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Ae Mere Pyaare Watan
Posted on: May 10, 2024
- In: Devnagri script lyrics by Sudhir | Guest posts | Lyrics contributed by readers | Nostalgic song | One song used in more than one movie | One song used in two movies | Poignant Song | Post by Sudhir | sad song | Song used in more than one film | Songs of 1970s (1971 to 1980) | Songs of 1975 | Songs reused again in subsequent movies | Truck song | Yearwise breakup of songs
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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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5775 | Post No. : | 18302 |
Songs Repeated in Hindi Films – 31
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Reuse phenomena is quite a prevalent feature in Hindi cinema. We are already at the 31st episode of this series, and I must say we have just scratched the surface. There are reuse songs, there are partial reuse songs, there are medleys of songs, and even in some cases, there is a wholesale reuse in the entire film. A great example is the 2002 film ‘Dil Vil Pyaar Vyaar’. Bharat Shah, the producer of this film is an out and out die hard fan of Pancham Da, and this film showcases a dozen earlier hit songs of RD Burman.
Another such set of reuse albeit in snippets only, also happened in the 1982 film ‘Adhaarshila’. The producer director Ashok Ahuja has accommodated half a dozen or so songs from the golden era in the film, which is a film about making a film.
A more recent happening is the weather beaten but still fresh, Romeo and Juliet based love story – the 2023 film by Karan Johar – ‘Rocky Aur Rani Ki Prem Kahani’. This film has a very interesting twist to the original tale – two people in love are not able to join forces in life, and are forced to lead separate life stories. Quite an interesting twist happens when their respective grand children fall in love with each other, initially blessed with the ignorance of the family’s histories and the unsuccessful involvement of their grand parents two generations earlier. Karan Johar seems to be quite smitten with the music of the 50s, 60s and 70s – he has weaved into the film’s story no less than a dozen songs of yesteryear. All songs are snippets one to two minutes long. But a very interesting reuse nonetheless, that makes the film more enjoyable.
However, the difficult part is that the reuse songs are not credited in the information about the film. One has to dig for them, and if lucky, one comes across these reuse gems. There is a very interesting episode behind this find also, and I must thank Nalini ji for it. Recently, she shared with me part of a discussion happening on the ASAD WhatsApp group. The film under discussion was the 1975 ‘Prem Kahani’. And the discussion was on a song being played on the radio in this film, which does not seem to be from a Hindi film. The song, sounding strikingly familiar, is “Kuchh Bhi Na Kaha Aur Keh Bhi Gaye”. The original song is from the 1962 Pakistani film ‘Azra’. The song is written by Tanvir Naqvi and the music is composed by Master Inayat. The singing voice is that of the legendrary Noorjehaan, picturised on actress Neelo. Certainly a song to be treasured. So on the group, the discussion was resolved with a little bit of research, and it was declared that this is song from a Pakistani film.
Nalini ji shared this discussion on the side with me. And surely, it prompted me to take a look. So pulling out the film ‘Prem Kahani’ from my hard disk, I started to scan the film slowly to locate this Pakistani song being played on the radio. But then another discovery was sitting on the way. Before I reached the song I was looking for, I bumped into this song snippet – a replay of the iconic Manna Dey song from the 1961 film ‘Kabuliwaala’. Vinod Khanna, playing the role of Sher Khan, a pathaan truck driver, sings this song on screen, and in his own voice, while driving his vehicle.
‘Prem Kahani’ (of 1975) is a period film that is set in pre-independence years, when the freedom struggle was at its peak. Rajesh (role played by Rajesh Khanna) is a fugitive from the British law, for having assassinated a British police officer. He is on the run with the police hot on his heels. He takes refuge in the truck of Sher Khan who saves his life, and delivers him to safety at the home of Dheeraj (role played by Shashi Kapoor), a very dear friend of Rajesh. I will not delve into the story before and after this episode, but will surely add that Sher Khan gets caught, and the police torture him to find out the whereabouts of Rajesh. Sher Khan dies in police custody but does not reveal the location where he dropped Rajesh.
When Rajesh is riding in Sher Khan’s truck, there is a bit of dialogue between them. Rajesh asks Sher Khan why is he helping him, even though they do not even know each other. Sher Khan replies – yes he does not know Rajesh, but surely he understands the meaning of freedom, and so he is helping Rajesh.
At this point, he starts to sing this song. Interestingly, the rendition is in Vinod Khanna’s own voice. Only one stanza from the original song is presented. But still, a lively rendition by him.
So another reuse of an iconic song, which remains uncredited. And for this discovery, I must thank Nalini ji.
Song – Ae Mere Pyaare Watan (Prem Kahaani) (1975) Singer – Vinod Khanna, Lyrics – Prem Dhawan, MD – Salil Chaudhry
Lyrics
ae mere pyaare watan
ae mere bichhde chaman
tujh pe dil qurbaan
tu hi meri aarzoo
tu hi meri aabroo
tu hi meri jaan
maa ka dil banke kabhi seene se lag jaata hai tu
aur kabhi nanhi si beti ban ke yaad aata hai tu
jitna yaad aata hai tu
utana tadpaata hai tu
jitna yaad aata hai tu
utana tadpaata hai tu
tujh pe dil qurbaan
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Hindi script lyrics (Provided by Sudhir)
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ए मेरे प्यारे वतन
ए मेरे बिछड़े चमन
तुझ पे दिल क़ुर्बान
तू ही मेरी आरज़ू
तू ही मेरी आबरू
तू ही मेरी जाँ
माँ का दिल बन के कभी सीने से लग जाता है तू
और कभी नन्ही सी बेटी बन के याद आता है तू
जितना याद आता है मुझको
उतना तड़पाता है तू
जितना याद आता है मुझको
उतना तड़पाता है तू
तुझ पे दिल क़ुर्बान
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5670 | Post No. : | 18178 |
Greetings and wishing all friends and readers a very Happy and a Promising Republic Day.
The nation has come a long way from the first Republic Day in 1950. 73rd celebration of this momentous event that proclaimed and established India as a Republic. The new Constitution of the nation, which had been under discussion, preparation, reviews and approval process for the previous three years, was finally signed by the members of the Constituent Assembly and adopted as the guiding document for the nation.
The Constituent Assembly was setup in December of 1946 with 389 members – partly elected by the Provincial Assemblies and partly nominated. Some members got disengaged from the team during it progress through the years. On the day it was adopted, the membership stood at 299. The major drafting work was done by the seven member drafting committee, led by Dr BR Ambedkar. The other six members of the drafting committee were KM Munshi, Muhammed Sadulla, Alladi Krishnaswamy Iyer, N Gopalaswami Ayyangar, Devi Prasad Khaitan and BL Mitter.
The signing ceremony took place on 24th January, 1950, and the Constitution came into force on 26th Januray.
It is interesting to know – in the intervening period of about 3 years, i.e. from 15th August 1947 to 26th January, 1950, India continued to have a status of a Dominion under the British Crown. The defense forces of the country were controlled by the British. India continued to be governed by the Govt Of India Act (1935).
A part of the Constitution – 16 articles of the total 395 articles – came into force on 26th November 1949. Finally, on 26th January 1950, the previous governing instruments i.e. the Govt Of India Act (1935) and the Indian Independence Act (1947), both belonging to the British regime, were officially repealed and India was declared a Republic. Over years, more than 100 amendments have been made to the constitution, bringing the total no. of articles to 470.
Lest we forget, the Preamble of our Constitution states as follows,
WE, THE PEOPLE OF INDIA having solemnly resolved to constitute India into a SOVEREIGN SOCIALIST SECULAR DEMOCRATIC REPUBLIC and to secure to all its citizens:
JUSTICE, social, economic and political;
LIBERTY of thought, expression, belief, faith and worship;
EQUALITY of status and of opportunity; and to promote among them all
FRATERNITY assuring the dignity of the individual and the unity and integrity of the Nation;
IN OUR CONSTITUENT ASSEMBLY this twenty-sixth day of November, 1949, do HEREBY ADOPT, ENACT AND GIVE TO OURSELVES THIS CONSTITUTION.
