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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 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.

Greetings to all readers and friends. A very Happy Diwali to all.

 

Song – Aa Haa Haa Deewaali  (Diwaali Ki Raat) (1956) Singer – Asha Bhosle, Lyrics – Pt Faani, MD – Snehal Bhatkar
Male Chorus
Female Chorus
All Chorus

Lyrics

deewali ke deep seep ke moti
moti rang birange
jhar jhar jhar jhar moti jalte
jhar jhar jhar jhar moti jalte
dharte praan patange
dharte praan patange
in ka pyaar anokha jag mein
in ka pyaar anokha jag mein
in ka pyaar anokha jag mein
ey inki preet niraali..ee
aa ha ha deewaali
aa ha ha deewaali
aa ha ha deewaali
aa ha ha deewaali
aa ha ha deewaali
aaaa aaa aaaaaaa aaaa deewaali
aa ha ha deewaali
aa ha ha deewaali

kaali raat amaavas ki
kaali raat amaavas ki
ye gori se bhi gori
ye gori se bhi gori
deep deep ko chaand samajh ke
deep deep ko chaand samajh ke
naache aaj chakori
sapne le kar aai suhaani
sapne le kar aai suhaani
raat ye kaali kaali
aa ha ha deewaali
aa ha ha deewaali
aa ha ha deewaali
aa ha ha deewaali
aa ha ha deewaali
aaaa aaa aaaaaaa aaaa deewaali
aa ha ha deewaali
aa ha ha deewaali

deewali ki dulhan saj ke
deewali ki dulhan saj ke
deewali ki dulhan saj ke
phuljhadion se khele
phuljhadion se khele
naya saal aur nai umangen
naye naye nit mele
bichhdon ko hai galey milaati
amrit ki ye pyaali
aa ha ha deewaali
aa ha ha deewaali
aaaa aaa aaaaaaa aaaa deewaali
aa ha ha deewaali
aa ha ha deewaali
aa ha ha deewaali

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
दिवाली के दीप सीप के मोती
मोती रंग बिरंगे
झर झर झर झर मोती जलते
झर झर झर झर मोती जलते
धरते प्राण पतंगे
धरते प्राण पतंगे
इनका प्यार अनोखा जग में
इनका प्यार अनोखा जग में
इनका प्यार अनोखा जग में
ए इनकी प्रीत निराली॰॰ई
आ हा हा दिवाली
आ हा हा दिवाली
आ हा हा दिवाली
आ हा हा दिवाली
आ हा हा दिवाली
आss आs आsssssss आsss दिवाली
आ हा हा दिवाली
आ हा हा दिवाली

काली रात अमावस की
काली रात अमावस की
ये गोरी से भी गोरी
ये गोरी से भी गोरी
दीप दीप को चाँद समझ के
दीप दीप को चाँद समझ के
नाचे आज चकोरी
सपने लेकर आई सुहानी
सपने लेकर आई सुहानी
रात ये काली काली
आ हा हा दिवाली
आ हा हा दिवाली
आ हा हा दिवाली
आ हा हा दिवाली
आ हा हा दिवाली
आss आs आsssssss आsss दिवाली
आ हा हा दिवाली
आ हा हा दिवाली

दिवाली की दुल्हन सज के
दिवाली की दुल्हन सज के
दिवाली की दुल्हन सज के
फूलझड़ियों से खेले
फूलझड़ियों से खेले
नया साल और नई उमंगें
नए नए नित मेले
बिछड़ों को है गले मिलाती
अमृत की ये प्याली
आ हा हा दिवाली
आ हा हा दिवाली
आss आs आsssssss आsss दिवाली
आ हा हा दिवाली
आ हा हा दिवाली
आ हा हा दिवाली

 

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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.

Hullo to Atuldom

‘Saajan Mere Main Saajan Ki’ is a movie released in 1980. It was directed by Hiren Nag and produced by Ramraj Nahata. It had a star cast of Ashok Kumar, Raj Babbar, Raj Kiran, Rameshwari, Kaajal Kiran, Shashikala, Dina Pathak, Madan Puri etc. Songs were written and composed by Ravindra Jain. I have never seen the movie and so I have no idea what it was all about.

But one song from that movie has stayed in my memory. The playback for that song is by Manna Dey with Dilraj Kaur. What has stuck with me since I saw it on Doordarshan’s Chaayageet/Chitrahaar is the sight of Ashok Kumar and Shashikala living it up at a disco.

That was the period when Ashok Kumar used play a lovable old man who doesn’t mind enjoying himself occasionally with wine, women etc. All these would many-a-times be just to irritate a younger character or bring a wayward youngster to toe his line. But all his roles were very cute. Very often his partner would be the other lovable old man Pran, in addition he used to team up with Utpal Dutt, AK Hangal, and sometimes his team mate would be any actress with whom he has paired romantically in his younger days. Like in today’s song he is merrily dancing with Shashikala who herself was a dancing star in her younger days. Before this the two had appeared in ‘Khubsoorat’ as Sasur and Bahu. And yes, that film also is from 1980. 🙂 In this film, we see  Shashikala do a kathak piece as Dada Moni plays the tabla. I also remember Shashikala with Ashok Kumar in BR Chopra’s ‘Gumraah’ (1963) too.

I am sure many of the regular followers of this blog will remember that today is Dada Moni’s birth anniversary. He would have been 106. Let us remember him with this lively party song.

Song – Hi Honey. . . Hi Hi Honey (Saajan Mere Main Saajan Ki) (1980) Singer – Manna Dey, Dilraj Kaur, Lyrics – Ravindra Jain, MD – Ravindra Jain
Manna Dey + Dilraj Kaur
Male Chorus
Female Chorus
All Chorus

Lyrics

disco disco disco
disco disco disco
lets go on the dance floor
disco disco disco
disco

hi honey
hi hi honey
hi honey
hi hi honey
sweety sweety aisi beauty
humne dekhi na suni
sweety sweety aisi beauty
humne dekhi na suni

how funny
how how funny
o how funny
o how funny
jhoothi jhoothi naughty naughty
baaten tumse hi suni
jhoothi jhoothi naughty naughty
baaten tumse hi suni
hi honey
hi hi honey
hi hi honey
hi hi honey

lallall lall lalla
la la la la la la lala
lallall lall lalla
la la la la la la lala
lallall lall lalla

la la lal lal lalla
la la lal lal lalla
laaa laaa

ye to aap ka husn-e-nazar hai
ooo hooo
warna kya hain hum humko khabar hai
oo oo
kaun kahta hai dhalti umar hai
hooo oooo
har adaa me bala ka asar hai
baahon me baahen dono daalo
behak rahi hum sambhalo
o baahon me baahen dono daalo
behak rahi hum sambhalo
oooooo
hi honey
hi hi honey
hi hi honey
hi hi honey
tere mere jaisi jodi banegi aur na bani
jhoothi jhoothi naughty naughty
baaten tumse hi suni
hi honey
hi hi honey
hi hi honey
hi hi honey

dada moni
dada moni
its not so funny
not so funny
aish karogi miss malini
laila majnu
shirin farhad
in sabke sath zamana humen bhi karega yaad
haan jannat nasheen
unki roohen
hum se zinda dilon ko deti hain aashirvaad
preet ke rog me padke
dhak dhak dhak dil dhadke
preet ke rog me padke
dhak dhak dhak dil dhadke
hi honey
hi hi honey
hi hi honey
hi hi honey
jitni fine old wine
utna hi old honey
sweety sweety aisi beauty
humne dekhi na suni
hi honey
hi hi honey
hi hi honey
hi hi honey
hi honey
hi hi honey
hi hi honey
hi hi honey
hi honey
hi hi honey
hi hi honey
hi hi honey

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

डिस्को डिस्को डिस्को
डिस्को डिस्को डिस्को
लेट्स गो ऑन द डांस फ्लोर
डिस्को डिस्को डिस्को
डिस्को

हाए हनी
हाए हाए हनी
हाए हनी
हाए हाए हनी
स्वीटी स्वीटी ऐसी ब्यूटी
हम ने देखि ना सुनी
स्वीटी स्वीटी ऐसी ब्यूटी
हम ने देखि ना सुनी

हाओ फन्नी
हाओ हाओ फन्नी
ओ हाओ फन्नी
ओ हाओ फन्नी
झूठी झूठी नौटी नौटी
बातें तुमसे ही सुनी
हाए हनी
हाए हाए हनी
हाए हनी
हाए हाए हनी

लल्लल्ल लल्ल लल्ला
ला ला ला ला ला ला लाला
लल्लल्ल लल्ल लल्ला
ला ला ला ला ला ला लाला
लल्लल्ल लल्ल लल्ला

ला ला लल लल लल्ला
ला ला लल लल लल्ला
ला ला

ये तो आपका हुस्न ए नज़र है
ऊ हू
वरना क्या हैं हम हमको खबर है
ऊ ऊ
कौन कहता है ढलती उमर है
हू हू
हर अदा में बला का असर है
बाहों में बाहें दोनों डालो
बहक रहीं हूँ संभालो
बाहों में बाहें दोनों डालो
बहक रहीं हूँ संभालो
ओ ओ
हाए हनी
हाए हाए हनी
हाए हनी
हाए हाए हनी
तेरे मेरे जैसी जोड़ी बनेगी ना बनी
झूठी झूठी नौटी नौटी
बातें तुमसे ही सुनी
हाए हनी
हाए हाए हनी
हाए हनी
हाए हाए हनी

दादा मोनी
दादा मोनी

इट्स नौट सो फन्नी
नौट सो फन्नी
ऐश करोगी मिस मालिनी
लैला मजनूँ
शीरी फरहाद
इन सबके साथ ज़माना हमें भी करेगा याद
हाँ जन्नत नशीं उनकी रूहें
हमसे ज़िंदादिलों को देती हैं आशीर्वाद
प्रीत के रोग में पड़ के
धक धक धक दिल धड़के
प्रीत के रोग में पड़ के
धक धक धक दिल धड़के
हाए हनी
हाए हाए हनी
हाए हनी
हाए हाए हनी
जितनी फ़ाइन ओल्ड वाइन
उतना ही स्वीट हनी
स्वीटी स्वीटी ऐसी ब्यूटी
हम ने देखि ना सुनी
हाए हनी
हाए हाए हनी
हाए हनी
हाए हाए हनी
हाए हनी
हाए हाए हनी
हाए हनी
हाए हाए हनी
हाए हनी

हाए हाए हनी
हाए हनी
हाए हाए हनी


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.

The uncertainties of life, in some way, always gives us happy as well as sad moments and surprises as well. The journey of life keeps on going on and on still, like that only. . . We never know how things are going to happen around us and what ‘life’ has there in store for us with every new day coming.

***

When it was decided that I will have to go abroad for a job opportunity there, I was at Nagpur and my daughters were staying at Anand Gujarat for their studies. So, it was obvious that my wife will also shift to Anand with my daughters. Most of our relatives, from my side and my wife’s side were already in Nagpur, except that my mother is staying at Parli Vaijnath (Marathwada-Maharashtra) with one of my younger brother. And my youngest brother (we are three) is staying at Mundra Kachchh-Gujarat.

So, it was natural for me to try to meet all of them before I take up my journey abroad. Before leaving Nagpur I and my wife travelled to Parli Vaijnath to seek blessings of my Mother and Mother Goddess Tulja Bhawani at Tuljapur. After coming back, we meet my paternal relatives and my wife’s paternal relatives. Then we took journey from Nagpur to Anand, again by car (this time with a driver) en route to Akola – my birthplace – and our ancestral house there, where one of my Uncle and my Buaa ji were staying.

I thought it was all happening as ordained by God that I visit Akola and stay there one night before taking on this new journey in my life. That way I thought I will have blessings of my Grand Father and Grand Mother who had already left many years before for their heavenly abode. Well, I met my cousins and Buaa ji at Akola, as my Uncle there had already left for Nagpur for some urgent work.

***

Everything went well and I too settled down in Kenya for my job and soon after almost four and half months passed on peacefully it was time for me to visit home on account my first leave to attend the Ganpati Festival at home. While everything was planned in advance and it was also finalised that this time me and my family can only visit Mundra-Kachchh (our home, presently occupied by tenants) and finish the bank related works – change in address there etc. and after that may be a single day visit to Vadodara to meet few of known friends and well-wishers and if possible a visit to one of the ashram near Rajpipla where we have been visiting since 2007.

