi films.

Remembering Sahir Sb on the anniversary of his passing away (25th October).

About thirty five years earlier, the listeners started to get the first glimmer of the grimness of life as he saw it. He made his debut in films, in 1948, with the film ‘Azaadi Ki Raah Par’. Scanning the sonography of his writings for films, one has to wait till 1954, and the film ‘Taxi Driver’, to catch the first expressions of listlessness and despair with life.

maayusiyon kaa majmaa hai jee mein
kyaa rah gayaa hai is zindagi mein
rooh mein hai gham dil mein dhuaan

Yes, the iconic song “Jaayen To Jaayen Kahaan. . .” (film ‘Taxi Driver’). Before we come to 1954 and to these verses, there is very little despair, and very little sadness in his poetry for films. I keep stressing ‘for films’, because his non film writings have carried this helpless angst against what this world and this existence is. His very first collection of poetry, published while he still was in college in Lahore, is titled ‘Talkhiyaan’ – which literally translates to ‘bitternesses’. But in his writings for films, we encounter this expression first time in ‘Taxi Driver’.

And then, as if a dam has broken loose. It is 1955 and film is ‘Devdas’. Sahir writes

agar iss jahaan ka maalik kahin mil sake to poochhen
mili kaun si khaataa par hamen is qadar sazaayen

(from the song “Wo Na Aayenge Palat Kar. . .“)

It is 1955 again, and the film is ‘House No. 44’. The verses are

teri duniya me jeene se to behtar hai ke mar jaayen
wohi aansoo wohi aahen wohi gham hai jidhar jaayen

Then again, in ‘Marine Drive’ he writes

zafaaon per zafaa bedaad per bedaad hoti hai
hamaari zindagi kya maut bhi barbaad hoti hai
hamen itnaa to batlaa de jiyen ham yaa ke mar jaayen
bataa ai aasmaan waale tere bande kidhar jaayen

1955 again, and the film is ‘Munim ji’. The verses make an experienced announcement about the reality of this life.

jeevan ke safar mein raahi, miltey hain bichhad jaane ko
aur de jaate hain yaadien, tanhaai mein tadpaane ko

Yet again in 1955, the film is ‘Railway Platform’, and this time the lines tell of another face of life’s reality.

kadam kadam par honi baithhi apnaa jaal bichhaaye
is jeewan ki raah mein jaane kaun kahaan rah jaaye
basti basti parwat parwat gaataa jaaye banjaaraa
lekar dil kaa iktaaraa. . .

Come 1956, and the film ‘Chandrakanta’. The song tells us

maine chaand aur sitaaron ki tamanna ki thi
mujhko raaton ki siyaahi ke siwaa kuchh na mila

 And as if this was not emphatic enough, he goes on to write in the film ‘Funtoosh’,

apne liye kab hain ye mele
ham hain har ek mele mein akele
kyaa paayegaa usmein rahkar
jo duniyaa jeevan se khele
dukhi man mere sun mera kahnaa
jahaan nahin chainaa vahaan nahin rahna

With ‘Pyaasa’ (1957), this bitterness reaches its zenith; and he writes

jahaan ik khilaunaa hai insaan ki hasti
ye basti hai murda paraston ki basti
yahaan par to jeevan se hai maut sasti
ye duniya agar mil bhi jaaye to kyaa hai

And as if this was not convincing enough, his exhortations rise in intensity, and he screams out the words

jalaa do ise phoonk daalo ye duniya
mere saamne se hataa lo ye duniya
tumhaari hai tum hi sambhaalo ye duniya
ye duniya agar mil bhi jaaye to kyaa hai

In ‘Light House’, in 1958, the lines of the song are

lo aaj hamne tod diyaa, rishtaa-e-ummeed
lo ab kabhi gilaa na karenge kisi se ham
tang aa chuke hain kashmakash e zindagi se hum
thukra na den jahaan ko kahin be-dilee se hum

And then, he added another song, which says

saare jag mein apna koi nahin
sukh kyaa dukha ka sapnaa koi nahin
kis jagah jaayen, kis ko dikhlaayen
zakhm-e-dil apnaa

‘Dhool Ka Phool’ came in 1959. His frustrations and anger at the divisive forces in the society burst out in the lines

maalik ne har insaan ko insaan banaayaa
humne usse hindu yaa musalmaan banaayaa
kudrat ne to bakshi thi hamein ek hi dharti
humne kahin bhaarat kahin iraan banaayaa