A powerful set of statements, established by profound thought and discussion, from which flow all the remaining components of the Constitution, and all the laws that are enacted by the Parliament or State Assemblies must adhere to this framework.
Independence came to our nation on 15th August, 1947, but the concluding part of this process that established the sovereignty and the framework to govern came on 26th January, 1950.
An event of profound significance, it is a celebration of continued existence of this nation.
I present today, a poetry snippet from the 1973 film by Chetan Anand – ‘Hindustan Ki Kasam’. The film is a life drama that plays itself out on the background of the India-Pakistan war of 1971. The films is a salute the guardians of the independence and sovereignty of our nation – our armed forces.
There are two parts to this snippet. The first part is rendered at the beginning of the film. The scene is simply the view from a plane in its flight through the clouds and its landing back on the ground. This part is in the background. The rendering voice clearly is of Chetan Anand. This part is setting the stage for the second part. It is a brief summary of the message of Bhagvadgita – as Krishna tells Arjun the secrets of Atma and non-attachment.
The second part of this snippet is delivered by Ranbir (role played by Vijay Anand). He is a Wing Commander with the Indian Air Force. He is posted on a forward air base. He flies sorties to counter enemy planes and attack enemy on the ground. He is celebrating his promotion at a party when the war breaks out.
The scene is of this snippet is that he is ready to take off on a sortie. In the maintenance hangar he spends a few minutes with his friends on the maintenance team. A jolly exchange about the birth of a son to one of the mechanics leads into the question – when will this war come to an end. Vijay Anand responds by talking about the message of Karma from the Bhagvadgita. He mentions that he learnt it from the writings of a poet of Urdu. The mechanics team requests to listen to that poetry. And the pilot obliges by reciting the lines he has read.
Then he marches off to his plane, never to return – his plane is shot by the enemy during that sortie, and he is fatally injured.
The verses are written by Kaifi Azmi. Chetan Anand, the director, has made excellent use of the message of Bhagvadgita as a preamble to the call of duty that a soldier, a pilot has to respond to.
The two brothers, Chetan and Vijay, need no introduction. This trio of brothers – with Dev Anand – is the second most prominent family in Hindi films, next only to the Kapoors. Last Monday, 22nd January, it was the birth anniversary of the youngest of these three – Vijay, also known by his other popular name – Goldie. Born on 22nd January in 1934 at Gurdaspur in Punjab, he is probably the most talented of all the three brothers.
But it has to be a passing reference today. Will take another opportunity to write more about him.
Once again, greetings for the Republic Day.
And an honorable tribute to our defense forces – the guardians of our independence and sovereignty.
Song – Dosto Hum Aaj Ke Arjun Hi To Hain (Hindustan Ki Kasam) (1973) Singer – Chetan Anand, Vijay Anand, Lyrics – Kaifi Azmi, MD –
Lyrics
Part I
aur phir krishn ne arjun se kaha
na koi bhai na beta na guru
ek his shakl ubharti hai har aaine mein
aatma marti nahin
jism badal leti hai
dhadkan is seene ki ja chhupti hai us seene mein
jism lete hain janam
jism fana hote hain
jism lete hain janam
jism fana hote hain
aur jo ik roz fana hoga
wo paida hoga
ik kadi tootti hai
doosri ban jaati hai
khatm ye silsila e zindagi phir kya hoga
Part II
saathiyo dosto
hum aaj ke arjun hi to hain
hum se bhi krishn yahi kehte hain
ke zindagi sirf amal
sirf amal
sirf amal
aur ye bedard amal suleh bhi hai jung bhi hai
aman ki mohini tasveer mein hain jitney rang
unhin rangon chhupa khoon ka ek rang bhi hai
jung rehmat hai ke laanat
ye sawaal ab na utha
jung jab aa hi gayi sar pe
to rehmat hogi
door se dekh na bhadke huye sholon ka jalaal
isi dozakh ke kisi koney mein jannat hogi
saathiyo dosto
hum aaj ke arjun hi to hain
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Hindi script lyrics (Provided by Sudhir)
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Part i
और फिर कृष्ण ने अर्जुन से कहा
ना कोई भाई ना बेटा ना भतीजा ना गुरु
एक ही शक्ल उभरती है हर आईने में
आत्मा मरती नहीं
जिस्म बादल लेती है
धड़कन इस सीने की जा छुपती है उस सीने में
जिस्म लेते हैं जनम
जिस्म फना होते हैं
जिस्म लेते हैं जनम
जिस्म फना होते हैं
और जो इक रोज़ फना होगा
वो पैदा होगा
इक कड़ी टूटती है
दूसरी बन जाती है
खत्म ये सिलसिला ए ज़िंदगी फिर क्या होगा
Part II
साथियो दोस्तो
हम आज के अर्जुन ही तो हैं
हम से भी कृष्ण यही कहते हैं
के ज़िंदगी सिर्फ अमल
सिर्फ अमल
सिर्फ अमल
और ये बेदर्द अमल सुलह भी है जंग भी है
अमन की मोहिनी तस्वीर में हैं जितने रंग
उन्हीं रंगों में छुपा खून का एक रंग भी है
जंग रहमत है के लानत
ये सवाल अब ना उठा
जंग जब आ ही गई सर पे
तो रहमत होगी
दूर से देख ना भड़के हुये शोलों का जलाल
इसी दोज़ख के किसी कोने में जन्नत होगी
साथियो दोस्तो
हम आज के अर्जुन ही तो हैं
- In: "How did I forget to post this song earlier" song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | How come this song was not posted earlier | Love song | Lover's tête-à-tête | Lyrics by Sudhir | Lyrics contributed by readers | Missing gems from the golden 50s | Moti Sagar - Sudha Malhotra Duet | Moti Sagar Songs | Post by Arunkumar Deshmukh | Songs of 1950s (1951 to 1960) | Songs of 1955 | Sudha Malhotra songs | Yearwise breakup of 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5667 | Post No. : | 18172 |
Today’s song is from the film ‘Shikar’ (1955).
Films with the title ‘Shikar’ were made in 1955, 1965, 1999 and 2001. Then there were films called ‘Shikari’, made in 1932, 1946, 1963 and 1991. To top it all, there was a film with the title ‘Shikar Shikari Ka’ made in 2010. I am not giving these details for fun, but after you read this film’s story, you will yourself say that the title of this film should have been ‘Shikar Shikari Ki’ !
The film was made by Tara Films, Bombay. It was produced by the owner of the banner Rajveer Singh Tara and Dhanwant Shah. It was directed by Ravindra Dave – an expert in crime and mystery films. He was called Ravinbhai in the Bombay film industry and Bappa in the Gujarati film industry.
Director Ravindra Dave was born in Karachi on 16-4-1919. After graduation, he joined Dalsukh Pancholi’s distribution empire as a Manager. Pancholi was his Mama (maternal uncle). Here only he learnt the art of editing from Shaukat Hussein (husband of Noorjehan). He wrote screenplays for Pancholi’s films till 1941. In 1943, he got his first break as a joint director, with Vishnu Pancholi ( Dalsukh Pancholi’s brother) for film ‘Poonji’. After that there was no looking back.
After partition he came to Bombay with Pancholi. His first film here ‘Nageena’, with Nutan as heroine, was a hit film. Ravindra Dave directed 30 Hindi films. Some of his films are ‘Nageena’ (1952), ‘Agra Road’ (1957), ‘Post Box 999’ (1958), ‘Guest House’ (1959), ‘Satta Bazaar’ (1959), ‘Raaz’ (1967). His last Hindi film was ‘Road to Sikkim’ (1969). He also wrote the story and screenplay of ‘Saajan’ (1969), produced by Mohan Saigal.