Of course, there was a lot ‘shopping’ also to be done for me, as well as for my fellow Indian friends staying with me in Nairobi. But then there is one more factor and that is the uncertainties of life. We never know what is going to happen next.

There was an unfortunate development between these days before my travel. My Uncle staying at Nagpur had to be admitted to Hospital initially for a seemingly mild heart attack which he survived and an operation was suggested to remove some blockages in veins. However, on detailed examination it was diagnosed that he will not be able to face the operation as his heart was ‘weak’ not in good health to cope up with the operation that was required.

He was in hospital for almost twenty days and he recovered too, but when he was about to be discharged he got another attack. And then slowly one by one his organs started failing. With only the heart working, now it was almost left to God. As days passed and the Ganpati festival was approaching all family members and relatives where worrying about that if we will be able to bring the God Ganpati to our home or not?

***

I reached Anand on the day of Ganesh Chaturthi on 25th August. It was already noon by then and immediately after reaching home we started the preparations for ‘Ganpati Sthapna’. My daughters were already in town to bring the Ganpati idol to our home. It was their turn this time to decide and bring the idol to home. The first day of Ganpati festival passed well, still all family members and relatives worrying about the deteriorating health condition of my Uncle admitted in the hospital.

Having settled at home after a gap of almost five months and have taken a rest after being in travel for almost nineteen hours, the next day was still in an anxiety mood for me. I was eager to take on the planned activities soon. As we finished the evening ‘aarti’ on the second day and I was just savouring the Prasad after performing prayers, the looming fear stroked and the news came of my Uncle passing away at Nagpur.

 

***

Why I am writing this post here is that other than being my Uncle and always friendly with me, he was a crazy music lover. While I do remember watching some movies with him (and I have mentioned that in one of my posts on the blog), there are some vague memories too of my childhood where I used to visit my grandparents in the summer vacations and where I can meet my uncles and watch movies. I also remember attending his marriage when I was in high school. As I grew up, there were always occasions of a family get together where we meet. Then he also got transferred to the same place my parents shifted i.e. Parli Vaijnath. When I got married in 1994 he was there actively taking part in all ceremonies.

Whenever I visited him music was an integral part of discussions and I used to check which new albums he has got in his collection. After I started working and started my own collection the discussions thereafter were mainly on which rare song/album he got in his collection and which one I was missing? He was a great fan of Rajendra Kumar (like my other uncles and aunts and my grandmother) but he was also a fan of Jeetendra. He liked Jeetendra’s musical hits very much. After his retirement he was really enjoying very much downloading songs from ‘Youtube’ and other sources.

When I told him about our blog and my contributions he was visiting the blog regularly, though he may not have commented on any posts. He had settled in Nagpur after retirement and when I shifted to Nagpur in 2015 I stayed with him before shifting my household from Guajrat. I and my wife used to visit regularly in between during our stay at Nagpur. The last time I meet him was in the morning of 9th March this year to seek his blessings.

***

Members on the ‘Atulites’ WhatsApp group may recall message of my travelling to Nagpur with my younger brother during my recent visit to India. The visit was for this purpose of meeting my aunt and cousins after the passing away of my Uncle. It was this train journey, filled with nostalgia and yet memories of the departed soul and thoughts of uncertainties of life. We could not attend his final rites given the time required to travel.

***

At Nagpur I got to know how tough it was for my uncle to be in the bed for so many days. It was not his nature. At home he was always doing some productive activity and busy in doing something or the other. When he had to spend those days in the ‘hospital’ he was always insisting to take him to home from the hospital and remove all those medical apparatuses that were attached to him for supporting his ill health. He would have never imagined this day in his life.

In the ICU he was restricted from doing many things as the discipline have to be maintained there. But how long you can keep one holding like that. One day he was found listening to songs and that too in a good volume which was enough to make the hospital staff rush to him and take away the mobile from him, to save the other patients from this musical entertainment.

Well that is one part. But, on the other part, as I was told later, it was very difficult for him to bear the pain and the difficulties in breathing. Each new day was coming to him with more pain and problems. So actually, he was requesting everybody to let him go home and rest peacefully. The problem of choked veins had not aggravated suddenly, but his came on over a period of time on account of continuous smoking (which he was advised to stop two years earlier).

***

We as a human being always enjoy, celebrate, and share happy moments with others. But nobody can share this ‘pain and sufferings’ of one who is going through it. He must have been going through this thought I guess.

Ro’oge tum to na royegi duniya
Na royegi duniya
Tere aansuon ko samajh na sakegi
Tere aansuon pe hansegi ye duniya

In today’s fast paced world, given the hard facts of life one really doesn’t gets time to stop moving. The ‘show’ needs to go on and one needs to be moving on. . . always. Even we the relatives, no doubt, some of us were there with him for all these days in his bedside in the hospital, but some of us like me were not there and could not even attend his final rites. And have to continue with our daily routine and even doing things that one should avoid doing in this period of grief.

Jagmagaate raho
Gungunaate raho
Zindagi mein sada
Muskuraate raho

Paying my tributes to him I present this song from the 1971 film ‘Kathputli’. This film was directed by Brij for the banner of ‘Dynamo International, Bombay’. The star cast includes Jeetendra, Mumtaz, Helen, Agha, Manmohan, Malika, Bhagwan, Asha Chandra, Leela Mishra, Pravin Pal, Kundan, Radheshyam, Dilip Dutt, Kumud Tripathi, Bhola, Rajrani, Ramlal, Fazlu, Naidu, Jerry, Bishan, Brij, Jalal Agha and Master Chiku. This movie was passed by Censor Board on 28.08.1971.

This movie has total eight songs, including one two version song. The songs are penned by Verma Malik (four songs), Indeevar (three songs), and Shadab (one song). Music for this movie was composed by Kalyanji-Anandji. Asha Bhonsle, Kishore Kumar, Lata Mangeshkar, Mahendra Kapoor and Mohd Rafi give their voices to the songs in this movie. One duet song sung by Lata Mangeshkar and Mohd Rafi – “Ek Baat Poochhoon” has been posted earlier on the blog (long back in 2012 😊).

Today’s song is sung by Kishore Kumar and written by Verma Malik. As mentioned above music for this song is composed by Kalyanji-Anandji. I am not aware in what context this song is in the movie and I have not watched the movie too. However, this song is in my memory since I heard it on a cassette which HMV had brought as ‘A Tribute to the Legend – Kishore Kumar’ (if I am correct). This is a four-cassette set.

Whatever be the context of this song in the movie, the name of the movie does remind me of this dialogue from the movie ‘Anand’ (1970) – “. . . ham sab to rang manch ki kathputliyaan hai, jinki dor uparwaale ke haath mein bandhi huyi hai, kaun kab kaise utthega, ye koi nahin bataa sakta. . .  ha ha ha’

🙂

Enjoy the song now!!!


Song – Jo Tum Hansoge To Duniya Hansegi (Kathputli) (1971) Singer – Kishore Kumar, Lyrics – Verma Malik, MD – Kalyanji Anandji
Chorus

Lyrics

hmm hmm hmm hmm hmm hmm
hmm hmm hmm hmm

jo tum hansoge to
duniya hansegi
ro’oge tum to na royegi duniya
na royegi duniya
tere aansuon ko samajh na sakegi
tere aansuon pe hansegi ye duniya
hansegi ye duniya

la la la laa laa laa
la la la laa aa

sooraj ki kirnon ne
jag mein kiya saweraa
hmm hmm hmm hmm hmm
sooraj ki kirnon ne
jag mein kiya saweraa
dipak jo hansne lagaa to
ho gaya door andheraa
ho gaya door andheraa aa
jagmagaate raho
gungunaate raho
zindagi mein sada
muskuraate raho

jo tum hansoge to
duniya hansegi
ro’oge tum to na royegi duniya
na royegi duniya

hmm hmm hmm hmm  
hmm hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm hmm 

kali hansi to phool khila
phool se hanse nazaare
hmm hmm hmm hmm hmm
kali hansi to phool khila
phool se hanse nazaare
lekar hansi nazaaron ki
hans diye chaand sitaare
hans diye chaand sitaare ae
tum sitaaron ki tarah
tum nazaaron ki tarah
zindagi mein sadaa muskuraate raho

jo tum hansoge to
duniya hansegi
ro’oge tum to na royegi duniya
na royegi duniya
tere aansuon ko samajh na sakegi
tere aansuon pe hansegi ye duniya
hansegi ye duniya

la la la laa laa laa
la la la laa aa
hmm hmm hmm hmm hmm
hmm hmm hmm hmm 
hmm hmm hmm hmm hmm 
hmm hmm hmm hmm 

 

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————

हम्म हम्म हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म

जो तुम हंसोगे तो
दुनिया हँसेगी
रोओगे तुम तो न रोएगी दुनिया
न रोएगी दुनिया
तेरे आंसुओं को समझ न सकेगी
तेरे आंसुओं पे हँसेगी ये दुनिया
हँसेगी ये दुनिया
ल ल ल ला ला ला
ल ल ल ला ला आ

सूरज कि किरनों ने
जग में किया सवेरा
हम्म हम्म हम्म हम्म हम्म
सूरज कि किरनों ने
जग में किया सवेरा
दीपक जो हंसने लगा तो
हो गया दूर अन्धेरा
हो गया दूर अन्धेरा
जगमगाते रहो
गुनगुनाते रहो
ज़िन्दगी में सदा
मुस्कुराते रहो
जो तुम हंसोगे तो
दुनिया हँसेगी
रोओगे तुम तो न रोएगी दुनिया
न रोएगी दुनिया

हम्म हम्म हम्म हम्म 
हम्म हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म 
हम्म हम्म हम्म हम्म हम्म 


कली हंसी तो फूल खिला
फूल से हँसे नज़ारे
हम्म हम्म हम्म हम्म 
कली हंसी तो फूल खिला
फूल से हँसे नज़ारे
लेकर हंसी नजारों कि
हंस दिए चाँद सितारे
हंस दिए चाँद सितारे
तुम सितारों कि तरह
तुम नजारों कि तरह
ज़िन्दगी में सदा मुस्कुराते रहो
जो तुम हंसोगे तो
दुनिया हँसेगी
रोओगे तुम तो न रोएगी दुनिया
न रोएगी दुनिया
तेरे आंसुओं को समझ न सकेगी
तेरे आंसुओं पे हँसेगी ये दुनिया
हँसेगी ये दुनिया
ल ल ल ला ला ला
ल ल ल ला आ

हम्म हम्म हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म 

हम्म हम्म हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म 


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.

Hullo to all in atuldom

Yesterday, 10th October we had Rekha celebrating her 63rd. And today 11th October is the 75th birthday of the actor with whom she had a very good pairing from the mid 1970s to 1981.

The one and only – Amitabh Bachchan. Son of the extremely acclaimed Awadhi dialect-Hindi poet Shri Harivanshrai Bachchan and journalist Teji Bachchan. He was born in pre-independent India and his father had named him INQUILAAB, (I have heard Amitabh mention this in a few interviews). Thankfully, on the advice of another famous poet- Sumitranandan Pant- Harivanshraiji changed it to Amitabh – meaning a light that will never die out. I hope our BigB (a term coined by his fans) lives up to his name and continues to entertain us for as long as he wishes.

Initially he faced a lot of rejection from the industry as they felt he looked too thin and extra tall. He was also told that his voice was not suitable for radio; a career that he tried to fall back on as an alternative. But once he succeeded in Bollywood these very traits have made him the darling of the masses. In the initial days of struggle, after debuting as one of the seven hindustaani in KA Abbas’s ‘Saat Hindustani’ (1969), he had also taken up roles as second lead or supporting character to the likes of Manoj Kumar, Rajesh Khanna, Jeetendra, Navin Nischol, Sunil Dutt etc. He made his first appearance as the lead hero in the 1972 film ‘Bombay To Goa’, opposite to Aruna Irani. His luck turned for the better with ‘Zanjeer’ (1973) which got him an introduction to film maker Ramesh Sippy and led to ‘Sholay’ (1975). In between ‘Zanjeer’ and ‘Sholay’ he had a mixed bag of good, very good and not-so-good films like ‘Deewaar’, ‘Gehri Chaal’, ‘Bande Haath’, ‘Abhimaan’, ‘Saudagar’, ‘Namak Haraam’, ‘Roti Kapda aur Makaan’, ‘Majboor’, ‘Zameer’ etc. So, it can be safely said that as an actor he has faced an almost equal measure of successes and failures.

