Archive for the ‘“Aankh” song’ Category
Chandaa se pyaare aankh ke taare
Posted on: May 13, 2024
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5778 | Post No. : | 18305 |
“Aulaad”(1954) was produced by Kuldeep Sahgal and directed by Mohan Saigal for Kuldeep Pictures, Bombay. This “social” movie had Nirupa Roy, Balraj Sahni, Usha Kiran, Arun, Prabhu, Ramesh Kapoor, Lalita Kumari, Radhakishan etc in it.
This obscure movie had six obscure songs in it. Two songs from the movie have been covered in the past.
Here is the third song from “Aulaad”(1954) to appear in the blog. This song is sung by Asha Bhonsle. Prem Dhawan is the lyricist. Music is composed by Sardar Malik.
Only the audio of this song is available. The song songs like a mother-child song. Though an obscure song, the song sound wonderfully fresh even today, after the passage of seven decades.
I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.
Song-Chanda se pyaare aankh ke taare (Aulaad)(1954) Singer-Asha Bhonsle, Lyrics-Prem Dhawan, MD-Sardar Malik
Lyrics
chanda se pyaare
aankh ke taare
raaj dulaare laadle
hmm hmm
hmm hm hmm
hmm hmm hmm hmm
chanda se pyaare
aankh ke taare
raaj dulaare laadle
hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
khilne lage hai phool kaise meri nigaahon mein
jalne lage hain deep kaise jeevan ki raahon mein
tum aa gaye to aa gayi duniya
meri do baahon mein
chanda se pyaare
aankh ke taare
raaj dulaare laadle
hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
mal mal ke chandan
ganga jal se
tujhe nahlaaun main
in bhole bhaale nainanwa mein
kaajal lagaaun main
tak tak ke mukhda
pyaara pyaara
balihaari jaaun main
chanda se pyaare
aankh ke taare
raaj dulaare laadle
hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5768 | Post No. : | 18293 |
Today’s song is from the film Kundan-1955.
The film was made by Minerva Movietone, produced and directed by Sohrab Modi. I liked Sohrab Modi very much. Not only because he could deliver long dialogues forcefully, but because his life story was very inspiring. In India there were few other filmmakers and directors who handled topics normally considered Taboo by others and some filmmakers who never hesitated to make films on unusual themes, when the trend was to make entertaining, musical and romantic films. Sohrab Modi was perhaps the only filmmaker who made films to expose the social ills through the cinematic medium from his first film.
When he started his film career, he faltered, he failed but he learnt lessons, improved on his filmmaking presentation and used his own strengths. He chose stories which will appeal to Indian audiences and topics which were important to the majority of people. While doing this, he had to be tough and a disciplinarian, at times even dictatorial but he was always target oriented.
When his first film, from his own banner Minerva Movietone, flopped miserably, with only about 20-30 people in the audience on the first shown of film ” Atma Tarang”-1937, he was, like any other normal person, so much dejected that he thought of quitting films. But then the encouraging comments by a group of 4 people in that audience gave him a lot of motivation and subsequently he made history in filmmaking in India.
Like a true Parsee, he sometimes behaved in a way difficult to understand for a common person. Those who worked with him in his initial career- like Music Director C.Ramchandra had written a lot about him and expressed how and why he not only adored him but also considered him as one who helped him in his career building. The life story of Sohrab Modi is full of ups and downs, but there were more ups than downs.
Sohrab Merwanji Modi was born in a Parsi family on 2nd November, 1897. His parents were Parsi civil Servants. For a few years he stayed in the Parsi community in Bombay. Sohrab Modi’s childhood was spent with a lot of activities. As he grew up, his more interest was in exercise and sports. Though in childhood many times he was severely sick and a few times he was also hospitalized. Due to which he looked tall but he was thin. But later he was very active. In school he was an average student, he never got hooked on History. Many times a teacher complained to his parents for his lagging behind in history subjects. His parents turned all the stones to make him study but it all went in waste. But Sohrab was good at sports and from childhood he was interested in exercise which helped him to develop his personality in stage acting. Later he shifted with his family to Rampur in Uttar Pradesh. At the age of 14 -15 his mind absorbed many interesting things in acting as he watched silent movies. Soon his mind got diverted toward stage acting.
At the age of 17 years, he worked as a travelling exhibitor in Gwalior. Elder brother Rustom Modi, along with his close friend Ittefaq, set up Arya Subodh Natak Mandali theatre group in 1923.