In 1960, there came the iconic qawwaali in the film ‘Barsaat Ki Raat’. A set of verses that touched upon a variety of emotions of love and the very existence of the individual itself. His own disenchantment, probably, trickles through, in the lines

mere naamuraad junoon kaa hai ilaaj koyi to maut hai
jo dawaa ke naam pe zahar de usi chaaraagar ki talaash hai

Then it was the film ‘Dharamputra’ in 1961. The poet in him raised his voice against the senseless communal divide, and its manipulation. The words are starkly put together

dharti ki sulagti chhaati ke bechain sharaare poochhte hain
yeh kis ka lahoo hai kaun mara

The wrenching torture of loneliness inside, came spewing out in the film ‘Hum Dono’, again from 1961.

kaun rotaa hai kisi aur ki khaatir ai dost
sabko apni hi kisi baat pe ronaa aayaa
kabhi khud pe, kabhi haalaat pe ronaa aayaa
baat nikli, to har ik baat pe ronaa aayaa

‘Gumraah’ was released in 1963. His personal demons fighting with himself inside, brought out these verses

wo afsaanaa jise anjaam tak laanaa naa ho mumkin
use ik khooboorat mod dekar chhodnaa achchhaa
chalo ik baar phir se, ajnabi ban jaayen ham dono

Also in 1963 came the musical history of ‘Taj Mahal’. And the soul of Sahir rose up to challenge the creator Himself with the lines

ye qatl o khoon kaa riwaaz kyun hai
ye rasm e jang o jadaal kyaa hai
jinhe talab hai jahaan bhar ki
unhi kaa dil itnaa tang kyun hai
. . .
jahaan mein jashn e wafaa ke badle
ye jashn e teer o tafang kyun hai
khudaa e bartar teri zameen par
zameen ki khaatir ye jang kyun hai

The vagaries of his personal destinies starkly reflects in the lines he wrote the 1964 film ‘Chaandi Ki Deewaar’,

ye bebasi bhi kisi ba’ddua se kam to nahin
ke khul ke jee na sakey aur maut bhi na miley
kahin qaraar na ho aur kahin khushi na miley
hamaare baad kisi ko ye zindagi na miley

Again in 1964, the intensity of his despair with life would insistently glare back through the lines in the film ‘Shagun’

bujhaa diye hain khud apne haathon
mohabbaton ke diye jalaa ke
meri wafaa ne ujaad di hain
ummeed ki bastiyaan basaa ke

That I am highlighting the agony and the despair in this selected anthology of his verses, does not imply that his other expressions do not measure up. Not at all. His poetry of love and romance is equally, if not more, expressive of amorous emotions of the human heart. A discourse of the brighter side of his love poetry merits a separate write up. And his grasp of human emotions across the spectrum, is visible in the songs that otherwise would simply be categorized as situational in the movies. That set of writings too, have the power to capture the heart in ways more than one.

Beyond the mid 1960s, the agony within his writings begins to show less and less. In the external environment, the modes of cinematic expressions were changing, and the music of the films was being transformed away and beyond the melodic gems of the golden era. He simply seemed to have withdrawn himself within, pulling all his despair and sorrow, to the inside. But some rare moments did come along.

1973 saw the release of ‘Joshila’, and quite unexpectedly, his writings touched upon the pain of loneliness once again.

jhoothaa bhi naataa nahin chaahon mein
tu hi kyon doobaa rahe aahon mein
koyi kisi sang mare, aisaa nahin hone waalaa
koyi nahin jo yoon hi jahaan mein, baante peer paraayi
ho, kis kaa rastaa dekhe ai dil ai saudaai
meelon hai khaamoshi barson hai tanhaai. . .

In 1975, came ‘Ek Mahal Ho Sapnon Ka’ and in a moment of release, his pen created the lines

dekha hai zindagi ko kuchh itna qareeb se
chehre tamaam lagne lage hain ajeeb se

It was back in 1964, that he wrote his epitaph for himself (film is ‘Dooj Ka Chaand’).

ye raah akele katati hai
yahaan saath na koi yaar chale
us paar na jaane kya paaye
is paar to sab kuchh haar chale
lo apna jahaan duniya waalon
hum is duniya ko chhod chale

On 25th October in 1980, Sahir Sb is duniya ko chhod gaye, leaving behind a body of work in form of seven hundred plus film songs, that are an immense treasure of personal emotions in all the shades of human experiences. In 1980, along with qawwaali that I started this article with, he also wrote another nazm that was featured in the film ‘Kabhi Kabhi’. Yes, I talk of the immensely impressive “Main Pal Do Pal Ka Shaayar Hoon”. (Interesting to note the repetition of the phrase ‘pal do pal’, in both these songs.)