But that was a case when he floated a production house post a not-so-successful stint as a parliamentarian. He has produced some very good shows for television and had (again) a mixed bag of films – some were critically acknowledged some were liked by the audiences and some were torn-apart by both critics and masses – ‘Mrityudaata’ is a case in point.

As far as my falling in love with this actor called Amitabh Bachchanis concerned I suppose it started with listening to the cassette containing the dialogues of “Sholay” and his manner of mouthing -“agar kisine hilne ki koshish ki toh bhoonke rakh doonga”. Like Jai and Veeru said to Thakur in the same filum “hosh sambhalte hi pairon pe khade ho gaye”. I think my “hosh sambhaalna” (becoming conscious of movies and actors) came about the ‘Sholay’ time. And from then on, I have memories of all that I have seen in Bollywood. Ok I have been seeing movies even before ‘Sholay’ happened, ‘Seeta Aur Geeta’, ‘Haathi Mere Saathi’, ‘Aradhana’ etc. But movie watching became a habit after 1975/76. And that was the Amitabh era and I have enjoyed every single movie I was taken too. Whether it is Vijay of ‘Deewaar’, ‘The Great Gambler’, ‘Trishul’, ‘Shakti’ or ‘Don’, or Anthony of “?” (I will not name the movie), or the bumbling professor of “Chupke Chupke”, he was the darling of the masses. I still stop all my work when Amitabh appears on the small screen – ads, movies, ‘Kaun Banega Crorepati?’ etc. And I remember the frenzy the nation went into when he faced near death after an accident on the sets of Manmohan Desai’s ‘Coolie’ and a not-so-great movie went on to become a hit at that time – I think it was ‘Desh Premee’

I feel being stuck in doing almost same kind of roles made him take a sabbatical sometime between 1988-92 or till 1996 (I am not sure as I was living away from Mumbai then in a southern district of Tamil Nadu where we used to get one Hindi movie per year at the most. Shall I just say that he stopped doing movies since I was away? 🙂 But when I returned to Mumbai in 1992, Amitabh was seen in movies where he was trying to play age-appropriate characters and as also his style of movies had changed, probably this was because Manmohan Desai and Prakash Mehra, the two with whom Amitabh had his biggest hits, were no longer active, and a whole set of younger actors who called themselves Amitabh fans had taken over the scene as also the Khans had arrived. And then we saw Amitabh going the Ashok Kumar way- doing characters that were specially written for him even if he was not the romantic lead, he has even played negative roles and grey-shaded roles. One such different character is what we see him in the movie from which today’s song is taken.

Aks (The Reflection) is a 2001 supernatural thriller film directed by Rakeysh Omprakash Mehra and produced by Amitabh Bachchan and Jhamu Sughand. It is a Bollywood adaption of Hollywood movie “Fallen”(1998) starring Denzel Washington. Although the film won critical acclaim, it failed to perform at the box office. Amitabh Bachchan received his first Filmfare Critics Award for Best Actor for his performance.

Aks is a supernatural thriller centring on two characters — Manu Verma, the cop, and Raghavan, the shadowy killer.

Raghavan is caught and, as he is about to be executed by hanging, his spirit goes into Manu Verma’s body and starts to manipulate the cop into performing acts that Raghavan wanted to perform. But he couldn’t save himself. He goes to another town but is not able to find peace.

Eventually, Raghavan’s spirit leaves Manu’s body. Everything seems to be normal. Manu & his family go on vacation. Unfortunately, Raghavan’s spirit is still alive to conquer Manu’s friend’s body.

(The above synopsis I got from Wikipedia.)

This movie brought Amol Palekar and Amitabh together for the first time. Anu Malik gave music for the movie and Gulzar the lyricist, (a rare occasion I think). This is one of the many songs in Amitabh Bachchan’s voice. With this the film ‘Aks’ makes a debut on the blog.

Happy birthday to our Anthony Gonsalvez / Shahenshah / Vijay Dinanath Chauhan / Don – alright let’s just say HAPPY BIRTHDAY TO YOU DEAR AMITABH BACHCHAN.

 

Song – Bhala Bura Bura Bhala Hai (Aks) (2001) Singer – Amitabh Bachchan, Lyrics – Gulzar, MD – Annu Malik

Lyrics

bhala bura
bura bhala hai
khote par sab khara bhala hai
bhala bura
bura bhala hai
khote par sab khara bhala hai

jooth sach ka kya pata hai
ek gham ek badi bala hai
chaal dhaal sab ek jaisi
saara kuch hi napa tula hai
sach ke sar jab dhuaan uthe to
jooth aag mein jala hua hai
bhala bura
bura bhala
khote par sab khara bhala hai

kala hai to kaala hoga
maut ka hi masaala hoga
choona kaththa zindagi to
supaari jaisa chhaala hoga
baap ne janaa nahin to
paapiyon ne paala hoga
thook se nikal gaya tha
bhook se nikaala hoga
bhala bura
bura bhala
khote par sab khara bhala hai

wo jo ab kahin nahin hai
us pe bhi to yakeen nahin hai
rehta hai jo phalak phalak pe
uska ghar bhi zameen nahin hai
akal ka khayaal agar wo
shakal se bhi haseen nahin hai
pehle har jagehon par tha wo
suna hai ab wo kahin nahin hai

bhala bura
bura bhala
khote par sab khara bhala hai
bhala bura
bura bhala
khote par sab khara bhala hai
bhala bura
bura bhala
khote par sab khara bhala hai

ha ha ha ha

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

भला बुरा
बुरा भला है
खोटे पर सब खरा भला है
भला बुरा
बुरा भला है
खोटे पर सब खरा भला है

झूठ सच का क्या पता है
एक ग़म एक बड़ी बला है
चाल ढाल सब एक जैसी
सारा कुछ ही नपा तुला है
सच के सर जब धुआँ उठे तो
झूठ आग में जला हुआ है
भला बुरा
बुरा भला है
खोटे पर सब खरा भला है

काला है तो काला होगा
मौत का ही मसाला होगा
चूना कत्था जिंदगी तो
सुपारी जैसा छाला होगा
बाप ने जना नहीं तो
पापीयों ने पाला होगा
थूक से निकाल गया था
भूख से निकाला होगा
भला बुरा
बुरा भला है
खोटे पर सब खरा भला है

वो जो अब कहीं नहीं है
उस पे भी तो यकीं नहीं है
रहता है जो फ़लक फ़लक पे
उसका घर भी ज़मीं नहीं हैं
अकल का ख्याल अगर वो
शकल से भी हसीं नहीं है
पहले हर जगहों पर था वो
सुना है अब वो कहीं नहीं है

भला बुरा
बुरा भला है
खोटे पर सब खरा भला है
भला बुरा
बुरा भला है
खोटे पर सब खरा भला है
भला बुरा
बुरा भला है
खोटे पर सब खरा भला है

हा हा हा


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 laws.

Toady’s song is from film ‘Achhoot’ (1940),sung by composer Gyan Dutt and singer actress Vasanti.

The second world war started from 1939, but its effects started being felt in India after 1940 only. The Government became alert and sensitive. Lots of restrictions were put on Imports and Exports. All exports to Germany and Japan were banned. Foreign travel came under Government microscope. Imports were restricted to only essential goods. Raw film stock came under Government control (and naturally became available freely in black market at exorbitant price). Taking advantage of the situation, Government declared that those film production houses who help Government in its war efforts, by making films with pro Govt. themes, would get raw film on priority.

Most production studios made films with Patriotic themes accordingly, spicing it with pro Govt dialogues to claim favours. Mahatma Gandhi ji too upped his efforts to Govt. in distress as much as possible by undertaking different Satyagrahas like the Salt Satyagraha, Burning of Foreign goods, Quit India Movement etc. At the same time Gandhiji took up movement against social evils to attract public support to his main cause.

One of the social evils, Gandhiji took up was entry of harijans in Hindu temples. He did satyagraha in Kerala, Nashik, Banares and some other places. Hindi film industry was alive to what was happening in the country and films on untouchability were made by big studios. Bombay Talkies produced ‘Achhoot Kanya’ in 1936 followed by Ranjit Movietone with their film ‘Achhoot ‘ in 1940. While ‘Achhoot Kanya’ had a sad ending, film ‘Achhoot’ had a happy ending.

Hindi film industry’s growth in the early years from 1920s to 1940s was contributed to by 2 major communities. One of them was the Gujarati businessmen who immediately identified this business as the future gold mine. The other major community was the local Marathi, who lent their brain and hard work to this industry. As the time went by, people from Punjab, UP, Bengal and other states of India joined hands to help this industry to prosper. However, till the mid 1950s it was the Gujarati Sethias who poured the finances. Financiers like Sampat Sheth, Gokuldas Pasta, Manik Sheth Patel, Chunilal Munim, Mangaldas Parekh, Abdulali Yusufali, Mohd Ali Rangwala, Chimanlal Desai, Bhogilal Dave, Mayashanker Bhatt etc. only supplied the money, but never dabbled in other departments nor did they learn anything about the film making, more than what was needed to get some profits.

One person, however, was different. CHANDULAL SHAH. He not only put crores of rupees in film making, but also learnt the technique and art of making films, direction, building organisations of producers, develop political connections and what not. He did everything that was needed to become a successful film maker and a leader in the industry. That is why Baburao Patel called him “Sardar”. Chandulal Shah made his company Ranjit Movietone, a force to recon with.

Chandulal Shah  belonged to Jamnagar-Gujrat. He was born on 13-4-1898. He was into the cotton trade and used to visit Bombay frequently. Later he started working in Bombay Stock Exchange. He used to visit the Laxmi Film Studios nearby to watch shootings.

On one occasion, the director of a silent film ‘Vimla’ (1925) fell very sick and on the recommendation of a solicitor friend, Chandulal Shah got an opportunity to to direct the remaining portion of the film. Impressed by his work style he was offered 2 more films. He left the Stock Exchange job and took up film line completely.

From Laxmi, he shifted to Kohinoor Film Company, where he met actress Gauhar Jaan Mamajiwala, who became his mate for the next 50 years till he died. Gauhar used to feature in his films. With Gauhar, he did ‘Gunsundari’ in 1927 and in 1934 (silent and talkie respectively).

This film was a tremendous hit and it helped them to establish their own film company, Ranjit Movies in 1929. In next 3 year’s time they made 39 silent films. After the advent of Talkie, they changed the name of Ranjit to Ranjit Movietone. Chandulal liked to do things only kingsize. Thus he established Ranjit studios with 4 large sound stages. He also hired around 300 people in the beginning. On average, they made 6 feature films every year. His studio was an assembly line production house. At any given time at least 5 to 6 films were being made in his studios. He had a big army of famous actors, writers, technicians, directors, music directors etc. on his payroll.

Actors like Gauhar Jaan, Bilimoria, Nirupa Roy, Motilal, Madhuri, Khursheed, and KL Saigal; music directors like Gyan Butt, Bulo C Rani, Khemchand Prakash etc.; lyricist and writers like Kidar Sharma, Pradeep, Saadat Hasan Manto and many others were on his payroll.

Chandulal was very proud of his empire and used to advertise “There are more stars in Ranjit than in the Heavens”. At the peak time,there were about 700 people employed in Ranjit and Government had opened a ration shop in the studio premises for the workers’ benefit ! Khemchand Prakash did 20 films in Ranjit, Gyan Dutt 15 films and Bulo C Rani did 10 films here.

From 1929 to 1963 Ranjit made 31 silent films, 120 Hindi talkie films, 1 Tamil and 1 Marathi film. Unfortunately, due to a major fire in the early 1950s, except 7 talkie Hindi films, all other films were destroyed without leaving any backup for them.

Chandulal Shah was an active person. Besides film making he took interest in many Cine Associations and also led delegations abroad. He was a keen gambler and a better, especially in horse racing and stock market. In 1944, in a single day he lost one crore twenty five lakh rupees in cotton betting and that was the beginning of his downfall. He had to mortgage all his and Gauhar Jaan’s properties, but it could not save Ranjit Studios from ruins. He returned to film direction to make money and his first film after a gap of 14 years was ‘Paapi’ (1953). It had the hit pair of those times – Raj kapoor and Nargis. For the first time Raj Kapoor did a double role. But the film flopped. Clearly the times were bad for Chandulal. All his kundali was topsy turvy ! He tried 3 more films, all failed. His last film was ‘Akeli Mat Jaiyo’ (1963). A man who once ruled an empire started travelling in local trains and bus.