In the beginning, Sohrab Modi only acted as an extra or side role which was not that important. But Sohrab was looking for the opportunity where he could act as a leading actor. Very soon he got an opportunity and he broke the ice. Soon He earned the reputation as a Shakespearean actor. Sohrab Modi’s elder brother Rustom helped him in stage acting and people really appreciated the Sohrab acting. Sohrab played Jehangir (Hamlet) opposite Naseem Bano (Ophelia) in Khoon ka Khoon, one of the biggest Urdu stage Hits of the 20s. As Sohrab was growing up, his personality kept developing. His personality suited the role of a king. His two plays ‘Khoon Ka Khoon’ and ‘Saed-E-havas’ added flying colors to his acting.
In 1931 Hindi movie ‘Alam Ara’ was released with sound. On one hand, ‘Alam Ara’ was a big leap for Bollywood. But on the other hand, the introduction of sound in movies created a very big crack in the theatre business. People started getting interested in watching movies rather than watching theatre plays. To save theatre art, the Modi brothers set up the Stage Film Company in 1935. From this year Sohrab Modi never looked back in acting career.
Sohrab Modi’s talents soon reached the ears of ‘Dadasaheb Phalke’. Though Sohrab Modi had worked in a few silent movies before, Dadasaheb Phalke never appreciated Sohrab Modi’s acting. One day Phalke Saab personally went to see Sohrab’s play ‘Alexander the Great’.
Sohrab Modi is remembered fondly by the film buffs for his towering personality, solid voice and his forceful dialogue delivery. Actually, Modi was much more than that. He was the first and the only film maker who took up Historical subjects to make films that left a long lasting impression on the film goers. He loved to do the roles of Historical persons ( actual or mythical) and deliver long dialogues in his resonant voice, clear diction and superb voice modulation.
Sohrab Modi developed these qualities from his stage acting days. In his growing up age at Rampur, he had spent hours in the library of the local Nawab, where his father worked as a Superintendent. This gave him a command on Urdu language. Added to this was his brother Rustom’s drama company ” The Arya Subodh Natak Mandali” in which he acted. In 1935, the brothers set up the ” Stage Films ” to film the two dramas, namely Hamlet aka Khoon ka khoon-35 and Sayeed E Hawas-36, based on Shakespeare’s play King John, as movies. However, these movies did not do too well, as the audience had seen them on stage several times. But this failure didn’t stop Sohrab Modi from acting. Taking a clue from this, Modi decided to start a new company, Minerva Movietone to produce independent films on different stories of merit.
Minerva Movietone was started by Sohrab and brother Rustom Modi in 1936, when they realised that the stage dramas, filmed as Feature films, did not get the public approval. Logo of his banner was the Lion. Does this personally symbolize Sohrab Modi personality? Production from Stage films- their first film production enterprise- was suspended till Minerva became successful. ” Aatma Tarang-37″ was the new company’s first film. C. Ramchandra was the Harmonium accompanist for M.D. Habib Khan and Bundu Khan. He also did a small role in Aatma Tarang and earlier Saeed E Havas-36. Minerva’s first film proved to be a let down.
Sohrab found that there were hardly 20 to 30 persons in the audience on the very First show. The film was based on the power of ‘ Bramhacharya’ (Celibacy). In those days, Sohrab was greatly influenced by the teachings of Ramakrishna Mission. Seeing the poor response, he was upset. Thoughts of quitting the film production line were crowding in his mind. Suddenly, he saw four men coming towards him. They came, confirmed that he was Sohrab modi and told him that his film was very good. They further advised him to keep making such good films and one day he will be on Top. Later on he learnt that these gentlemen were the Judges of Bombay High Court.
This gave a lot of motivation to Modi. It also boosted his self confidence. As such he was sure of his success in films, but now he knew that he must make films on subjects of interest of the public and not his own philosophy, if he wants to succeed commercially. His second film was Khan Bahadur-37, based on the bravery and generosity of a Muslim king who became famous for his bravery. The English rulers gave him the title of Khan Bahadur. The film did a reasonable business.
This incident infused him with new hopes and enthusiasm. This changed his life. Initially he focused on making films on social evils like Drinking (Meetha Zehar-38), Husband-wife separation ( Divorce-38) and Incest ( Bharosa-40 ). Enthused with this experience, he made successful films and took his company to the Top. Renowned for big budget historical films, Minerva benefited from the Modi family’s distribution interests in Gwalior, expanded by his third brother Keki Modi into western India. At one time he controlled a chain of 27 theatres in 10 cities. In 1952, they established India’s first Technicolour Laboratory.