In this song, Sahir Sb has said something, which probably is the only one place where I would disagree with him. Totally. You would remember the lines

kal aur aayenge naghmon ki khilti kaliyan chun’ne waale
mujhse behtar kehne waale. . .

No Sahir Sb, I sincerely disagree from the depths of my heart. None will follow who may express it better than you. All songwriters will say it, definitely in different ways, and definitely in ways that are measures of excellence, in their own unique expressions. But no one will be able to say

dil jaley to jaley
gham paley to paley
kisi ki na sun gaayeja. . .

Quite in contrast to the mood of the article, today’s song is a lilting gem that has been created by Sahir Sb and N Dutta for the 1959 film ‘Naach Ghar’ – one of his handful of films that is still waiting to be Yippeee’ed on our blog. Sung by Lata ji, this song is such an endearing expression of expectation; the heart is calling out to the beloved, and is giving so many reasons describing the wait, exhorting for the lover to pay heed, and come. This is such a lovely creation of words and music that I was for a moment surprised that this song is still waiting in the wings.

Listen and enjoy.

Song – Door Se Yun Na Tarsaao  (Naach Ghar) (1959) Singer – Lata Mangeshkar, Lyrics – Sahir Ludhianvi, MD – N Dutta

Lyrics

door se yun na tarsaao
roshni ban ke aa jaao
aaj ki raat ke liye

door se yun na tarsaao
roshni ban ke aa jaao
aaj ki raat ke liye. . .

deep jal chuke
saaye dhal chuke
ab to aa jaao
deep jal chuke
saaye dhal chuke
ab to aa jaao
mere pyaar ko
intezaar ko
yun na thukraao
aji tum yun na thukraao
kitni pyaas hai
kitni aas hai
ab to jaan jaao
door se yun na tarsaao
roshni ban ke aa jaao
aaj ki raat ke liye. . .

raat raat bhar
jaag jaag kar
sapne bunti hoon
raat raat bhar
jaag jaag kar
sapne bunti hoon
baithi raah mein
kab se chaah mein
kaliyan chunti hoon
aji main kaliyan chunti hoon
kitni pyaas hai
kitni aas hai
ab to jaan jaao
door se yun na tarsaao
roshni ban ke aa jaao
aaj ki raat ke liye. . .

nain mil chuke
phool khil chuke
ab katraana kya
nain mil chuke
phool khil chuke
ab katraana kya
pehle loot ke
peechhe rooth ke
dil tadpaana kya
aji yun dil tadpaana kya
kitni pyaas hai
kitni aas hai
ab to jaan jaao
door se yun na tarsaao
roshni ban ke aa jaao
aaj ki raat ke liye. . .
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
दूर से यूं ना तरसाओ
रोशनी बनके आ जाओ
आज की रात के लिए

दूर से यूं ना तरसाओ
रोशनी बनके आ जाओ
आज की रात के लिए॰ ॰ ॰

दीप जल चुके
साये ढल चुके
अब तो आ जाओ
दीप जल चुके
साये ढल चुके
अब तो आ जाओ
मेरे प्यार को
इंतज़ार को
यूं ना ठुकराओ
अजी तुम यूं ना ठुकराओ
कितनी प्यास है
कितनी आस है
अब तो जान जाओ
दूर से यूं ना तरसाओ
रोशनी बनके आ जाओ
आज की रात के लिए॰ ॰ ॰

रात रात भर
जाग जाग कर
अपने बुनती हूँ
रात रात भर
जाग जाग कर
अपने बुनती हूँ
बैठी राह में
कब से चाह में
कलियाँ चुनती हूँ
अजी मैं कलियाँ चुनती हूँ
कितनी प्यास है
कितनी आस है
अब तो जान जाओ
दूर से यूं ना तरसाओ
रोशनी बनके आ जाओ
आज की रात के लिए॰ ॰ ॰

नैन मिल चुके
फूल खिल चुके
अब कतराना क्या
नैन मिल चुके
फूल खिल चुके
अब कतराना क्या
पहले लूट के
पीछे रूठ के
दिल तड़पाना क्या
अजी यूं दिल तड़पाना क्या
कितनी प्यास है
कितनी आस है
अब तो जान जाओ
दूर से यूं ना तरसाओ
रोशनी बनके आ जाओ
आज की रात के लिए॰ ॰ ॰


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today, 25th of October 2017, is the thirty seventh ‘remembrance anniversary’ of the great ‘poet-lyricist’ Sahir Ludhianvi. He passed away this day in 1980 leaving behind the great legacy of his poems and leaving behind his immortal poetry which people are still enjoying, discussing, and even doing research on it and writing about his life and his poetry. And like me there will be many who will agree that Sahir and his poetry will be discussed as long as Hindi Cinema and HFM exists and his poetry will be discussed so long as humanity and human relations, emotions exists.