Chandulal Shah died on 25-11-1975.

Gauhar Abdul Qayoum Mamajiwala was born on 19-11-1910 at Lahore in a family of Bohra Muslims of Saurashtra in Gujarat. Her family shifted to Bombay. She was beautiful, well educated, soft spoken and liked to read books. Soon she became proficient in Hindi, Urdu, English, Gujarati and Marathi. When her father’s business crashed and they had financial crisis, Homi Master, one of the family friends suggested that she work in films. Homi was a director in Kohinoor studios. She joined films at the age of 15 years and her first film (silent) ‘Fortune And Fools’ aka ‘Baap Ki Kamaai’ (1925) was a hit film. She had a two year contract with Kohinoor. Many of her films were hits.

Chandulal Shah, who was also directing films for Kohinoor, was attracted by her performance and gave her a role in ‘Typist Girl’ (1927), in which Sulochana (Ruby Myers) was the heroine. Thus started their partnership. Soon after the contract was over, a few people viz. Gauhar, Chandulal, Jagdish Pasta, hero Rajah Sandow and cameraman P Naik left Kohinoor and established Shree Sound studio producing films under the banner of Jagdish Films. Here they made 10 popular films and in 1929 separated to form their own Ranjit Studios.

Their first Silent film for Ranjit (shot in Krishna Studios) was ‘Pati Patni’. Very soon Ranjit had their own four shooting stages and well equipped studios. Ranjit’s first Talkie was ‘Devi Devyani’ (1931) in which Gauhar acted opposite Bhagwandas as the hero. Ranjit Studio became very big and films were made at the rate of one film every 16-20 days. They employed the best talent of the industry and Chandulal seemed to convert anything into gold, whatever he touched!

Gauhar was the partner, manager, producer and star actress of Ranjit. She maintained very good relations with her collegues and would use the common make up room with all other artists. She did 28 silent and 19 talkie films in her career. Her last film was ‘Achhut’ (1940), directed by Chandulal and the hero was Motilal. Chandulal Shah also stopped directing films for the next 14 years. Gauhar now only looked after the studios and Chandulal Shah. Though she was with Chandulal for 48 years, they never married. Actually, Chandulal was already married and had a son Naveen. His family stayed with him in Bombay, but Gauhar never objected to that. In 1944, Chandulal lost 1.25 crores in cotton trading in a single day and their fortunes changed. Everything, including their properties had to be mortgaged and sold later. Even in this crisis, Gauhar did not leave him and stayed attached till Chandulal Shah died in 1975.

Gauhar led the same cultured life away from the bustle of the film world from which she retired. She read a great deal, from philosophy to fiction, enjoyed historical novels and was an ardent moviegoer. She had a polished command of English, Urdu, Hindi, Gujarati and Marathi, and she enjoyed seeing foreign and Indian films. Her favorite foreign stars were Audrey Hepburn, Norma She­arer, Rita Hayworth, Frederick March and Clark Gable. Among Indian artistes she had a liking for Meena Kumari, Raakhee, Jaya Bhaduri, Sharmila Tagore, Sanjeev Kumar, Ami­tabh Bachchan and Rajesh Khanna. Her list of favorite directors in­cluded Cecil B de Mille, Samuel ‘Billy’ Wilder, William Wyler from Hollywood and amongst the Indian directors – Chandulal Shah, Hrishikesh Mukherjee, V Shanta­ram, Yash Chopra and Gulzar.

Gohar Mamajiwala died on 28-9-1985.

‘Achhoot’ aka ‘The Untouchable’  is directed by Chandulal Shah. He too had decided to quit direction and also active participation in film making. He was keen to concentrate on other activities like organisational responsibilities, cotton trade and his favourite addiction – betting. The film was promoted as a Nationalist film addressing Gandhi ji’s campaign against untouchability. The film was endorsed by Mahatma Gaqndhi and Sardar Patel, even before it was made. The cast of the film ‘Achhoot’ was Motilal, Gauhar, Sitara, Vasanti, Charlie, Dixit, Mazhar, Yaqub etc. Gauhar quit acting after this film, though she was still good looking. However, she wanted to concentrate on the management of Ranjit empire. The film’s story was….

In Shanti Nagar, Laxmi (Vasanti) lives with her parents. They are all untouchables. When there is a water shortage, the villagers prevent the family from taking water from  the only well, which is reserved for the upper castes. Disgusted and frustrated, Laxmi’s father embraces Christianity. Laxmi is adopted by a rich businessman, who takes her to city and gives her education. She (Gauhar) becomes modern and acceptable in high society. She is very friendly with the daughter of the businessman – Savita (Sitara). Problem arises when both girls fall in love with the same boy. To find a solution, the businessman sends Laxmi back to her village. She returns and meets her childhood saheli (Rajkumari) and boyfriend Ramu (Motilal). They are agitating for equal rights for harijans. Laxmi jumps into this and fights for harijans entry into village temple. There is a riot in which Ramu dies.

Villagers repent after Laxmi delivers a touching speech and as a redemption for their blunder, villagers open the doors of the Temple for Harijans. Laxmi wins the battle.(644)

This film has 9 songs. One song is already discussed and this is the second song. It is a good Bhajan. . .

 


Song – Deen Dukhi Ko Daan Diya To Kya Mila, Hari Ram Mila (Achhoot) (1940) Singer – Gyan Dutt, Vasanti, Lyrics – PL Santoshi, MD – Gyan Dutt
Gyan Dutt + Vasanti

Lyrics 

ram mila hari ram mila
ram mila hari ram mila
ram mila hari ram mila

deen dukhi ko daan diya to
kya mila
deen dukhi ko daan diya to
kya mila
hari ram mila hari ram mila
hari ram mila hari ram mila

bhookhe ko jo ann diya to
kya mila
bhookhe ko jo ann diya to
kya mila
hari ram mila hari ram mila
hari ram mila hari ram mila

bure ka badla bhala diya to
kya mila
bure ka badla bhala diya to
kya mila
hari ram mila hari ram mila
hari ram mila hari ram mila

hari ram mila hari ram mila
hari ram mila hari ram mila

hari ram mila to kya mila
is daas ko bhagwan mila
hari ram mila to kya mila
is daas ko bhagwan mila
is daas ko bhagwan mila
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
राम मिला हरी राम मिला
राम मिला हरी राम मिला
राम मिला हरी राम मिला

दीन दुखी को दान दिया तो
क्या मिला
दीन दुखी को दान दिया तो
क्या मिला
हरी राम मिला हरी राम मिला
हरी राम मिला हरी राम मिला

भूखे को जो अन्न दिया तो
क्या मिला
भूखे को जो अन्न दिया तो
क्या मिला
हरी राम मिला हरी राम मिला
हरी राम मिला हरी राम मिला

बुरे का बदला भला दिया तो
क्या मिला
बुरे का बदला भला दिया तो
क्या मिला
हरी राम मिला हरी राम मिला
हरी राम मिला हरी राम मिला

हरी राम मिला हरी राम मिला
हरी राम मिला हरी राम मिला

हरी राम मिला तो क्या मिला
इस दास को भगवान मिला
हरी राम मिला तो क्या मिला
इस दास को भगवान मिला
इस दास को भगवान मिला


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.

Hullo to all in atuldom

The city of Calcutta–1962. A city so vibrant, so alive, so stylish, it was referred to as “The Paris of the East”. This exotic backdrop serves as the perfect locale for the tender, immortal love story about to unfold.

A young girl – Lolita, orphaned at an early age, is sent to live with her uncle’s family, where destiny introduces her to a young boy – Shekhar, a budding musician, the son of an affluent businessman. Together, through childhood and adolescence, Shekhar and Lolita share joys and sorrows, fond memories and bitter-sweet experiences and unknown to them, a relationship of deep friendship and trust takes roots within their young hearts. It is such an unspoken right they hold over each other that it metamorphosizes into a love so intense, they do not even see it coming. It takes the arrival of an outsider, Girish, for them to discover their true feelings for each other. The chemistry between Lolita and Shekhar sizzles and sparkles, till it explodes. But fate has something else in store for them. Greed, deception and malicious intent are waiting to plague Lolita and Shekhar’s innocent love. Events twist and turn beyond their control, spin around them in a maze of suspicion, misunderstandings and high temper until even their love cannot stop them from being torn apart. Can true love conquer these insurmountable obstacles, or will it succumb to them? Will Lolita and Shekhar be forever swept apart by these tumultuous events or can they fulfil their destiny and come back together?

This is the synopsis of the 2005 Pradeep Sarkar directed ‘Parineeta’. It is adapted from the 1914 Bengali novel by Sharat Chandra Chattopadhyay which itself was set in the Calcutta (now Kolkata) of the early 20th century. The novel has an added “Brahmoism” angle too which further distances Shekhar and Lalitha. The novel was first made into a movie in 1953 by Bimal Roy with Ashok Kumar and Meena Kumari playing Shekhar and Lalitha. The 2005 version has Saif Ali Khan and Vidya Balan playing the lead. Girin/Girish was played by Asit Baran and Sanjay Dutt in the two versions respectively. The older movie has music by Arun Mukherjee and the later version has Shantanu Moitra’s music. Raima Sen played Lalitha’s cousin in the new version, would love to know about who was in that role in 1953.
[Ed Note: In the 1953 version, the name of the cousin is Malti. Request is to all readers and friends to help identify the actress behind this role. As per the cast list, possible name can be Manju. Confirmation is required.]

There is an actress who has a guest appearance in this Vidya Balan movie – and that becomes the purpose for me to present this post today. I used to be a huge fan of her; especially after her act in ‘Khubsoorat’ (1980). I know that I have said this many times on this blog and I will say it again. Yes, yes! I am talking of Rekha. I must confess that I have not seen many of her pre- ‘Khoobsurat’ movies in the theatre in those days because the movies I saw were mostly selected by my dear Dad. But I have made up for that lack by seeing many of them on TV and mostly satellite television. I have noted that she was definitely a performer who did the stupidest characters assigned to her with a lot of sincerity; wore the gaudiest outfits given to her without showing discomfort; acted with heroes/actors old enough to be her father; all because she had to financially support her family. Eventually it was revealed that she is the daughter of the Tamil actor Gemini Ganesan through one of his many wives.

She started off her career with a Kannada movie ‘Operation Jackpot Nalli CID 999’, opposite Dr. Raajkumar and her first Hindi movie ‘Anjaana Safar’ opposite Biswajit had a delayed release in 1979 due to censorship issues. Incidentally this film was re-titled as ‘Do Shikaari’, when released in 1979.  This delay made ‘Saawan Bhadon’ (1970) opposite Navin Nischol her first Hindi movie released for vieweing. What followed were movies with all the major actors of the time like Sunil Dutt, Dharmendra, Rajendra Kumar, Vinod Khanna, Vinod Mehra, Jeetendra, Rajesh Khanna etc but they were mostly glamour doll roles not of much substance. It is a surprise that she has lasted this long in an industry where beautiful looks are of utmost importance, she was called an ugly duckling at that time. Her transformation started somewhere around the mid-seventies and her role selection gave audiences such movies as ‘Do Anjaane’ (1976) and ‘Ghar’ (1978) – she had turned into a beautiful swan. Then we were flooded with movies like ‘Khoobsurat’ (1980), ‘Umrao Jaan’ (1981), ‘Judaai’ (1980), ‘Bassera’ (1981), and the list goes on. Just when things seemed to go downward she bounced back with an award-winning performance in ‘Khoon Bhari Maang’ (1988). We cannot forget her in ‘Vijeta’ (1982), ‘Kalyug’ (1981), ‘Utsav’ (1984) all made by Shashi Kapoor – he gave her a variety of characters to play.

She was one actress who obeyed her choreographers and danced into our hearts in cabarets, mujras, even a few classical dances, or the typical Bollywood Bhagwan Dada dance. Today I am showcasing her for the blog in a song/ dance from when she was just into her 50s. I could very well have chosen any of the songs from when she used to play the lead but a recent forward on our WhatsApp group about her appearance at the Filmfare Awards Night 2004 reminded me that this DIVA doesn’t age. That forward also showed her dance – about the same time this song of ‘Parineeta’ was being filmed. Today’s song has her play the Moulin Rouge singer with Sunidhi Chauhan give her the  playback. It has a very old worldly feel to it. Raima Sen (Suchitra Sen’s granddaughter) and family are in the audience with Sanjay Dutt.