For his 30 Hindi films, he used 19 different MDs. He was able to work with major stars like Nutan, Nalini Jaywant, Raagini, Veena, Suraiya, Meena Kumari, Meena Shorey, Nargis, Shakila, Mala Sinha, Sadhana, Babita etc. Among male actors, he worked with Raj Kapoor, Rajesh Khanna, Shyam, Sunil Dutt, Al Nasir, Vijay Anand, Balraj Sahni, Nasir Khan. It was during the shooting of his film ‘Post Box No.999’ Sunil Dutt married Nargis secretly and came back for shooting, without anyone knowing it (just like Dev Anand married Kalpana Kartik secretly, during shooting of ‘Taxi Driver’ (1954)). He helped and encouraged newcomers like Sunil Dutt, Rajesh Khanna,Vijay Anand, Subi Raj, Kalyanji-Anand ji, Anju Mahendru etc.
He handled mainly mystery/crime stories during the 1950s decade, because the trend was like that. After 1969, he was almost jobless. He was advised to make Gujarati movies. From 1971, he turned to Gujarati films with ‘Jasal Toral’ (1971) and he directed some 26 Gujarati films. His period in Gujarati cinema is considered as the Golden Era for Gujarati films. He liked to work with known artistes generally. In 16 films out of his 26 Gujarati films, the hero was Upendra Trivedi and in 17 films, his MD was Avinash Vyas. In Hindi films he worked with 19 MDs.
He had married Jasumati Ben. He had 2 sons and 4 daughters. He passed away in Bombay on 21-7-1992.
[My Thanks to Harish Raghuwanshi ji for a Gujarati article on Ravindra Dave.]
Filmography-
Hindi Films
1943: ‘Poonji’; 1945: ‘Dhamki’; 1948: ‘Chunaria’; ‘Patjhad’; 1949: ‘Naach’; ‘Sawan Bhadon’; 1950: ‘Meena Bazaar’;
1951: ‘Nagina’; 1952: ‘Lal Kunwar’; ‘Moti Mahal’; 1953: ‘Naina’; 1954: ‘Bhai Saheb’; 1955: ‘Shikar’; ‘Lutera’;
1956: ‘Char Minar’; 1957: ‘Agra Road’; 1958: ‘Farishta’; ‘Post Box 999’; 1959: ‘CID Girl’; ‘Ghar Ghar Ki Baat’; ‘Guest House’; ‘Satta Bazaar’;
1962: ‘Aankh Micholi’; ‘Girls’ Hostel’; 1963: ‘Band Master’; 1964: ‘Tere Dwar Khada Bhagwan’; ‘Dulha Dulhan’; ‘Punar Milan’;
1967: ‘Raaz’; 1969: ‘Road to Sikkim’;
Gujarati Films
1971: ‘Jesal Toral’; 1973: ‘Raja Bhartrahari’; 1974: ‘Hothal Padmini’; ‘Kunwarbai Nu Mameru’; 1975: ‘Sant Surdas’; ‘Shetal Ne Kanthe’; ‘Bhadar Tara Vehta Pani’;
1976: ‘Bhaibandhi’; ‘Malavpati Munj’; 1977: ‘Jai Randalma’; ‘Maa Avret Jivrat’; ‘Paiso Bole Chhe’; ‘Son Kansari’; 1978: ‘Chundadi Odhi Tara Namni’; ‘Patali Parmar’; ‘Bhagya Lakshmi’; 1979: ‘Suraj Chandra Ni Sakhe’; ‘Preet Khandani Dhar’;
1980: ‘Koino Ladakvayo’; ‘Virangana Nathibai’; 1981: ‘Jagya Tyanthi Savar’; ‘Seth Jagadusha’; ‘Dukhda Khame Ee Dikri’; 1983: ‘Palavde Bandhi Preet’; 1984: ‘Nagmati Nagvalo’; 1985: ‘Malo Naagde0’
[Taken from Encyclopedia of Indian Films,with Thanks.]
‘Shikar’ had the cast of Nimmi, Shekhar, Smriti Biswas, Moti Sagar, Ameena Bai (sister of actor B Nandrekar), Ratan Gaurang and others. Those days the lead pair of Johnny Walker and Shyama was very popular (4 films during 1954 to 1958). They made guest appearances in this film. The cast shows a name Moti Sagar. Today’s song is also a duet of Moti Sagar, but he never became famous.
In the Hindi film industry,there are 4 types of people. The first type is those people, who join this industry, struggle very hard and succeed in fulfilling their dreams, for example Guru Dutt, Mehboob, Johnny Walker, Lata Mangeshkar, Mohd.Rafi etc. who are well known to all by now. The second type of people are those who join the industry, struggle very hard, do not succeed and leave dejected. The third type is those people who have a filmi connection or a strong luck, who join, struggle a bit and succeed like for example, Raj Kapoor, Dev Anand, Dilip Kumar, Rakesh and Rajesh Roshan, Anand Milind, Nanda, Nargis, Meena Kumari etc.
And….. the fourth type is those people who join the industry, struggle very hard and succeed partly, but end up doing something else, to keep them sustaining here. The industry is full of people of the 4th type. People who come with dreams in their eyes, but end up doing something else. People who start as a hero in 2-3 films, settle for side roles and finally character roles,like Rehman, Dev Kumar, Sujit Kumar, Jeevan etc.
Not only this but we have examples where they started with one thing and ended with a totally different thing and succeeded. For example, Guru Dutt started as a choreographer/dance director – ‘Lakharani’ (1945) and ended up as an actor/director, Ashok Kumar started as a lab technician in photography but became a great actor and Amiya Chakravarty who started as a Bangla teacher and a canteen manager at Bombay Talkies, the production house for which later he directed finest movies.
In olden days, when the studio system was prevalent, artistes used to be employed on a monthly basis and they had to do whatever work was given as per their capability. For example, in Ranjit Studios over 700 people were on the rolls at one time. The Government had to open a ration shop inside the studio premises for them. A Ranjit, actors were made out of script writers and the director wrote songs ! So people joined the industry with a mind prepared to do whatever job, just to succeed in their ambition.
Moti Sagar was one such person who came to the industry to become a hero, but ended up doing sundry roles, singing songs, writing stories and scripts and producing films. He could not get great success in any of these and ended up being ‘jack of all trades, mster of none’.
He was born in New Delhi on 16-4-1925, but graduated from Lahore. In Lahore he got interested in acting in films. There he met composers Inayat Hussain and GA Chishti, and he loved singing. He came to Bombay in 1946. His cousins Motilal, Mukesh and Tara Harish were already there in films. Harish and Motilal were established, and Mukesh was trying very hard.
Moti Sagar did a second hero’s role in ‘Malhar’ (1951). He sang his first song under Bulo C.Rani in ‘Gul Sanobar’ (1953) with Kalyani. Then came ‘Pamposh’, ‘Shikar’, ‘Deewali Ki Raat’, ‘Makhichoos’, ‘Jai Mahadev’, ‘Salgirah’, ‘Filmi Duniya Filmi Log’, and ‘Prerana’. When he stopped getting songs and roles, he switched over to writing. He wrote stories for ‘Badal’, ‘Lalkaar’, ‘Charas’, ‘Ram Bharose’. He acted in 13 films. He directed 2 films, namely ‘Prerana’ (1984) and ‘Tanya’ (1994). He wrote songs also for the film ‘Prerana’. He sang 13 songs in 9 films. When this stopped he produced 2 films ‘Hum Tere Ashiq Hain’ and ‘Badal’. So, Moti Sagar was an Actor, Director, Producer, Lyricist, and a Singer. After 1994, he retired. He died on 14-3-1999. Preeti Sagar is his daughter. She too was a struggling singer.