On this occasion, today we will listen to this beautiful prayer song from the 1974 movie ‘Mehmaan’ penned by Sahir Ludhianvi. The film was directed by KP Atma for Shatrujit Films, Bombay, and was produced by Shatrujit Paul. It had Biswajeet, Rekha, Anwar Hussain, Manmohan Krishna, Abhi Bhattacharya, Tarun Bose, Sulochana, Mukri, Bhalla, Lata Sinha, Azad, Gopal Sehgal, Indira Bansal, Mona, Brahm Bharadwaj, Helen, Pratima Devi, Thakurdas, and new discovery Joginder. Story and Screenplay of this movie was written by Shatrujit Paul. Its dialogues were written by Rahi Masoom Raza. Editing for this movie was done by Shivaji Avdhoot. The movie was passed by Censor Board on 23.02.1974.

The movie had total six songs penned by Sahir Ludhianvi, and composed by Ravi. So far two songs from this movie have been posted on the blog here – Meri Chaahat Rahegi Hamesha Jawaan and Uff Ye Jawaani Ye Adaa. Asha Bhonsle, Deedar Singh Pardesi, Mahendra Kapoor, Meenu Puroshottam and Mohd Rafi gave their voices to the songs in this movie. Today’s song is the third song from this movie to be posted on the blog, and it is sung by Deedar Singh Pardesi, Meenu Puroshottam and Mahendra Kapoor.

In one of my earlier post on the blog here I have discussed in detail about and listed some of the famous and immortal ‘bhajans’ written by Sahir Ludhianvi for Hindi movies. I have also mentioned in the same post that for me Sahir was a ‘truly secular’ individual apart from a humanitarian and motivational philosopher. Why I am insisting this here again can well be understood from the following lines in today’s song and how relevant they fit into in our prevailing socio-political condition,

bhale karam kar duniyaa mein
ye karam hai nek kamaai
in karmon mein chhupi hai
saare dharmon ki sachchaai
jisne achhe karam kiye
har dharm ki laaj nibhaai
dharm ki laaj nibhaai

For that matter the following lines from the song “Hum Ne Suna Tha Ik Hai Bharat” also speaks a lot about ‘karm’ (our deeds) and who else other than Sahir can come up with such straight forward hard-hitting words.

kuchh insaan brahman kyun hain
kuchh insaan harijan kyun hain
ek ki itni izzat kyun hai
ek ki itni zillat kyun hai
dhan aur gyaan ko
taaqat walon ne apni jaageer kahaa
mehnat aur ghulaami ko
kamzoron ki taqdeer kahaa
insaanon ka yeh batwaara
vehshat aur jahaalat hai

jo nafrat ki shiksha de
wo dharma nahin hai la’anat hai
janam se koyi neech nahin hai
janam se koyi mahaan nahin
karam se badh kar kisi manushya ki
koyi bhi pehchaan nahin

This song with its link was in circulation on social media and people who might not have been aware of this song earlier or may be some people who found it worthy shared it with a surprise – “Where was this song all this while…”, with a request that – “The minimum we can do is spread the message of love and harmony amongst our countrymen. Hope the message through this beautiful song enrich our hearts and souls…”

Much more has already been written about Sahir Ludhianvi and a lot more will surely be there in future. As I said above, this good work, this discussion about his poetry and his thoughts for the humanity, will live on and on. . .

Coming to the song being posted today. From the video uploaded recently, we can identify Abhi Bhattacharya, Vishwajit, Sulochana, Rekha, Manmohan Krishna, Mukri and others in the picturization of this song. I have not watched this movie and for those interested to watch it, it is now available on YT and from some of the comments on this link about the movie I can guess that the movie was not liked by many.