Happy Birthday dear Rekha…. 🙂

 

 

Song – Kaisi Paheli Zindgaani (Parineeta) (2005) Singer – Sunidhi Chauhan, Lyrics – Swanand Kirkire, MD – Shantanu Moitra
Chorus

Lyrics

mmmm

aah haa

nai
nahin nai ye baatein
ye baatein hain puraani
kaisi
paheli hai ye kaisi
paheli zindgaani
thaama
haan roka is ko kisne
haaan ye to behta paani
mm
kaisi
paheli hai ye kaisi
paheli zindgaani

la la la la
la la la la
zu zu zu zu
zu zu zuzu zu zu

pee le isey
is mein nasha
jisne piya
wo gham me bhi hasaa haha
pal me hasaaye
aur pal me rulaaye ye kahaani
ooooo
kaisi paheli hai ye kaisi
paheli zindgaani
thaama
haan roka is ko kisne
haaan ye to behta paani
haan
kaisi paheli hai ye kaisi
paheli zindgaani
oooo

la la la la
la la la la
zu zu zu zu
zu zu zuzu zu zu

aankhon mein gar
sapna naya
aansoo tera
ik moti hai bana
sooni
dagar pe jaise sooni
ye chaaon ho suhaani
ooooooo
mm kaisi
paheli hai ye kaisi
paheli zindgaani
ooh hooo
thaama
haan roka is ko kisne
haaan ye to behta paani
kaisi
mmm hmmmm
kaisi paheli zindgaani
ooooh baby

nai
nahin nai ye baatein
ye baatein hain puraani
ooo hooo hooo
kaisi paheli hai
ye kaisi paheli zindgaani
thaama
haan roka is ko kisne
haaan ye to behta paani
o ho ho ho
kaisi paheli hai ye kaisi
paheli zindgaani

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

मम्म्म

आह हा

नई
नहीं नई ये बातें
ये बातें हैं पुरानी
कैसी
पहेली है ये कैसी
पहेली ज़िंदगानी
थामा
हाँ रोका इसको किसने
हाँ ये तो बहता पानी
म्म
कैसी
पहेली है ये कैसी
पहेली ज़िंदगानी

ला ला ला ला
ला ला ला ला
ज़ू ज़ू ज़ू ज़ू
ज़ू ज़ू ज़ूज़ू ज़ू ज़ू

पीले इसे
इस में नशा
जिसने पिया
वो ग़म में भी हंसा हा हा
पल में हसाये
और पल में रुलाये ये कहानी
ऊ॰॰ऊ॰॰ऊ
कैसी
पहेली है ये कैसी
पहेली ज़िंदगानी
ऊ॰॰

ला ला ला ला
ला ला ला ला
ज़ू ज़ू ज़ू ज़ू
ज़ू ज़ू ज़ूज़ू ज़ू ज़ू

आँखों में गर
सपना नया
आँसू तेरा
इक मोती बना
सूनी डगर पे जैसे सूनी
ये छाओं हो सुहानी
ऊ॰॰ऊ॰॰ऊ
म्म
कैसी
पहेली है ये कैसी
पहेली ज़िंदगानी
ऊ हू
थामा
हाँ रोका इसको किसने
हाँ ये तो बहता पानी
म्म
कैसी
मम्म्म हम्मम
पहेली ज़िंदगानी
ऊह बेबी

नई
नहीं नई ये बातें
ये बातें हैं पुरानी
ऊ हू हू
कैसी
पहेली है ये कैसी
पहेली ज़िंदगानी
थामा
हाँ रोका इसको किसने
हाँ ये तो बहता पानी
ओ हो हो हो
कैसी
पहेली है ये कैसी
पहेली ज़िंदगानी
 


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.

 

नभ: स्पृशम् दीप्तम्

Touch the Sky with Glory

What an appropriate motto this is, for the flying heroes of our national force that is responsible for the defense of our nation’s skies, and the keepers of our aerial security. The Indian Air Force, the aerial arm of our armed forces, celebrated its 85 anniversary yesterday – 8th October, 2017.

War is never a good thing. No one wins in a war. Everyone loses. Behind the victories claimed by the conquerors, there always are brutal losses which one does not speak of. But then, if a war is thrust upon someone, then standing up and fighting for what is right is the inevitable path to be taken.  The lines written by Kaifi Azmi in this song, express this so well,

jung rahmat hai ke laanat, ye sawaal ab na uthe
jung jab aa hi gayi sar pe to rahmat hogi

जंग रहमत है के लानत, ये सवाल अब ना उठे
जंग जब आ ही गई सर पे तो रहमत होगी

This post is a salute to the fearless warriors of our armed forces, and especially our Air Force, on this day of celebrating its 85 years of history.

The origins of the Indian Air Force are in the Royal Air Force of Great Britain. India was under the British rule in 1932, when the decision was taken to set up an auxiliary air force unit in India, under the larger umbrella of the Royal Air Force.

In 1928-29 the Government of India (under British rule) decided to induct some Indians in the Royal Air Force. The first six Indians selected to undergo two years of flying training at the Royal Air Force College, Cranwell were Subroto Mukherjee, Harish Chandra Sircar, Aizad Baksh Awan, Bhupendra Singh, Amarjeet Singh and JN Tandon. After completing their training at Cranwell, the Indian pilots passed through the Army Cooperation School at Old Sarum in Wiltshire. After the completion of their training, five of these men were commissioned into service with the Royal Air Force. JN Tandon, on account of his short stature, was reverted to a logistic role, and not commissioned for flying.

On 8th October, 1932, the Indian Air Force Act was passed by the Indian Legislative Assembly, and the Indian Air Force was born. The Indian Air Force was established as an auxiliary air force of the Royal Air Force. The new force adopted the uniforms, badges, brevets and insignia of the Royal Air Force.

The first five pilots commissioned into the IAF were the same five who had been inducted into the Royal Air Force after completing their training at RAF Cranwell – Harish Chandra Sircar, Subroto Mukerjee, Bhupendra Singh, Aizad Baksh Awan and Amarjeet Singh. All of them were commissioned as Pilot Officers. Subroto Mukerjee later went on to become the IAF’s first Indian Chief of the Air Staff.

On 1 April 1933, the Indian Air Force got its first flying machines – four Westland Wapiti biplanes. The IAF commissioned its first squadron, No. 1 Squadron, at Karachi (now in Pakistan) with five Indian pilots listed above. The Indian pilots were led by RAF Commanding officer Flight Lieutenant (later Air Vice Marshal) Cecil Bouchier.

Subsequent batches inducted before World War II included Aspy Engineer, KK Majumdar, Narendra, Daljit Singh, Henry Runganadhan, RHD Singh, Baba Mehar Singh, SN Goyal, Prithpal Singh and Arjan Singh. Here is another name that is very familiar to all – Arjan Singh went on to become the first and only Air Chief designated as the Marshal of the Air Force (MAF). He is the only five star officer in the history of our Air Force. MAF Arjan Singh recently passed away (16th September, 2017) in Delhi, at the age of 98.

In recognition of the services rendered by the IAF during the World War II, King George VI conferred the prefix “Royal” in 1945. Thereafter the IAF was referred to as Royal Indian Air Force. In 1947, when the British left the Indian sub-continent, and the partition of this country happened the military forces were also partitioned. On 15th August, 1947, the Royal Indian Air Force gave up 3 divisions which were geographically based in the newly formed territories of Pakistan, and the Royal Pakistan Air Force was born.

Although the nation supposedly attained independence on 15th Aug, 1947, it continued to be a Dominion within the British Commonwealth of Nations, which means that we as a nation, were actually still paying our allegiance to the British Crown. In January 1950, when India adopted their own Constitution, and became a republic, the prefix “Royal” was dropped and the force became truly the Indian Air Force. However, the person at the head of the Air Force continued to be a non-Indian till 1954. As per seniority and age, the Air Force continued with three more Air Chief Marshals from 1947 to 1954. In 1954, the last of the Birtish chiefs superannuated from the top position, and the mantle of the top official came to Air Marshal Subroto Mukherjee, the first Indian head of the Indian Air Force.

The IAF has seen serious action in the four wars that have been fought with Pakistan (1948, 1965, 1971 and 1999). The force was not utilized during the 1962 conflict with China, despite being the superior air power in the region at that time. China’s forays into the Himalayan regions were recent at that time and their air force did not have the reach to come up to the Indo-China borders. A lack of political will and vision, one may say, and the IAF was utilized only for supplying the front lines.

Although a child (in single digits) at that time, my memories of the 1965 war are still quite detailed. The Pakistan Air Force was supposedly the superior force, equipped with American supplied F-86 Sabre jets, with the Indian Air Force flying the comparatively puny Gnat and Mystere aircrafts. But the valor and the heroism of the Indian pilots is now the stuff of a very proud history. The supposedly puny Gnat fighter planes were responsible for downing 6 Sabre jets, and earned the nickname of ‘Sabre Slayers’. Names like Sqadron Leader Keelor (actually two brother flyers – Trevor and Denzill) and Flying Officer Nebb, became household heroes, as the news poured in every day about the victories of the Indian Air Force.

The force was led by Air Marshal Arjan Singh during this period of conflict. Retired and past officers of the Air Force remember him dearly as a valiant leader who led from the front. While the conflict was in progress, the Air Marshal refused to stay put in Delhi, and was constantly visiting the front line airfields, meeting his officers and pilots, each one of them personally. So many of his people have consistently mentioned his reaching out to his men, how he would remember the names of each one of them, how he would be interested in knowing the details of their exploits in the air. And not just that, he reached out personally to the families of the heroes, and taking care to connect with the widowed wives and children of the flyers who laid down their lives in action.

He put the interest and safety of his airmen before his own. Close friend and former Air Chief Marshal NC Suri narrates an episode that underlines this. The Canberra bomber planes, one of the planes with the IAF, had a peculiar design. The pilot’s seat was designed as an ejection seat (that allows the pilot to eject automatically from the aircraft, in case of an emergency). However, the navigator seat was not, and the navigator, in the time of an emergency, had to physically disengage himself from the seat, break open some window and jump out of the aircraft. Whenever Arjan Singh flew a Canberra, he would refuse to take out the safety pin of the pilot seat’s ejection mechanism, rendering it ineffective. In other words, he was also incapable of ejecting from the aircraft, if an emergency arose. ACM NC Suri adds “So here is a man who felt that his navigator was equally important to him, which was very remarkable.”.

Yes, ‘Touch the Sky with Glory’, a motto that MAF Arjan Singh believed in and also lived by. The saga of our nation’s Air Force is full of numerous such people and their acts of valor and heroism.

As a salute to the brave airmen of our Air Force, I present this rousing song of bravery and leadership, from the 1973 film ‘Hindustan Ki Kasam’. Folks will remember this film one of the very few films made on the theme of Indian Air Force, its airmen and their exploits and triumphs. The time frame it was released indicates that it covered the events of the then recent past, i.e. the 1971 war with Pakistan.

The song itself needs no introduction – it has been one of the most popular patriotic songs to emerge from Hindi films. The words are from the pen of Kaifi Azmi, and the rousing marching music comes from the baton of Madan Mohan. The singing voices are of Rafi Sb and Manna Dey. In the film, this song appears at 3 places. In the beginning when the titles start to roll, somewhat later once again when the war with the enemy is in full swing, and at the end, as the film comes to a close. Interestingly enough, the titles of the film do no start till almost twelve and a half minutes into the film. (So this song cannot be categorized as the film opening song.)

We see a few characters in the video clip, especially in the first part. There is Rajkumar, Chetan Anand, Balraj Sahni, Veena, Vijay Anand, Priya Rajvansh, Parikshit Sahni etc. I have edited to present all the three parts of this song as a single clip. I have retained a few seconds of the scene just prior to the start of the first part – I really like the dialogue rendered by Rajkumar, just as the song starts.

So here is a salute and a tribute – to the daring ‘jaanbaaz’ flyers and the brave ground and support staff, that man this valiant Air Force – the safe keepers of the Indian airspace.

नभ: स्पृशम् दीप्तम्
Jai Hind.