Some people feel that Moti Sagar, son of Ramanand Sagar and the actor-singer Moti Sagar are the same. However there is no connection and these are two different people. Ramanand Sagar was born on 29-12-1917 and the actor-singer Moti Sagar was born on 16-4-1925. Obviously, he can’t be his son as Ramanand was just 8 year old when this Moti Sagar was born ! Moreover, Ramanand took the surname Sagar only in 1950. Originally he was a Chopra.
Here is the story of this film,
Raisahab Kailash Chandra is a Jagirdar only for name sake, not being a well to do person. However, he adopts Kamini, daughter of a recently deceased rich couple. His home is managed by his niece Rita. He has an idiotic son Deesh. His secretary is cunning Chunilal.
Some distance away, lives a loving couple Kammo and Shekhar. Kammo and Kamini are look alikes. Shekhar as well as Raisaheb have erred many times because of their similarity. Raisahab gets an idea to end his poor financial condition by marrying Kamini with his son Deesh. As Kamini feels obliged to him, she also agrees.
Just one day prior to the marriage, Kamini dies suddenly by heart attack. To continue his plan, Raisaheb and Chunilal decide to abduct Kammo and get her married to Deesh. They kidnap her, drug her and hide her in the house. Shekhar is told that his wife Kammo is dead and her body is kept in the morgue. When Sheklhar sees the body, he realises it is Kamini and soon sees through Raisaheb’s plan. Meanwhile Kammo comes to senses and pretends to be drugged. She manages to write a small note to Shekhar. Next day, Shekhar comes to the marriage venue with police and stops the marriage. Raisahab and Chunilal are arrested. Kammo unites with Shekhar and the film ends.
Today’s song is a very melodious duet, which had become quite popular in the mid 50’s and had also featured in Binaca geetmala for several weeks. Bulo C Rani had composed 2 beautiful songs. One is today’s song and the other was the famous qawali of the film Al Hilal (1958) – “Hamen To Loot Liya Mil Ke Husn Waalon Ne“). I am actually surprised how today’s song had not yet featured on this Blog. Hence it surely deserves the category of “How did I forget to post this song earlier”, in my opinion.
Enjoy this duet sung by Sudha Malhotra and Moti Sagar. . .
Song- Bahaar Dekh Ke Dil Aur Beqaraar Hua (Shikar)(1955) Singers – Sudha Malhotra, Moti Sagar, Lyricist – Indeewar, MD – Bulo C Rani
Sudha Malhotra + Moti Sagar
Lyrics
bahaar dekh ke dil aur beqaraar hua
ummeed utni badhi jitna intezaar hua
tum jo aaye zindagi mein zindagi se pyaar hua
bahaar dekh ke
dekh ke dil aur beqaraar hua
ummeed utni badhi jitna intezaar hua
tum jo aaye zindagi mein zindagi se pyaar hua
bahaar dekh ke
teri marzi jahaan
mujhe le chal wahaan
o o o
o o o
teri marzi jahaan
mujhe le chal wahaan
teri do aankhon par nisar do jahaan
teri do aankhon par nisar do jahaan
dil pe mere tera ikhtiyaar hua
aa aa aa
tum jo aaye zindagi mein zindagi se pyaar hua
bahaar dekh ke
dekh ke dil aur beqaraar hua
ummeed utni badhi jitna intezaar hua
tum jo aaye zindagi mein zindagi se pyaar hua
bahaar dekh ke
chhaanv aanchal ki ho
phir aasmaan kya
ho o o o
chhaanv aanchal ki ho
phir aasmaan kya
tu jiska saath de
usey toofaan kya
tu jiska saath de
usey toofaan kya
wo bina patwaar ke hi paar hua
aa aa aa
tum jo aaye zindagi mein zindagi se pyaar hua
bahaar dekh ke
dekh ke dil aur beqaraar hua
ummeed utni badhi jitna intezaar hua
tum jo aaye zindagi mein zindagi se pyaar hua
bahaar dekh ke
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
बहार देख के दिल और बेक़रार हुआ
उम्मीद उतनी बढ़ी जितना इन्तज़ार हुआ
तुम जो आए ज़िंदगी में ज़िंदगी से प्यार हुआ
बहार देख के
देख के दिल और बेक़रार हुआ
उम्मीद उतनी बढ़ी जितना इन्तज़ार हुआ
तुम जो आए ज़िंदगी में ज़िंदगी से प्यार हुआ
बहार देख के
तेरी मर्ज़ी जहां
मुझे ले चल वहाँ
ओ ओ ओ
ओ ओ ओ
तेरी मर्ज़ी जहां
मुझे ले चल वहाँ
तेरी दो आँखों पर निसार दो जहां
तेरी दो आँखों पर निसार दो जहां
दिल पे मेरे तेरा इख्तियार हुआ
आ आ आ
तुम जो आए ज़िंदगी में ज़िंदगी से प्यार हुआ
बहार देख के
देख के दिल और बेक़रार हुआ
उम्मीद उतनी बढ़ी जितना इन्तज़ार हुआ
तुम जो आए ज़िंदगी में ज़िंदगी से प्यार हुआ
बहार देख के
छांव आँचल की हो
फिर आसमान क्या
हो ओ ओ ओ
छांव आँचल की हो
फिर आसमान क्या
तू जिसका साथ दे
उसे तूफान क्या
तू जिसका साथ दे
उसे तूफान क्या
वो बिना पतवार के ही पार हुआ
आ आ आ
तुम जो आए ज़िंदगी में ज़िंदगी से प्यार हुआ
बहार देख के
देख के दिल और बेक़रार हुआ
उम्मीद उतनी बढ़ी जितना इन्तज़ार हुआ
तुम जो आए ज़िंदगी में ज़िंदगी से प्यार हुआ
बहार देख के
Jaata Kahaan Hai Deewaane
Posted on: January 22, 2024
- In: Club song | Devnagri script lyrics by Sudhir | Guest posts | Lyrics by Prakashchandra | Lyrics contributed by readers | Neeti Mohan Solo Songs | Neeti Mohan Songs | One song used in more than one movie | One song used in two movies | Post by Sudhir | Song used in more than one film | Songs of 1950s (1951 to 1960) | Songs of 1956 | Songs of 2010s (2011 to 2020) | Songs of 2015 | Songs reused again in subsequent movies | Yearwise breakup of songs
- 3 Comments
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5666 | Post No. : | 18170 | Movie Count : |
4877 |
Songs Repeated in Hindi Films – 30
– – – – – – – – – – – – – – – – – –
Ah yes, another iconic song from the Golden Era is being reused. It no longer surprises me to continue discovering such reuse songs from the films of recent vantage. Here is this wonderful creation of Majrooh Sultanpuri and OP Nayyar Sb which is now used once again in the film ‘Bombay Velvet’ of 2015.
January is the OP Nayyar month.
Remembering OP Nayyar Sb, the maestro of melody and rhythm who literally ruled the Hindi cinema in the 1950s and 60s. Born on the 16th, he passed away on the 28th. Both memories belong to this month. If alive, he would have been 98 this month.
This song belongs to an extra special sub category of the reuse phenomena. Originally created for the super hit noir thriller ‘CID’ of 1956, it never saw the light of the projector lamp. For the reason that it was not included in the film. Yes, in the reuse category, we do occasionally come across songs which were originally created for a specific film, but eventually not included. Later after some decades, the song appeals to the producer of another film. It gets a new lease of life and gets included in another film. The original credits remain though.