Let us now enjoy the today’s song – Ram Rahim Krishn Kareem


Song – Ram Raheem Krishn Kareem, Yeshu Masih Aur Ibrahim (Mehmaan) (1974) Singer – Mahendra Kapoor, Minu Purushottam, Deedar Singh, Lyrics – Sahir Ludhianvi, MD – Ravi
Minu Purushottam + Deedar Singh
Meenu Purushottam + Mahendra Kapoor
Male Chorus
Female Chorus
All Chorus

Lyrics

aa aa aa aaaa
aa aa aa aaaa

aaaa aaaaaa
aaaaa aaaaaaaa

o o o o o o
o o o

ram rahim
krishn kareem
yeshu masih aur ibrahim
sabki hai ik hi taaleem
ram rahim
krishn kareem
yeshu masih aur ibrahim
sabki hai ik hi taaleem
raam rahim
krishn kareem

om
hari om
om
hari om
om
hari om
om
hari om

kaashi kaabe
mathura makke
ek hi noor samaayaa
kisi ne sajdaa kiyaa use
aur kisine sis nawaayaa
koney koney bhatak chukey tab
hum ne bhed ye paaya
hum ne bhed ye paaya
sabki hai ik hi taaleem
ram rahim
krishn kareem
yeshu masih aur ibrahim
sabki hai ik hi taaleem
ram rahim
krishn kareem

aa aa
aa aa
aa aa
aa aa
aa aa
aa aa aa aa
aa aa
aa aa
aa aa
aa aa aa aa

bhale karam kar duniyaa mein
ye karam hai nek kamaai
in karmon mein chhupi hai
saare dharmon ki sachchaai
jisne achhe karam kiye
har dharm ki laaj nibhaai
dharm ki laaj nibhaai
sabki hai ik hi taaleem
ram rahim
krishn kareem
yeshu masih aur ibrahim
sabki hai ik hi taaleem
ram rahim
krishn kareem

aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa
aa aa
aa aa
aa aa
aa aa
aa aa

ishwar se allaah alag
allaah se ishwar judaa nahin
ye mat soch tere karmon ka
us maalik ko pataa nahin
sau pardon mein paap kare tu
phir bhi us se chhupa nahin
phir bhi us se chhupa nahin
sabki hai ik hi taaleem
ram rahim
krishn kareem
yeshu masih aur ibrahim
sabki hai ik hi taaleem
ram rahim
krishn kareem

aa aa aa aa aa aa
aa aa aa aa aa
o o o o o

aa aa aa aa aa aa
aa aa aa aa aa
o o o o o
———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————
आ आ आ आ आ
आ आ आ आ आ

आ आ आ आ
आ आ आ आ आ आ

ओ ओ ओ ओ ओ ओ
ओ ओ ओ

राम रहीम
कृष्ण करीम
यसु मसीह और इब्राहीम
सब कि है इक ही तालीम
राम रहीम
कृष्ण करीम
यसु मसीह और इब्राहीम
सब कि है इक ही तालीम
राम रहीम
कृष्ण करीम

ओम
हरी ओम
ओम
हरी ओम
ओम
हरी ओम
ओम
हरी ओम

काशी काबे
मथुरा मक्के
एक ही नूर समाया
किसी ने सजदा किया उसे
और किसीने सीस नवाया
कोने कोने भटक चुके तब
हमने भेद ये पाया
हमने भेद ये पाया
सब कि है इक ही तालीम
राम रहीम
कृष्ण करीम
यसु मसीह और इब्राहीम
सब कि है इक ही तालीम
राम रहीम
कृष्ण करीम

आ आ
आ आ
आ आ
आ आ
आ आ
आ आ आ आ
आ आ
आ आ
आ आ
आ आ आ आ

भले करम कर दुनिया में
ये करम है नेक कमाई
इन कर्मों में छुपी है
सारे धर्मों कि सच्चाई
जिसने अच्छे करम किये
हर धर्म कि लाज निभाई
धर्म कि लाज निभाई
सब कि है इक ही तालीम
राम रहीम
कृष्ण करीम
यसु मसीह और इब्राहीम
सब कि है इक ही तालीम
राम रहीम
कृष्ण करीम

आ आ आ
आ आ आ
आ आ आ
आ आ आ
आ आ
आ आ
आ आ
आ आ
आ आ
आ आ

इश्वर से अल्लाह अलग
अल्लाह से इश्वर जुदा नहीं
ये मत सोच तेरे कर्मों का
उस मालिक को पता नहीं
सौ पर्दों में पाप करे तू
फिर भी उस से छुपा नहीं
फिर भी उस से छुपा नहीं
सब कि है इक ही तालीम
राम रहीम
कृष्ण करीम
यसु मसीह और इब्राहीम
सब कि है इक ही तालीम
राम रहीम
कृष्ण करीम

आ आ आ आ आ आ
आ आ आ आ आ
ओ ओ ओ ओ ओ
आ आ आ आ आ आ
आ आ आ आ आ
ओ ओ ओ ओ ओ



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What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13800 song posts by now.

This blog is active and online for over 3400 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13806

Number of movies covered in the blog

Movies with all their songs covered =1031
Total Number of movies covered =3767

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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