[Ed Note: This song is the fourth and final one from this film to be posted on our blog. With this post, the film ‘Hindustan Ki Qasam’ joins the list of films with all songs posted.]

Song – Hindustan Ki Qasam  (Hindustan Ki Kasam) (1973) Singer – Mohammed Rafi, Manna Dey, Lyrics – Kaifi Azmi, MD – Madan Mohan
Rafi + Manna Dey
Chorus

Lyrics (Provided by Prakashchandra)

Part 1

[Dialogue]

hindustan ki kasam

hindustan ki kasam

hindustan ki kasam
na jhukega sar watan ka
har jawaan ki kasam
na jhukega sar watan ka
har jawaan ki kasam
hindustan ki kasam
ho ho o ho o o
hindustan ki kasam

[Dialogue]

o ho o o o
oho ho ho o o
ho ho o o o ho o o

jinhein pyaar hai watan se
wo jaan se khelte hai
khwaabon se khelte hain
armaan se khelte hain
miley raah mein jo toofaan
toofaan se khelte hain
na rukenge hum kisi se
is udaan ki kasam
hindustan ki kasam
ho ho ho o o o
hindustan ki kasam

o o o
ho ho ho o o
o o o ho ho ho

[Dialogue]

phir imtihaan na hoga
yoon imtihaan denge
khayenge zakham hans ke
khush ho ke jaan denge
mit jaayenge zubaan par
hum jab zabaan denge
hai issi mein shaan apni
issi shaan ki kasam
na jhukega sar watan ka
har jawaan ki kasam
hindustan ki kasam
ho ho o ho o o
hindustan ki kasam

ho o ho o o o
ho o ho o o o
ho o ho o o o

Part 2

jung rahmat hai ke laanat
ye sawaal ab na uthe
jung jab aa hi gayi sar pe
to rahmat hogi
aa haa
to rahmat hogi
door se dekho
na bhadke huye sholon ka jalaal
isi dozakh ke
kisi koney mein jannat hogi
aa haa
wo jannat hogi
jannat hai apni manzil
aasmaan ki kasam
na jhukega sar watan ka
har jawaan ki kasam
hindustan ki kasam
ho ho o ho o o
hindustan ki kasam

Part 3

dil hoga jitna ghaayal
utnaa magan rahega
duniya ko
yaad apnaa
ye baankpan rahega
lehraayega tiranga
jab tak razm rahega
yeh nishaan hai hamaara
iss nishaan ki kasam
yeh nishaan hai hamaara
iss nishaan ki kasam
hindustan ki kasam
hindustan ki kasam
na jhukega sar watan ka
har jawaan ki kasam
hindustan ki kasam
ho ho o o o
hindustan ki kasam
ho ho o o o
hindustan ki kasam
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

भाग १

हिंदुस्तान की कसम

हिंदुस्तान की कसम

हिंदुस्तान की कसम
न झुकेगा सर वतन का
हर जवान की कसम
न झुकेगा सर वतन का
हर जवान की कसम
हिंदुस्तान की कसम
हो हो ओ हो ओ ओ
हिंदुस्तान की कसम

[संवाद]

ओ हो ओ ओ ओ
ओहो हो हो ओ ओ
हो हो ओ ओ ओ हो ओ ओ

जिन्हें प्यार है वतन से
वो जाँ से खेलते हैं
ख्वाबों से खेलते हैं
अरमां से खेलते हैं
मिले राह में जो तूफां
तूफां से खेलते हैं
ना रुकेंगे हम किसी से
इस उड़ान की कसम
हिंदुस्तान की कसम
हो हो ओ हो ओ ओ
हिंदुस्तान की कसम

ओ ओ ओ
हो हो हो ओ ओ
ओ ओ ओ हो हो हो

[संवाद]

फिर इम्तिहान ना होगा
यूं इम्तिहान देंगे
खाएँगे जख्म हंस के
खुश हो के जान देंगे
मिट जाएँगे जुबां पर
हम जब जुबां देंगे
है इसी में शान अपनी
इसी शान की कसम
न झुकेगा सर वतन का
हर जवान की कसम
हिंदुस्तान की कसम
हो हो ओ हो ओ ओ
हिंदुस्तान की कसम

हो ओ हो ओ ओ ओ
हो ओ हो ओ ओ ओ
हो ओ हो ओ ओ ओ

भाग २

जंग रहमत है के लानत
ये सवाल अब ना उठे
जंग जब आ ही गई सर पे
तो रहमत होगी
आ हाss
तो रहमत होगी
दूर से देखो
ना भड़के हुये शोलों का जलाल
इसी दोज़ख के
किसी कोने में जन्नत होगी
आ हाss
वो जन्नत होगी
जन्नत है अपनी मंज़िल
आसमान की कसम
न झुकेगा सर वतन का
हर जवान की कसम
हिंदुस्तान की कसम
हो हो ओ हो ओ ओ
हिंदुस्तान की कसम

भाग ३

दिल होगा जितना घायल
उतना मगन रहेगा
दुनिया को याद अपना
ये बाँकपन रहेगा
लहराएगा तिरंगा
जब तक रज़्म रहेगा
ये निशान है हमारा
इस निशान की कसम
ये निशान है हमारा
इस निशान की कसम
हिंदुस्तान की कसम
हिंदुस्तान की कसम
न झुकेगा सर वतन का
हर जवान की कसम
हिंदुस्तान की कसम
हो हो ओ हो ओ ओ
हिंदुस्तान की कसम
हो हो ओ हो ओ ओ
हिंदुस्तान की कसम
हो हो ओ हो ओ ओ
हिंदुस्तान की कसम


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 laws.

Today’s song is from a very little known film ‘Nirmal’ from 1952. During the period of the 50s, the film industries in all centres, i.e. Calcutta, Madras and Bombay were in full steam. The Partition had made a quantitative and qualitative change in the Hindi film industry. Many seasoned and successful artists had left India, creating a void suddenly. However, this proved to be an opportunity in disguise for many artists ‘waiting in the wings’ in the fields of  acting, film direction and music direction. The void was filled up almost immediately.

Many actors and actresses who used to play supporting roles, became lead players, assistant directors got a chance to become directors and a few new comers and chorus singers also got opportunity to become full fledged singers. Those who migrated from Lahore to India, started a new life here. Many businessmen (many of them black marketeers) who had earned lakhs of rupees during the war and the years of independence struggle as well, poured  money into the film industry. Thus, on all fronts, the film industry had new players, new investors and new topics for making films.

However, one change happened. The taste of Indian audience started to change in terms of music and the subject matter of the film stories. The few old players in music, who could not or did not cope up with the changing tastes of the audience, slowly faded out. Composers like Bulo C Rani, Khemchand Prakash, Hansraj Behl, SK Pal, Lachhiram, Madholal Master, Shankar Rao Vyas, Gobind Ram, Gyan Dutt, SD Batish, Nissar Bazmi, Khursheed Anwar, Ninu Majumdar etc. faded away by the mid 1950s. Many Muslim composers migrated to Pakistan. Composers who adapted themselves, like C Ramchandra, SD Burman, Hemant Kumar, Naushad etc. prospered for a longer period. New blood composers like Shanker-Jaikishen, Madan Mohan, OP Nayyar etc. bloomed quickly.

Same was the case with actors and actresses. Amongst these was one actress – Purnima. Born at Bombay on 2-3-1932 as Meher Bano, she was the daughter of a Lucknow Muslim mother and a Tamil Brahmin father – Ram Seshadri Aiyangar. He was working in the distribution office of producer director Kikubhai Desai (father of Manmohan Desai). While still in school Purnima started working in Hindi and Gujarati films from 1947 itself when she was hardly 15-16 year old. She got married to Shaukat Hashmi. After giving her a son and a divorce, he migrated to Pakistan.

In 1954, Purnima married producer director Bhagwandas Varma and stopped working. Her elder sister also had married producer director Nanubhai Bhatt. Their sons are Mahesh and Mukesh Bhatt. Purnima resumed working in films in 1957, when Bhagwandas was in financial difficulties. He died in 1962.

Purnima appeared as heroine or second lead in about 20 films. Her well known films are – ‘Thes’ (1949), ‘Patanga’ (1949), ‘Jogan’ (1950), ‘Gauna’ (1950), ‘Sagai’ (1951), ‘Baadal’ (1951), ‘Shagoofa’ (1953), ‘Pooja’ (1954), ‘Post Box No 999’ (1958), ‘Son of Sindbad’ (1958), ‘Kangan’ (1959), ‘Naya Kanoon’ (1965), ‘Guide’ (1965), ‘Budtameez’ (1966), ‘Humjoli’ (1970) etc. In all she acted in 152 films, though she claimed more than 200 films, in one of her interview. Her last film was ‘Sada Suhagan’-86, after which she retired. Her friends were Saira Bano, Shakeela and Dulari. Purnima died on 14-8-2013 in Mumbai.

There were two more Purnimas working in the film industry during the same years. One was Purnima Chaudhari who worked in 3 films in 1948. Another Purnima was an actress from Bengal, who acted only in films produced at Calcutta. She worked in about 9-10 films. Due to this, Purnima’s filmography gets mixed up many times.

Purnima’s  hero in the film ‘Nirmal’ was Amarnath (Bharadwaj). He is one of the ‘same name confusions’ victims. There were two Pt. Amarnath music directors, 1 actor Amar, 1 actor Amarnath and 1 actor/director K Amarnath. This Amarnath started his acting career in 1939 with Kidar Sharma’s ‘Dil Hi To Hai’. Graduating from doing small roles he was made the leading man in Dalsukh Pancholi’s film ‘Patjhad’, opposite to Meena (Shorey). The film was launched in 1947. Pancholi had to flee Lahore due to Partition riots, but he carried the negatives of the partially filmed ‘Patjhad’ with him. Though the film was censored in India in 1948, it seems it was never released.

Amarnath starred as hero in many other films like ‘Papiha Re’ (1948), ‘Swayam Siddha’ (1949), ‘Nai Bhabhi’ (1950), ‘Kamal Ke Phool’ (1950), ‘Sheesh Mahal’ (1950), ‘Jalte Deep’ (1950), ‘Nai Zindagi’ (1951) etc. Then he switched over to supporting roles. In all, he worked in 79 films (CITWF data). His last film was ‘Khiladi’ (1968).

All the songs of ‘Nirmal’ were written by Moti, BA. This film was a special film for lyricist Moti BA, because this was his last film as a lyricist. Yogilal Upadhyaya aka Moti BA was born on 1-8-1919 at Devariya, UP. He did his BA in 1938 and MA in 1941, in addition to BT and ‘Sahitya Ratan’ from Benaras University. He was scouted by Ravindra Dave and Sardar Ranjit Singh, emissaries of Dalsukh Pancholi. At that time he was working as a journalist. He went to Lahore and stayed there for 2 years, enjoying company of writers, poets and major stars. He wrote songs for films like ‘Kaise Kahoon’ (1945).

He came to Bombay and started writing songs for films like ‘Subhadra’ (1946), ‘Bhakta Dhruv’ (1947), ‘Ek Kadam’ (1947), ‘Amar Asha’ (1947) etc. Some of his other films are ‘Saajan’ (1947), ‘Nadiya Ke Paar’ (1948), ‘Sindoor’ (1947), ‘Rimjhim’ (1949), ‘Raam Baan’ (1948), ‘Ram Vivah’ (1949), ‘Veer Ghatotkach’ (1949), ‘Rajput’ (1951) etc. He was much in demand, but after ‘Nirmal’ he decided to go back to his hometown and teach. He taught Logic, English Literature and History from 1952 to 1980. He wrote 4 books and won several awards. He died on 18-1-2009 at Devariya.

There is an enigma about lyricist Moti, that though he had done MA, why was he known as Moti, BA ?

Moti, BA is one of the very few artists who left the film world to pursue what he loved – teaching. I can remember another example – Sr. Shashi Kapoor who left a lucrative career as a child artist to pursue his studies in mathematics. He became a maths professor in an American university teaching his favourite subject of maths.

The cast of ‘Nirmal’ was Purnima, Amarnath, Shyam Kumar, Shanta Kunwar, Mirza musharraf, Habib, Cuckoo etc. The story of film Nirmal is-

Nirmal (Amarnath) is an honest young man who loves Purnima (Purnima) and gets married to her. He is sent to Calcutta by his office. He goes alone, leaving wife to look after his ailing father. After few months, when father is very ill, Nirmal leaves for home. Grabbing this opportunity, Champaklal (Shyam Kumar), a colleague in his office, does a fraud and the blame comes to Nirmal. Police arrest Nirmal the day his father dies. The story details how the courageous Purnima goes to Calcutta and proves Nirmal innocent, with the help of some friends. (643)

The film has 8 songs. 2 songs are already discussed. This is the third song. It is a song with a very good tune. . .