It is quite incidental that I discover this reuse song, and about the same time, I also am part of a discussion on the original appearance of this song, which did not happen. Interestingly, two strikingly divergent stories/explanation were discussed. The prevalent story that people know about this song and its non-inclusion in the film, is attributed to Raju Bhartan. When I came across this reuse version, I had a brief conversation first with Bakshi ji. I was not certain whether the video version of the original was available. Bakshi ji felt that he had probably seen this video, that might have leaked out many years after the original release.
As per Raju Bhartan, the song was excluded because of censor objections. He relates in his writings, that the censors had objections to the words of the song. One part is the mukhda line – “Jaata Kahaan Hai Deewane, Sab Kuchh Yahan Hai Sanam”. Another version of the censor story is word ‘fiffy’ in the title lines. The producer tried to explain that this word in fact has no meaning. But the censors caught on to say that it is then all the more suspicious that this is an obscene and objectionable word. And so the censor scissors did the needful.
Then a second background story, a new (for me), of the reason behind exclusion was shared. This was shared by Peeyush Sharma ji, who is currently settled in Canada. He shared a conversation he had many years ago in Bangalore, with Shri VK Murthy. Murthy ji was the cinematographer of ‘CID’, and he had a different tale to tell.
This song was supposed to be picturized on Waheeda Rehman. This was supposed to be what we term on this blog, as a ‘villain’s den’ song. Raj Khosla was the director of the film, but overall charge was Guru Dutt. Two points about him. First, he was a good dancer in his own right, having been trained under Uday Shankar at Almora. Secondly, he is also acknowledged as the master of song picturization par excellence, and only Vijay Anand can be bracketed along with him in this category.
As per Murthy ji, this is what happened on the sets when this song was being picturized. The shooting started. Waheeda ji was in a very revealing dress, with sleeveless top and an exposed mid riff. Just the mukhda was being picturized when Guru Dutt signaled to Raj Khosla, and the shooting was stopped. Guru Dutt said something to the effect that the shooting of this song will need to be re-thought, and suspended the day’s work for the time being. Next day, the work started on a different scene.
A couple of days later, Raj Khosla and Murthy asked Guru Dutt about the abandoned shooting of the song. He replied that he is thinking about it, and will share his plan later. That later never came. And so, contrary to the version popularized by the writings of Raju Bhartan, the song never really got picturised, as per Murhty, the cinematographer. This version gains credibility from the fact the video of this song never surfaced, even decades after the release of the film. As per Murthy’s statement, maybe Guru Dutt felt awkward presenting Whaeeda Rehman in such a revealing manner, just in her debut appearance.
Coming to the reuse version. ‘Bombay Velvet’ is a tale of the dark underside of the Bombay world. Set in the second half of the decade of 1960s, it is based on the novel ‘Mumbai Fables’ by Gyan Prakash. In turn, the story and the ambiance of ‘Mumbai Fables’ is inspired by ‘LA Quartet’, a set of four novellas by James Ellroy. These are set in the Los Angeles under belly of the decades of 1940s and 1950s.
The film is a story of love that develops between a small time crook and street fighter Johnny Balraj (role played by Ranbir Kapoor) and Rosie (role played by Anushka Sharma), a singer who performs at shady clubs. It is story with a tragic ending. The love between the two becomes a problem for Johnny’s gangster boss, with few other twists thrown in involving the police, journalists, etc. A shootout happens at the end in which Johnny is killed, and Rosie is seriously injured.
This song is the first introduction of the two protagonists in a shady bar, named Bombay Velvet. It is a regular bar that also serves hookah smoking. Rosie is singing this song, and Ranbir is in an inner room smoking the hookah. He is drawn by the music and comes to the main area and sees her.
He is flamboyant, drunk, and has a bruised eye – appears to have had a fight recently. She is standing in front of a mike and a set of band players, with complete boredom writ large on her face, as if she would rather be somewhere else. Men crowd the room. We can see Manish Chaudhry, who is a newspaperman. Some in the crowd try to approach the singer, Johnny tries to block, a fight ensues – and the singer keeps on singing the song. Quite a scenario.
In the beginning of the video clip we see police inspector Vishwas Kulkarni (role played by Kay Kay Menon) talking on the phone. In the background we hear what is probably a radio playing. A program of film songs is in progress. We hear a snippet of the announcer’s voice which is announcing the next song. The announcer’s voice, overlaid with the phone conversation of Vishwas Kulkarni, is heard saying “. . . की आवाज़ में जिसे संगीत बद्ध किया है ओ पी नय्यर ने . . .” (“. . in the voice of (…) with music composed by OP Nayyar”). A very interesting way to acknowledge the song whose prelude music starts to play from the radio.
The scene shifts and we see Jamshed ‘Jimmy’ Mistry, a newspaper editor (role played by Manish Chaudhry), typing out a crime story about a smuggler’s escape from the prison. The prelude music continues to play in the background. The typewriter visual shifts to the front page of a tabloid newspaper, interestingly titled ‘Glitz’ (a throwback to the famous tabloid ‘Blitz’ that used to be published by RK Karanjia, simultaneously from Bombay and Delhi) carrying the story. The headline is accompanied with a black and white photograph. This photograph very suspiciously looks as if from from one of the earlier Hindi films – maybe ‘Baaz’, maybe ‘Jaal’ – just speculating, I am not able to identify.
The prelude of the song continues and the scene now shifts to Johnny, smoking a hookah, in an interior room of Bombay Velvet. As Johnny takes a puff, the the prelude music gains prominence and we see Johnny, enamored by the music, get up and come to the main area of the club, where Rosie is beginning the song – “Jaata Kahaan Hai Deewaane. . .”. As the song continues, the scene shifts back and forth between Bombay Velvet and to the outside during daytime, in what looks like the old Fort area of Bombay. For a good measure, we see a Victoria, and old model cars in the passing, as the director is trying to recreate the ambiance of Bombay of the 1960s. Johnny is stalking Rosie, trying to get her attention. Back inside the club, another evening, another performance by Rosie, and Johnny is there again. This time, through her visible boredom, Rosie gives a smile to Johnny. Jimmy Mistry also walks in again, and with a giggle Johnny confides in his ear – “Apni hai” (“She is mine”). And the familiarity develops. . .
Maybe the picturization of the song may prompt one to view the complete film.
The song has been used as it has been originally created. The words and the music is exactly the same. Only that it has been re-recorded in a different voice – that of Neeti Mohan. Thankfully, the rhythm and the flow of the song has not been tampered with. No remixing, or additional music effects. Neeti Mohan has been able to sing it quite well, bringing in the various inflections and variations that are in the original rendition. Ah but of course, Geeta Dutt is Geeta Dutt. The original is beyond comparison.
Let us listen to this re-recorded hit song. And enjoy the new visual.