 


Song – Tu Jo Mere Pyaar Ki Khichdi Pakaayega (Nirmal) (1952) Singer – Geeta Dutt, GM Durrani, Lyrics – Moti BA, MD – Bulo C Rani

 

Lyrics 

tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega
arre tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega
humre tumhere beech kaise koi aayega
humre tumhere beech kaise koi aayega
tu jo na khilaayegi
to kaise koi khaayega
tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega

dekho bulaanvungi saat kos aayega
kaun teri aankhon ka paani gir jaayega
khaali peeli aayega
khaali peeli jaayega
khaali peeli aayega
aur khaali peeli jaayega
taapta rahega tu
aur koi khaayega
tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega

aaya hoon tumhaare paas
khaali nahin jaane ka
wade ke khilaaf kaani kaudi nahin paane ka
tu bhi pachhtaayegi
hum bhi pachhtaayega
tu bhi pachhtaayegi
aur hum bhi pachhtaayega
taapta rahega tu
aur koi khaayega
tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega

hum to tere pyaar ka
halwa banaayega
baith ke tumhaare saath
gappa gapp
gappa gapp
gappa gap khaayega
maska lagaayega to halwa khilaayega
maska lagaayega to halwa khilaayega
varna kya. . .
taapta rahega tu
aur koi khaayega
humre tumhere beech kaise koi aayega
humre tumhere beech kaise koi aayega
tu jo na khilaayegi
to kaise koi khaayega
arre tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega

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

तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा
अरे तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा
हमरे तुम्हेरे बीच कैसे कोई आएगा
हमरे तुम्हेरे बीच कैसे कोई आएगा
तू जो ना खिलाएगी
तो कैसे कोई खाएगा
तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा

देखो बुलावुंगी सात कोस आएगा
कौन तेरी आँखों का पानी गिर जाएगा
खाली पीली आएगा
खाली पीली जाएगा
खाली पीली आएगा
और खाली पीली जाएगा
टापता रहेगा तू
और कोई खाएगा
तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा

आया हूँ तुम्हारे पास
खाली नहीं जाने का
वादे के खिलाफ कानी कौड़ी नहीं पाने का
तू भी पछताएगी
हम भी पछताएगा
तू भी पछताएगी
और हम भी पछताएगा
टापता रहेगा तू
और कोई खाएगा
तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा

हम तो तेरे प्यार का हलवा बनाएगा
बैठ के तुम्हारे साथ
गप्पा गप्प
गप्पा गप्प
गप्पा गप्प खाएगा
मस्का लगाएगा तो हलवा खिलाएगा
मस्का लगाएगा तो हलवा खिलाएगा
वरना क्या॰॰॰
टापता रहेगा तू
और कोई खाएगा
हमरे तुम्हेरे बीच कैसे कोई आएगा
हमरे तुम्हेरे बीच कैसे कोई आएगा
तू जो ना खिलाएगी
तो कैसे कोई खाएगा
अरे तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा


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 – 35
– – – – – – – – – – – – – – –

Her name is listed as the fourth lady music director in Hindi cinema. But then, that is where the comparison ends. The first three names considered are Ishrat Sultana, better known as Bibbo, then Jaddan Bai, and then we have Khorshed Minocher-Homji, more popularly known as Saraswati Devi. These stalwart composers from the earlier decades (1930s and 40s) of Indian cinema, were formally trained in Hindustani classical music, which also defined their style and the types of songs they composed.

The other thing is the size of their work portfolio. Checking the Geet Kosh listings, one finds the following data. The name Ishrat Sultana appears for two films – ‘Adl e Jehangir’ from 1934 and ‘Qazzack Ki Ladki’ from (1937).  Then, the name of Jaddan Bai appears for 5 films in the 1930s. In case of Saraswati Devi, this number is 28 films, spread over 1930s and 40s. The actual number could probably be higher, since the Geet Kosh information is not complete for a number of films, especially for the first decade of talkie films. Nonetheless, we get a feel for the body of work of these two lady music directors.

The fourth name, and yes, I am talking about Usha Khanna – she is different from earlier three lady music directors identified above, in the following two respects. One, as per her own submissions, she has had no formal training in music, period. The closest she says she came to be taught music is her father, Manohar Lal Khanna, showing her the keys on a harmonium, for the basic notes of the sargam. Beyond that frugal basic introduction, Usha Khanna is a self taught music person, a fact that most certainly belies both the quality and the quantity of her musical creations. And the second – her longevity in the industry and the no. of films she has worked on. An active career that started in 1959, with the hit musical ‘Dil Deke Dekho’, and continued till at least 2003 with the film ‘Dil Pardesi Ho Gaya’. A musical journey that has lasted well over five decades, and in the process, she has worked for more than 250 films, in Hindi as well as some in other languages. These two factors make her stand apart in greater prominence, than her predecessor luminaries.

Greetings to Usha Khanna ji on her 76th birthday – 7th October, 2017.

And when we take a look at the years, another amazing aspect gets highlighted. Her first film is ‘Dil Deke Dekho’ in 1959. She was born in 1941. Goodness, she was all of eighteen years old when she accomplished her debut hit. That, my friends, is a remarkable showing indeed. Actually, she was introduced to Sashadhar Mukherji of Filmalya, by Indeevar ji. She was present for audition as a singer. On listening to her, S Mukherji ruled her out as a singer – no match for the voices of established artists like Lata ji and Asha ji. But when it was mentioned that she also composed music, it stirred the interest of Mukherji Sb. Not believing what he heard, he challenged her to create tunes for the mukhda lines suggested by him. He put her to this test again and again. After being satisfied with her introductory output, he assigned her as the music director for ‘Dil Deke Dekho’. The rest, my friends, is simply history.

With today’s post, I introduce to our blog, the film ‘Trip To Moon’ from 1967. The film is also known by the title ‘Chaand Par Chadaai’. The film is produced under the banner of Cauvery Productions, Madras and is directed by TP Sundaram. This is a Dara Singh film, notably produced in Madras. The cast of actors includes Dara Singh, Ratna, Bhagwan, Anwar Hussain, S Nazir, Helen, Padma, Kanchanmala and Rajrani etc. The music of this film is composed by Usha Khanna. Coming to the lyricists, the situation is quite interesting. Geet Kosh lists the song writers as SH Bihari, Asad Bhopali, Akhtar Romani and Javed Anwar, with an indication that there may be one more songwriter. Fortunately, this film is available. So when I checked the actual film, in the credits, three song writers are named, viz. SH Bihari, Asad Bhopali and a gentleman named Imam. There is this difference, which may be explained by noting that most listings in the Geet Kosh are based on the information booklets of the films. And yes, specific songwriter’s name for individual songs are not identified.

The song is a twin dance, which is being performed in some sort of a royal darbaar setting. The second dancer, who is lip syncing Kamal Barot’s voice, is a very young Padma Khanna (thanks Prakash ji, for the identification). I am not able to place a name to the first dancer. The dance seems to be a competition, as we can see some men who are possibly judges, as from their attire and appearance, and are holding paper and pencils in their hands. Watching this performance are Dara Singh and Bhagwan, seated in eminent seats, indicating they may be guests of honor. A lone person is sitting in some kind of a throne. He is wearing dark glasses, and I am not able to identify. I request friends and readers to help identify the first lady dancer and other actors visible in this clip.
[Ed Note: Nayan Yagnik ji has identified the gentleman wearing dark glasses as S Nazir. Prakash ji has identified the second dancer as Padma Khanna. Thanks to both.]

Greetings to Usha Khanna ji once again.

Enjoy this delightful twin dance song, that is one of the many keen memories from the radio listening days.

Song – Aap Hain Kya Aji Wo Aap Hain Kya  (Trip To Moon) (1967) Singer – Suman Kalyanpur, Kamal Barot, Lyrics – [Unattributed], MD – Usha Khanna
Suman Kalyanpur + Kamal Barot

Lyrics

aap hain kya
aji wo aap hain kya
aap hain kya
aji wo aap hain kya
yun jhuki jhuki aankhon ne kamaal kar diya
hai chori chori dil ka bura haal kar diya
vallah har kaam bemisaal kar diya
aap hain kya
aji wo aap hain kya
aap hain kya
aji wo aap hain kya
yun jhuki jhuki aankhon ne kamaal kar diya
hai chori chori dil ka bura haal kar diya
vallah har kaam bemisaal kar diya
aap hain kya
aji wo aap hain kya

kahiye janaab ye kya kiya
kyon dil se dil takra diya
hum ko bagair soche huye
kyon ae huzoor tadpa diya
ye addayen
ye ishaare
jitne qaatil
utne pyaare
lagne lagey dil pe teer ki tareh
aap hain kya
aji wo aap hain kya
aap hain kya
aji wo aap hain kya
yun jhuki jhuki aankhon ne kamaal kar diya
hai chori chori dil ka bura haal kar diya
vallah har kaam bemisaal kar diya
aap hain kya
aji wo aap hain kya

hum ek baar dekhen jidhar
lag jaaye aag pal mein udhar
zulfon ke jaal hain har taraf
jaayenge aap bach kar kidhar
humse itni berukhi kyon
dosti mein dushmani kyon
aisi na dijey hamen pyaar ki sazaa
aap hain kya
aji wo aap hain kya
aap hain kya
aji wo aap hain kya
yun jhuki jhuki aankhon ne kamaal kar diya
hai chori chori dil ka bura haal kar diya
vallah har kaam bemisaal kar diya
aap hain kya
aji wo aap hain kya

tumko bhi pyaar
humko bhi pyaar
yun na karo chhup chhup ke waar
hoga abhi har faisla
kiski hai jeet
kiski hai haar
tun jahaan ho
hum wahin hain
hum bhi tumse kam nahin hain
donon hain ek hi haseen bemisaal
aap hain kya
aji wo aap hain kya
aap hain kya
aji wo aap hain kya
yun jhuki jhuki aankhon ne kamaal kar diya
hai chori chori dil ka bura haal kar diya
vallah har kaam bemisaal kar diya
aap hain kya
aji wo aap hain kya
aap hain kya
aji wo aap hain kya. . .

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

आप हैं क्या
अजी वो आप हैं क्या
आप हैं क्या
अजी वो आप हैं क्या
यूं झुकी झुकी आँखों ने कमाल कर दिया
हाय चोरी चोरी दिल का बुरा हाल कर दिया
वल्लाह हर काम बेमिसाल कर दिया
आप हैं क्या
अजी वो आप हैं क्या
आप हैं क्या
अजी वो आप हैं क्या
यूं झुकी झुकी आँखों ने कमाल कर दिया
हाय चोरी चोरी दिल का बुरा हाल कर दिया
वल्लाह हर काम बेमिसाल कर दिया
आप हैं क्या
अजी वो आप हैं क्या

कहिए जनाब ये क्या किया
क्यों दिल से दिल टकरा दिया
हमको बगैर सोचे हुये
क्यों ए हुज़ूर तड़पा दिया
ये अदाएं
ये इशारे
जितने क़ातिल
उतने प्यारे
लगने लगे दिल पे तीर की तरह
आप हैं क्या
अजी वो आप हैं क्या
आप हैं क्या
अजी वो आप हैं क्या
यूं झुकी झुकी आँखों ने कमाल कर दिया
हाय चोरी चोरी दिल का बुरा हाल कर दिया
वल्लाह हर काम बेमिसाल कर दिया
आप हैं क्या
अजी वो आप हैं क्या

हम एक बार देखें जिधर
लग जाये आग पल में उधर
ज़ुल्फों के जाल हैं हर तरफ
जाएँगे आप बच कर किधर
हमसे इतनी बेरुखी क्यों
दोस्ती में दुशमनी क्यों
ऐसी ना दीजे हमें प्यार की सज़ा
आप हैं क्या
अजी वो आप हैं क्या
आप हैं क्या
अजी वो आप हैं क्या
यूं झुकी झुकी आँखों ने कमाल कर दिया
हाय चोरी चोरी दिल का बुरा हाल कर दिया
वल्लाह हर काम बेमिसाल कर दिया
आप हैं क्या
अजी वो आप हैं क्या

तुमको भी प्यार
हमको भी प्यार
यूं न करो छुप छुप के वार
होगा अभी हर फैसला
किसकी है जीत
किसकी है हार
तुम जहाँ हो
हम वहीं हैं
हम भी तुमसे कम नहीं हैं
दोनों हैं एक ही हसीन बेमिसाल
आप हैं क्या
अजी वो आप हैं क्या
आप हैं क्या
अजी वो आप हैं क्या
यूं झुकी झुकी आँखों ने कमाल कर दिया
हाय चोरी चोरी दिल का बुरा हाल कर दिया
वल्लाह हर काम बेमिसाल कर दिया
आप हैं क्या
अजी वो आप हैं क्या
आप हैं क्या
अजी वो आप हैं क्या॰ ॰ ॰


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 laws.