Song – Jaata Kahaan Hai Deewaane (Bombay Velvet) (2015) Singer – Neeti Mohan, Lyrics – Majrooh Sultanpuri, MD – OP Nayyar
Lyrics (Provided by Prakashchandra)
jaata kahaan hai deewaane
sab kuch yahaan hai sanam
baaki ke saare fasaane
jhoothe hain teri kasam
aaaaa
fiffy
kuchh tere dil mein fiffy
kuchh mere dil mein fiffy
zamaana hai buraa
pehlu badalne lage
ghabraake chalne lage
aankhen milin bhi nahin
yoon hi sambhalne lage
ajee suniye huzoor
jaana hamse na door
ajee suniye huzoor
dekho dil hai kisi ka jalaana bura
jaata kahaan hai deewaane
sab kuch yahaan hai sanam
baaki ke saare fasaane
jhoothe hain teri kasam
fiffy
kuchh tere dil mein fiffy
kuchh mere dil mein fiffy
zamaana hai buraa
saiyyaad hai tu magar
mujhko na yoon tan ke dekh
naadaan zara ek baar
qaidi mera banke dekh
maano maano meri baat
hai ye pehli mulaqaat
maano maano meri baat
dekho pehlu se uth ke hai jaana buraa
jaata kahaan hai deewaane
sab kuchh yahaan hai sanam
baaki ke saare fasaane
jhoothe hain teri kasam ahaaa
fiffy
kuchh tere dil mein fiffy
kuchh mere dil mein fiffy
zamaana hai buraa
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
जाता कहाँ है दीवाने
सब कुछ यहाँ है सनम
बाकी के सारे फसाने
झूठे हैं तेरी क़सम
फिफ़्फ़ी
कुछ तेरे दिल में फिफ़्फ़ी
कुछ मेरे दिल में फिफ़्फ़ी
ज़माना है बुरा
पहलू बदलने लगे
घबरा के चलने लगे
आँखें मिलीं भी नहीं
यूं ही संभलने लगे
अजी सुनिए हुज़ूर
जाना हमसे ना दूर
अजी सुनिए हुज़ूर
दिल है किसी का जलाना बुरा
जाता कहाँ है दीवाने
सब कुछ यहाँ है सनम
बाकी के सारे फसाने
झूठे हैं तेरी क़सम
फिफ़्फ़ी
कुछ तेरे दिल में फिफ़्फ़ी
कुछ मेरे दिल में फिफ़्फ़ी
ज़माना है बुरा
सैय्याद है तू मगर
मुझको ना यूं तन के देख
नादां ज़रा एक बार
क़ैदी मेरा बन के देख
मानो मानो मेरी बात
ये है पहली मुलाक़ात
मानो मानो मेरी बात
देखो पहलू से उठ के है जाना बुरा
जाता कहाँ है दीवाने
सब कुछ यहाँ है सनम
बाकी के सारे फसाने
झूठे हैं तेरी क़सम
फिफ़्फ़ी
कुछ तेरे दिल में फिफ़्फ़ी
कुछ मेरे दिल में फिफ़्फ़ी
ज़माना है बुरा
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5645 | Post No. : | 18139 |
My first introduction to Ajay was way back when. We met at Golcha, one of the (then) premier cinema halls situated in the Daryaganj main shopping area in Delhi. This place is technically in Old Delhi (or Delhi-6, as it is recognized now by film buffs). Golcha used to be what maybe Maratha Mandir used to be in Bombay. People would visit simply to see the place.
Anyway, so I met Ajay there for the first time. I was in the audience in a large dark hall, and he was on the screen, performing. The song is iconic, by the standards of Atul-Song-A-Day – it is the very first song of this blog’s existence – “Miley Na Phool To Kaanton Se Dosti Kar Li”. So in that sense, I can say that he is the founding actor/hero of this blog.
The film that I had gone to watch with family (I was too young to venture out alone at that time) is ‘Anokhi Raat’. It is a story of a dark and stormy night. Torrential rain is pounding the earth, and it is difficult to venture out in the open, so dark is the ambience. On this fateful night, a motley group of people with varied backgrounds and varied interests and motivations are assembled in a villa, and are stuck there for the night because of the weather. Some people are known to each other, and yes, some persons unknown to the host and known group of guests also have taken a shelter in the villa. In the beginning of the story, it is mentioned by the leading lady, Rama, granddaughter of the house (role played by Zahida) – that the villa has never turned back anyone who came to its gates seeking shelter or help.
The storm continues outside and the threads of the story unfold inside. One comes to know of the difficulties of some characters, and the motivated vested interests of some others. Somehow, the entire group of people, each with its own thread, appears to be knit into a single design that plays itself out during the night. The villa is raided by a gang of dacoits in the night. The gang is led by the dreaded Baldeva (role played by Sanjeev Kumar). Initially, the watchers are led to understand that the dacoits have no reason to be there, other than seeking shelter and food on that stormy night. But as the hours pass, and more folds of the tapestry are removed, it comes to another juncture where Baldeva, although present on the scene by sheer accident, turns out to be very intimately linked with the destiny of the household. The story is quite gripping, not that it is a suspense film. Everything is known to the audience as it happens, and the anxiety is simply to know how this drama would play itself out to reach a conclusion.
Enter Ajay into this scenario that is a smoldering pot of emotions and machinations. The film’s story does not give a name to his character. He is a roving artist and poet, who has no roots anywhere. That is the only introduction we have of his role. He has no motivations of his own, and is just there to save himself from the storm. As the drama develops, he slowly moves in from the periphery towards the middle, and becomes not a central character, but an influencer and an important catalyst as the tale moves towards culmination.
‘Anokhi Raat’ is Ajay’s debut film. He is introduced as a new comer at the very end of the list of actors in the beginning credits. Ajay was 24 years when he stepped into this role of the roving artist and poet. He is a New Year child, having been born on 1st January, 1944 at Muree, a resort town in Punjab, that is now part of Pakistan.
It must be mentioned though, that his first screen appearance is as a child artist in the film ‘Deedar’ (1951) at the age of seven. He appears on the screen, riding a horse behind Tabassum, in the first version of the song “Bachpan Ke Din Bhula Na Dena” – the two child actors playing the younger versions of Mala (role played by Nargis) and Shyam (role played by Dilip Kumar).
Ajay Sahni is the assumed name of Parikshit Sahni, son of the famous thespian Balraj Sahni. During the preparation of the filming of ‘Anokhi Raat’, Sanjeev Kumar suggested him to change his name to a simpler Ajay Sahni for his film career. He did so, and appeared with that name in films for many years. Later he switched back to his original name as he transitioned into character roles.
Parikshit Sahni continues to play in current cinema, now at the age of 79. Over a period of 55 years he has appeared in more than 140 films and more than 30 serials on the small screen. He has played many a memorable role during his career. His first appearance in ‘Anokhi Raat’ was a notable performance. In the 1970 film ‘Pavitra Paapi’, he played the role of Kedar, a jobless youth who unintentionally ends up creating chaos in the life and family of Pannalal (role played by his father, Balraj Sahni), and then he makes good for his unintended intrusion at the cost of his own career and aspirations, and yes, his love for the daughter of Pannalal.
He continued to play lead roles, albeit for a short time – ‘Samaj Ko Badal Dalo’ and ‘Aansoo Aur Muskaan’ (1970),’ Preet Ki Dori’ and ‘Lagan’ (1971), ‘Vandana’ (1974) etc. In 1972 he played the title role of the poet in the biopic ‘Shaayar e Kashmir Mahjoor’.
In the years of 1973-74 he started to transition into character roles with films like ‘Hindustan Ki Kasam’, ‘Mili’ and ‘Kabhi Kabhi’. In 1977, he played the pivotal role of Sardar Udham Singh in the film ‘Jalianwala Bagh’. A delayed release of Rajinder Singh Bedi’s film ‘Nawab Saheb’ in 1978 again brought him to the screen in a lead role. But of course that was just a one off appearance. By the end of 1970s he was firmly entrenched in the industry as a character artist. Going by his career portfolio he has been quite much in demand as a character artist. His roles were noticed and appreciated in films like ‘Vishwanath’ (1978), ‘Kaala Pathhar’ (1979), ‘Kasturi’ (1980), ‘Agni Pareeksha’ (1981), ‘Desh Premee’ (1982), ‘Boxer’ (1984) – the list goes on and on.
We see him continue playing the roles in more recent films – ‘Umro Jaan’ (2006), ‘Eklavya’ (2007), ‘3 Idiots’ (2009), ‘Na Jaane Kyon’ and ‘Maalik Ek’ (2010), ‘Boss’ (2013), ‘PK’ (2014), ‘Desi Munde’ (2016), ‘Cypher’ and ‘One Day Justice Delivered’ (2019) and ‘Hawaayein’ (2021) etc.
Coming to today’s presentation – a song from the 1987 film ‘Shubhchintak’. From all appearances this film was not released on the big screen. Its VHS and VCDs were released in 1989, but it seems this film did not see the light of a cinema projector.