The song under discussion today is from film ‘Sharada’, one of the hit films of 1957. What a year 1957 was ! In the Golden Era of the Hindi Film Music, the year 1957 would go down as the best year, which provided everlasting songs from musical films. The deluge of excellent songs was such that music lovers not only enjoyed the heavy downpour, but loved every piece of Music.

Musical films like, ‘Begunah’, ‘Bhabhi’, ‘Dekh Kabira Roya’, ‘Do Aankhen Baara Haath’, ‘Ek Gaon Ki Kahani’, ‘Ek Jhalak’, ‘Kathputli’, ‘Miss Mary’, ‘Mother India’, ‘Mr. X’, ‘Nau Do Gyaarah’, ‘Naya Daur’, ‘Paying Guest’, ‘Pyaasa’, ‘Tumsa Nahin Dekha’ and many more. Add to this, the hit films of C Ramchandra in 1957 – ‘Baarish’, ‘Sharada’, ‘Nausherwan e Adil’, ‘Asha’ and ‘Talash’. What more one would want?

‘Sharada’ was made by Prasad Productions and directed by its owner himself LV Prasad or Akkineni Lakshmi Vara Prasad Rao, to be precise. Yes, he is the same person who has etched his name in the annals of film history of India, as the only man who had acted in the first talkie films of 3 different Languages ! LV Prasad acted in ‘Aalam Ara’ (1931) (Hindi), ‘Kalidasa’ (1931) (Tamil), and ‘Bhakta Prahlada’ (1932) (Telugu). All these films were made in Bombay.

From a very humble and struggling beginning, LV Prasad (17-1-1908 to 22-6-1994), went on to become one of the most successful film producers of India. He not only built an empire of film related industries, but he also headed many prestigious organisations like, International Film Festivals and International Jury Board, Film Chamber, Film Censor Board, Studio Owners’ Council etc. He was honoured with Phalke Award in 1982, Udyog Patra award in 1980, Kala Tapaswi award in 1983, Andhra Ratna Award etc. There was a Postage stamp issued in his honour in 2006.

‘Sharada’ was a remake of the original Tamil film ‘Edhir Paradhathu’ (1955). Its Telugu remake was ‘Ilavelpu’ (1956) and a Malayalam edition came a little later as ‘Nitya Kanyaka’ – in 1963. In the original Tamil film, the lead pair was Sivaji Ganeshan and Padmini, which was a very popular pair in many Tamil films during those days. The film became a runaway hit. There is an interesting anecdote about the shooting of this Tamil film. There is a scene in the film, in which Padmini has to slap Sivaji Ganesan. While enacting this scene Padmini got into the role so much that not only she was very angry but went on slapping Sivaji one after another, even after Director was shouting CUT CUT several times. Finally, Sivaji Ganesan made the hysterical Padmini lie down and brought her to normalcy !

The Telugu version also became very popular. An interesting point about the Telugu remake was that out of its 9 songs, 6 songs had popular Hindi film song tunes. For example, a Telugu song of the film, ‘Anna Anna Vinnava’ was a copy of the tune of the popular Ravi song “Chandamama Door Ke” from film Vachan (1955).

The Hindi remake ‘Sharada’, was very cleverly released in the month of December 1957 in Bombay and later in all other centres. By that time, all other musical films of 1957 were already seen and heard by the public. This naturally gave extra space to the music of Sharada to become popular. Such tactics could come only from Madras producers.

The story and screenplay was by the famous writer/director CV Sridhar, who later on gave many tear jerkers like ‘Dil Ek Mandir’ (1963). In the original Tamil film as well as the Telugu and Malayalam remakes, it was the hero’s father who dies in the film, to make way for the lovers, but in the Hindi remake, the heroine was made to die, only because the role was done by the Tragedy Queen Meena Kumari ! Poor Meena Kumari, she had only tragedies in her reel and real lives.

‘Sharada’ was a successful film not only on the Box office, but it also won 3 Film Fare Awards. Raj Mehra won his only award for the best supporting actor, Shyama won it for best supporting actress and Shivaji Awadhoot won it for Best Editing. The cast of the film was Meena Kumari, Raj kapoor, Raj Mehra, Shyama, Gope, Manorama, Om Prakash, Agha etc. The story of the film is,

Chiranjeev (Raj Kapoor) lives a wealthy lifestyle along with his father, Kashiram (Raj Mehra), and three siblings: two sisters, one of whom is dumb, and a younger brother. While on a trip, his friend, Mohan (Om Prakash), falls ill due to alcohol, and gets treated at an ashram. This is where Chiranjeev meets with an employee, Sharada (Meena Kumari), who lives a poor lifestyle with her father, Ram Sharan. Chiranjeev and Sharada fall in love with each other, and he promises to get his father’s permission and return to get married to her.

On his way home he has an accident, and though he does survive after being treated by tribal people, he returns to the Ashram several days later and is informed that Sharada is now married to a wealthy and much older man. Heart-broken and devastated, Chiranjeev returns home only to get another shock: the male Sharada has married is none other than his very own father. Chiranjeev tries to build same relations again with her, but she slaps him and warns that she is now his mother.

Depressed and deeply frustrated, he takes to alcohol in a big way. Sharada talks him out of this, he repents and on her insistence, marries Chanchal (Shyama), who comes from a reputed family background. Things then get complicated when Chanchal finds that her husband and his stepmother had been in love before and may not have got over their feelings for each other.

Fed up with everyday tiffs with Chanchal, he leaves the house and lives like a beggar. One day he is found by his step mother and father, who bring him home. Chanchal realises her mistake and repents. Meena Kumari believes that she must sacrifice for his welfare and family’s well being. She dies in the arms of her son, Chiranjeev. (641)

Today’s song is sung by Asha Bhosle, Joe Alvaris, Kamala Shrivastav and chorus. I have no definite information about Joe (he could be Johnny, C Ramchandra’s assistant in this film), or Kamla Shrivastav (she could be a singer from Lucknow who sang on AIR, and later retired as a teacher from Bhatkhande Music school, Lucknow). Here is the song video…


Song – Aaju Re Baaju Naaju Kaaju Re (Sharda) (1957) Singer – Asha Bhosle, Joe Alvaris, Kamala Shrivastav, Lyrics – Rajinder Krishan, MD – C Ramchandra
Chorus

Lyrics 

aaju re baaju naaju kaaju re lui
lui
aaju re baaju naaju kaaju re lui
lui
aaju re baaju naaju kaaju re lui
lui

aaa aaaa aaaa aaaaa aaaaa aaaa
aaaa aaaaa aaaaaa aaaaaa aaa
aaa aaaa aaaa aaaaa aaaaa aaaa

aaju re baaju naaju
lui
aaju re baaju naaju
lui

aaaaaaaaaa aaaa aaaa aaaa aaaa

aaju re baaju naaju
kaaju re lui lui
dil main hai laagi mere nainwa ki sui
oooeeeeeeeee
aaju re baaju naaju
kaaju re lui lui
dil main hai laagi mere nainwa ki sui
oooeeeeeeeee

baaton mein teri aa ke
main fisal gayi
muft mein haaye
tere jaise ko mil gayi
aaaa aaaa aaaa aaaa
baaton mein teri aa ke
main fisal gayi
muft mein haaye
tere jaise ko mil gayi
de ke dil dekha
pyaar hai dhokha
de ke dil dekha
pyaar hai dhokha
preet to hai badi mui
laagi nainwa ki sui
oooeeeeeeeee
aaju re baaju naaju
kaaju re lui lui
dil main hai laagi mere nainwa ki sui
oooeeeeeeeee

de ke daghaa bhaaga
kaise se pada paala
dil ka qusoor kya hai
aankhon ne maar daala
de ke daghaa bhaaga
kaise se pada paala
dil ka qusoor kya hai
aankhon ne maar daala
naina na milte
naina na milte
dil ke na taar hiltey
murjhaati kaahe chhui mui
laagi nainwa ki sui
oooeeeeeeeee
aaju re baaju naaju
kaaju re lui lui
dil main hai laagi mere nainwa ki sui
oooeeeeeeeee

paapi ye naina haaye
kaahe kisi se ladey
honthon ki hansi gayi
dil mein hain daagh padey
aaaa aaaa aaaa aaaa
paapi ye naina haaye
kaahe kisi se ladey
honthon ki hansi gayi
dil mein hain daagh padey
raaton ko khade khade
din ko padey padey
raaton ko khade khade
din ko padey padey
preet to hai badi mui
laagi nainwa ki sui
oooeeeeeeeee
aaju re baaju naaju
kaaju re lui lui
dil main hai laagi mere nainwa ki sui
oooeeeeeeeee
aaju re baaju naaju
kaaju re lui lui
dil main hai laagi mere nainwa ki sui
oooeeeeeeeee

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

आजू रे बाजू नाजु काजू रे लुई
लुई
आजू रे बाजू नाजु काजू रे लुई
लुई
आजू रे बाजू नाजु काजू रे लुई
लुई

आss आsss आsss आssss आssss आsss
आss आsss आssss आssss आss
आss आsss आsss आssss आssss आsss

आजू रे बाजू नाजु
लुई
आजू रे बाजू नाजु
लुई

आssssssss आsss आsss आsss आsss

आजू रे बाजू नाजु
काजू रे लुई लुई
दिल में है लागी मेरे नैनवा की सुई
उईssss
आजू रे बाजू नाजु
काजू रे लुई लुई
दिल में है लागी मेरे नैनवा की सुई
उईssss

बातों में तेरी आके
मैं तो फिसल गई
मुफ्त में हाए तेरे
जैसे को मिल गई
आsss आsss आsss आsss
बातों में तेरी आके
मैं तो फिसल गई
मुफ्त में हाए तेरे
जैसे को मिल गई
दे के दिल देखा
प्यार है धोखा
दे के दिल देखा
प्यार है धोखा
प्रीत तो है बड़ी मुई
लागी नैनवा की सुई
उईssss
आजू रे बाजू नाजु
काजू रे लुई लुई
दिल में है लागी मेरे नैनवा की सुई
उईssss

दे के दग़ा भागा
कैसे से पड़ा पाला
दिल का क़ुसूर क्या है
आँखों ने मार डाला
दे के दग़ा भागा
कैसे से पड़ा पाला
दिल का क़ुसूर क्या है
आँखों ने मार डाला
नैना ना मिलते
नैना ना मिलते
दिल के ना तार हिलते
मुरझाती काहे छुई मुई
लागी नैनवा की सुई
उईssss
आजू रे बाजू नाजु
काजू रे लुई लुई
दिल में है लागी मेरे नैनवा की सुई
उईssss

पापी ये नैना हाए
काहे किसी से लड़े
होठों से हंसी गई
दिल में हैं दाग़ पड़े
आsss आsss आsss आsss
पापी ये नैना हाए
काहे किसी से लड़े
होठों से हंसी गई
दिल में हैं दाग़ पड़े
रातों को खड़े खड़े
दिन को पड़े पड़े
रातों को खड़े खड़े
दिन को पड़े पड़े
प्रीत तो है बड़ी मुई
लागी नैनवा की सुई
उईssss
आजू रे बाजू नाजु
काजू रे लुई लुई
दिल में है लागी मेरे नैनवा की सुई
उईssss
आजू रे बाजू नाजु
काजू रे लुई लुई
दिल में है लागी मेरे नैनवा की सुई
उईssss
 


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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 13600 song posts by now.

This blog is active and online for over 3300 days since its beginning on 19 july 2008.

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