The film is produced by J Jagdish, who is also the music director of the film. The film is directed by Subhash Shah. The list of cast of actors includes Parikshit Sahni, Arun Govil, Deepika Chikhaiia, Shobha Khote, CS Dubey, Shashi Puri, Kunika Sadanand, Rohit Chandan, Anita Chopra, Moolchand, Ramana, Alpana, Mushtaq Merchant, Beena, Barkha Pandit, Master Nishit, Pranav, Baby Pinki etc.
The film has 3 songs, all written by different songwriters. One iconic song in the voice of Mukesh – “Maana Ke Tere Pyaar Mein Rusvaaian To Hain” is written by Anjaan. This song is already showcased on our blog. The other two songs are written by Suroor Lakhnawi and Qaiser ul Jaffery. Individual songs by specific poets are not credited. Another song – “Tum To Shaayar Ke Khayaalon Ki Dulhan Lagti Ho” is sung by a singer named Sushil Kumar. The third song is the one being presented today It is sung by Amber Kumar, and performed on screen by Parikshit Sahni.
In the film, Parikshit Sahni plays the role of a retired army colonel, who owns and runs a paying guest facility. The film’s tale is about his fatherly relationships with his young tenants and how he helps them to navigate the problems of life. The lyrics of the song are good, and is well sung by Amber Kumar. However, the picturization leaves something to be desired. It is filmed as a party song whereas the words and the pace of the song does not lend itself to a party situation.
Regardless, heard without the visuals, it is a very nice listen. Performed by Parikshit Sahni , when he would have been about 42 or 43 years old.
Wishing Ajay – Parikshit Sahni, a very Happy Birthday, with best wishes for continued good health and continued presence on the cinema screen.
All the best, and wishes for a great New Year to all readers and friends.
Song – Koi Hungaama To Ho, Shaam Dhale Basti Mein (Shubh Chintak) (1987) Singer – Amber Kumar, Lyrics – [Unattributed], MD – Jagdish
Lyrics
koi hungaama to hi
shaam dhale
basti mein
koi hungaama to hi
shaam dhale basti mein
kuchh nahin hai to mera
ghar hi jale
basti mein
koi hungaama to hi
shaam dhale basti mein
gaaon jaana ho to
do phool chadha ke aana
gaaon jaana ho to
do phool chadha ke aana
dafn hoon main wahin
peepal ke taley
basti mein
dafn hoon main wahin
peepal ke taley
basti mein
mera anjaam hi roney ke liye kaafi hai
mera anjaam hi roney ke liye kaafi hai
ab mohabbat ka koi
naam na le
basti mein
ab mohabbat ka koi
naam na le
basti mein
chaandni mere dareeche se
na utri yaaro
chaandni mere dareeche se
na utri yaaro
chaand har raat
nikalta ho bhale
basti mein
koi hungaama to hi
shaam dhale basti mein
kuchh nahin hai to mera
ghar hi jale
basti mein
koi hungaama to hi
shaam dhale basti mein
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
कोई हँगामा तो हो
शाम ढले
बस्ती में
कोई हँगामा तो हो
शाम ढले बस्ती में
कुछ नहीं है तो मेरा
घर ही जले
बस्ती में
कोई हँगामा तो हो
शाम ढले बस्ती में
गाँव जाना हो तो
दो फूल चढ़ा कर आना
गाँव जाना हो तो
दो फूल चढ़ा कर आना
दफ्न हूँ मैं वहीं
पीपल के तले
बस्ती में
दफ्न हूँ मैं वहीं
पीपल के तले
बस्ती में
मेरा अंजाम ही रोने के लिए काफी है
मेरा अंजाम ही रोने के लिए काफी है
अब मोहब्बत का कोई
नाम ना ले
बस्ती में
अब मोहब्बत का कोई
नाम ना ले
बस्ती में
चाँदनी मेरे दरीचे से
ना उतरी यारो
चाँदनी मेरे दरीचे से
ना उतरी यारो
चाँद हर रात
निकलता हो भला
बस्ती में
कोई हँगामा तो हो
शाम ढले बस्ती में
कुछ नहीं है तो मेरा
घर ही जले
बस्ती में
कोई हँगामा तो हो
शाम ढले बस्ती में
Ek Chameli Ke Mandwe Taley
Posted on: January 1, 2024
- In: Feelings of heart | Guest posts | Lata solo | Lata song | Love song | One song used in more than one movie | One song used in two movies | Post by Sudhir | Snippet Song | Song used in more than one film | Songs of 1960s (1961 to 1970) | Songs of 1963 | Songs reused again in subsequent movies | Yearwise breakup of songs
- 7 Comments
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5645 | Post No. : | 18138 |
Songs Repeated in Hindi Films – 29
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This post may likely be the most peculiar one of this series. Here we see a song, or more accurately a song snippet, reused in a most peculiar manner.
The film is ‘Mujhe Jeene Do’ from 1963. Recently, I chanced upon this song snippet, which is part of a song from another film. I have seen this film maybe once or twice earlier, but did not register or remember this song snippet being present in the film. A friend recently brought this to my attention, and I thought of writing this post.
The full song is from the film ‘Cha Cha Cha’. And a very well known and well heard duet it is. The singers in the complete song are Rafi Sb and Lata Mangeshkar. The original verses are penned by the famous Urdu litterateur Makhdoom Mohiuddin. The music of the film ‘Cha Cha Cha’ is from the mind of Iqbal Qureshi. The film includes such all time favorite hits like “Subah Na Aayi, Shaam Na Aayi” and “Wo Hum Na The Wo Tum Na The” (both written by Neeraj). This iconic song has long been a favorite of mine. The song is a description of the emotions of love, longing and intimacy between a man and a woman.
‘Mujhe Jeene Do’ is the story of the dacoit Thakur Jarnail Singh (role played by Sunil Dutt) who falls in love with Chameli (role played by Waheeda Rehman), a dancing girl. The story is about the dilemma that enters their lives when Chameli gives birth to a child. Bringing up a child in an environment of a dacoit gang – that is the dilemma which makes up the theme of this film. And there is a very famous Lata song that beautifully expresses this dilemma – “Tere Bachpan Ko Jawaani Ki Dua Deti Hoon”.
A brief about Makhdoom Mohiuddin, whose poetry also appears in films like ‘Gaman’ (1978) – “Aap Ki Yaad Aati Rahi Raat Bhar”, and “Bazaar” (1982) – “Phir Chhidi Raat Baat Phoolon Ki”. He was born at Andol in district Medak in Hyderabad on 4th Feb, 1908. He belonged to a religious family of teachers and preachers but Makhdoom was more interested in poetry and politics than in religion. He was the leading light of the progressive writers’ movement and as a mark of respect the communist party of India has raised a building called “Makhdoom Bhawan” in Hyderabad. Though Makhdoom is primarily a poet of the nazm, he has also proved his ability as a ghazal writer. In addition, he has displayed his worth in the field of prose as well. His poetical works include ‘Surkh Saveraa’, ‘Gul-e-tar’, ‘Basaat-e-raqs’ (complete works). He passed away in Delhi on August 25, 1969.
Now coming to the interesting twist to the reuse of this song snippet. The film ‘Cha Cha Cha’, which contains the complete song, was released in 1964. And this reuse (?) occurs in a film ‘Mujhe Jeene Do’ which is released in 1963. The release chronology raises the question about which is the original creation. Were these lines composed by Jaidev Sb initially (music director for ‘Mujhe Jeene Do’), and then later developed into a full song by Iqbal Qureshi for ‘Cha Cha Cha’ ? Or that the song is created by Iqbal Sb and the song snippet borrowed by Jaidev Sb for his film ?
Curious thing is chronology. One possibility is that both the films were in production concurrently during maybe 1963, and that the release of ‘Cha Cha Cha’ was delayed whereas ‘Mujhe Jeene Do’ got released timely, and much before ‘Cha Cha Cha’. It is difficult now to get answers to these questions. But surely, an interesting scenario is created – the apparent reuse of the song snippet is appearing in a film that came before the film which contains the full song.
On screen, the lines play in the background in the voice of Lata ji. On screen, we see Chameli waiting for the Thakur in a scene that appear to be their tryst for the first night together. Tahkur enters the scene, sits besides her and touches her face. The voice of Lata ji starts to play in the background as the lovers fall into an embrace. A very delicately picturized scene – conveys all without saying much. Lata ji’s voice says it all.
[Editor’s Note: Additional inputs by Arun ji Deshmukh on the poet Makhdoom Mohiuddin.]
This song has made my memories greener.The writer of this song MAKHDOOM MOHIUDDIN was our family friend in the 50s and 60s till he died in 1969.
Our Hyderabad house was very big and my father had a beautiful garden where there was a big Chameli Mandav on which the Chameli vine was flowering in the seasons. There also was a big Zopala (a well spread jhoola with cushions to seat 3 to 4 people). Whenever Makhdoom Sb used to come, he preferred sitting under the Chameli Mandav on an easy chair. Actor, director and producer Chandrashekhar, who hailed from Hyderabad and knew Makhdoom Sb well, requested for a song for his film and Makhdoom Sb wrote the above song for him. But it came in the movie after a lapse of time only.
Makhdoom was a Poet, Dramatist, Teacher and in the last phase of his life, a Political Leader with left inclinations. He was also an MLA.
His 3 more songs feature in films- 1) “Jaanewale Sipahi Se Poocho” – ‘Usne Kaha Tha’ (1960) 2) “Aapki Yaad Aati Rahi” – ‘Gaman’ (1979), and “Phir Chhidi Raat” – ‘Bazaar’ (1982).
AD
Song – Ek Chameli Ke Mandwe Taley (Mujhe Jeene Do) (1963) Singer – Lata Mangeshkar, Lyrics – Makhdoom Mohiuddin, MD – Iqbal Qureshi
Lyrics
. . .
mandiron ke kiwaadon ne dekha inhen
masjidon ke meenaaron ne dekha inhen
do badan pyaar ki aag mein jal gaye
ek chameli ke mandwe taley
ek chameli ke mandwe taley
. . .
मंदिरों के किवाड़ों ने देखा इन्हें
मस्जिदों के मीनारों ने देखा इन्हें
दो बदन प्यार की आग में जल गए
एक चमेली के मंडवे तले
एक चमेली के मंडवे तले
Tu Kisi Ke Dil Ka Dard Mita
Posted on: November 12, 2023
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5595 | Post No. : | 18070 |
Here is wishing Happy Deepawali once again to all group members and readers.
May the blessings of prosperity and goodness be resident in our households, and that good health and peace be with all of us, as we pass through yet another celebration of this festival of lights.
I heard this song today, really after ages. A friend sent it in a clip as greetings for the occasion. And somehow, it influenced me enough to sit down and do a post for today’s festive celebrations. As I got the details for the song, I find that it is from a film titled quite appropriately – ‘Ghar Ghar Mein Diwali’. This film is from 1955, from the eminent production house of Minerva Movietone. This used to be the flagship production house of thespian Sohrab Modi.
The film, categorized as a ‘social’, is produced by Sohrab Modi, and is directed by Gajanan Jagirdar. Generally Sohrab Modi is part of the star cast in the films that he has produced. But in this film, he is not. The star cast for the film is listed as Gajanan Jagirdar, Shyama, Sajjan, Manorama, Aruch Tarapur, Krishna Kant, Maqbool, Dar Kashmiri, Ramlal, Shaamlal, Jamshed Ji, Shivaji Rathor, Khwaja Sabir, Meenu, Mehmood, Ghulam Mohiuddin, Rajkumar, Qader, Munshi Khanjar, Jilani, Uma Dutt, Bagla, Bhaagi, Jameela, Sinha, Uma, and Baby Kala.
The film has 10 songs. The lyrics writing is shared between Prem Dhawan and Indeewar. This song is penned by Prem Dhawan. Music is from the mind of Roshan.The singing voice is that of Lata Mangeshkar. Our blog already carries 6 of these. Today we have the seventh song of this film making its place on the blog.
This is a wonderful Diwali song that seems to have escaped the scrutiny of listeners. Maybe because the mukhda of the song does not contain the any tell tale words, like Diwali, Raat, etc.
Wishing you all, and your near and dear ones – a very auspicious festival celebration, and the beginning of another year of good health, peace and prosperity.
Happy Diwali.
Song – Tu Kisi Ke Dil Ka Dard Mita (Ghar Ghar Mein Diwali) (1955) Singer – Lata Mangeshkar, Lyrics – Prem Dhawan, MD – Roshan
Lyrics
hmmm hmmm hmmmm hmmmm
hmmm hmmmm hmmmm
tu kisi ke dil ka dard mita
kisi ka bujhta deep jala
ho tere ghar mein diwali
sun le baat nirali
sun le baat nirali
tu kisi ke dil ka dard mita
kisi ka bujhta deep jala
ho tere ghar mein diwali
sun le baat nirali
sun le baat nirali
chamak rahe hain sadiyon se ye suraj chaand sitaare
suraj chaand sitaare
nis baante duniya ko phir bhi kam na hon ujiyaare
kam na hon ujiyaare
ho oo oo
dukhiyon ki peeda har le
nirdhan ki jholi bhar de
ho jeb na teri khaali
sun le baat nirali
sun le baat nirali
tu kisi ke dil ka dard mita
kisi ka bujhta deep jala
ho tere ghar mein diwali
sun le baat nirali
sun le baat nirali
sur se sur milte hi goonjen geet madhur matwaare
geet madhur matwaare
aur in geeton mein kho jaayen duniya ke dukh saare
duniya ke dukh saare
ho oo oo
mann se mann ko milaata ja
deep se deep jalaata ja
ho ghar ghar mein diwali
sun le baat nirali
sun le baat nirali
tu kisi ke dil ka dard mita
kisi ka bujhta deep jala
ho tere ghar mein diwali
sun le baat nirali
sun le baat nirali
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
हम्ममम हम्ममम हम्ममम हम्ममम
हम्ममम हम्ममम हम्ममम
तू किसी के दिल का दर्द मिटा
किसी का बुझता दीप जला
हो तेरे घर में दिवाली
सुन ले बात निराली
सुन ले बात निराली
तू किसी के दिल का दर्द मिटा
किसी का बुझता दीप जला
हो तेरे घर में दिवाली
चमक रहे हैं सदियों से ये सूरज चाँद सितारे
सूरज चाँद सितारे
निस बांटें दुनिया को फिर भी कम ना हों उजियारे
कम ना हों उजियारे
हो ओ ओ
दुखियों की पीड़ा हर ले
निर्धन की झोली भर दे
हो जेब ना तेरी खाली
सुन ले बात निराली
सुन ले बात निराली
तू किसी के दिल का दर्द मिटा
किसी का बुझता दीप जला
हो तेरे घर में दिवाली
सुन ले बात निराली
सुन ले बात निराली
सुर से सुर मिलते ही गूँजें गीत मधुर मतवारे
गीत मधुर मतवारे
और इन गीतों में खो जाएँ दुनिया के दुख सारे
दुनिया के दुख सारे
हो ओ ओ
मन से मन को मिलाता जा
दीप से दीप जलाता जा
हो घर घर में दिवाली
सुन ले बात निराली
सुन ले बात निराली
तू किसी के दिल का दर्द मिटा
किसी का बुझता दीप जला
हो तेरे घर में दिवाली
सुन ले बात निराली
सुन ले बात निराली
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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