In 1944, Central Studio signed Mehtab for their film “Parakh”. Sohrab Modi was directing the film. At the time of signing the contract, Mehtab told Modi that she had heard that he only took his own close-ups in his films and ignored the others. He told her that he wasn’t acting in that film. Thereafter, Sohrab Modi again took Mehtab as heroine in his film “Ek Din Ka Sultan” opposite Wasti under his own banner Minerva Movietone. Slowly, Sohrab Modi fell in love with her and proposed to her. Mehtab agreed only on the condition that she would not leave her son Ismail. Sohrab didn’t find any problem in that and they got married on the birthday of Mehtab, 28 April 1946. Sohrab Modi’s family didn’t approve as they were Parsi and Mehtab was Muslim. Sohrab never interfered in Mehtab’s career or religion. Mehtab had a son from Modi named Mehli who was brought up as Parsi. Modi sent both the sons abroad to study.
Mehtab did few films after marriage like “Behram Khan” (1946), “Saathi” (1946), Shama (1946). Her last major film was “Jhansi Ki Rani” (1953). (She did a small role in the film Samay Bada Balwan-69.) Sohrab Modi was the producer, director and the hero of the film. It was Sohrab’s first colour film. She acted in a total of 40 films. Sohrab Modi acted in 32 films. First was Hamlet-35 and the last was Razia Sultan–83.He directed 27 films. First was Hamlet-35 and the last was Meena Kumari ki Amar Kahani-81.
Sohrab Modi died on 28 January 1984 due to cancer of the bone marrow. Mehtab’s both sons were settled abroad, though she spent her life in Cuffe Parade, Mumbai till her death. She died on 8-4-1997. ( I thank Upperstall for some information used herein, book ‘ Hero ‘ Vol 1 by Ashok Raj and my notes.)
Film Kundan was the first film made by Sohrab Modi, after his ambitious film ” Jhansi ki Rani”-1953 failed at the Box office. The first Technicolor film made in India was his dream project and he had expected much from it. Unfortunately it did not fulfil his dream. But he did not give up. He came out of it and made 5 films in subsequent 4 years continuously. The story of film Kundan-1955 was based on the famous novel ” Les Miserables’ by the French author Victor Hugo, published first in 1862. The Indianised story of this film was…..
The film starts with Kundan (Sohrab Modi) stealing a loaf of bread from a kitchen and running home with it to feed his young niece Radha, and ailing mother. He is arrested, and in court he says that he had tried to find work, begged, and in the end was forced to steal. The judge sentences him to two years in prison. His niece visits him in jail telling him of his mother’s death. Kundan bends the iron rods and escapes, but is caught. He is imprisoned for a further five years for trying to escape. The second time he tries to do so, he gets an additional seven years. Kundan spends a total of fourteen years in prison doing hard labour. Radha (Nimmi) is married to Gopal (Pran) and they have a baby girl Uma. Gopal, who is in bad company, and a crook get her to part with all her jewellery and he disappears with it. Radha and her baby find refuge with a tea-stall owner (Om Prakash) and his wife (Manorama), who employ her to work for them for minimal wages. Kundan, on release from jail, sets out to find Radha. He has been told by the jail authorities, including Inspector Sher Singh (Ulhas), a devout policeman, to keep them informed about his whereabouts and to present himself regularly at the police station. When he returns to his locality, he is unable to find Radha, and the neighbours drive him away, calling him a dacoit.
Kundan, on being turned away by everyone, finally finds a saviour in Gurudev (Murad), a priest, who helps him find himself and introduces him to making pottery and earning money. Kundan does well for himself and meets up with Radha and Uma. Radha dies from an illness and Kundan brings up Uma. Inspector Sher Singh meanwhile, is after him all the time. A grown up Uma (Nimmi) meets Amrit (Sunil Dutt), a freedom fighter involved in the Quit India Movement against the British. Amrit and Uma fall in love, but Amrit has the police after him. In a fight between the revolutionaries and the police, Sher Singh is imprisoned by them, but subsequently let free by Kundan. Amrit gets injured and Singh tries to arrest him. Kundan knocks the policeman down and escapes through a drainage pipe with Amrit. When the Inspector comes looking for them again, there is a confrontation between Kundan and the Inspector while Amrit lies wounded. Kundan tells Sher Singh that he will give himself up to the police if he allows Amrit to get treatment. Sher Singh agrees to let Amrit’s wounds be treated and waits as the doctor attends him. When Amrit recovers, Kundan goes down to find a note written by the Inspector, in which he states that he’s letting two people wanted by the police go free, hence his only salvation for not doing his duty is to kill himself. Kundan manages to see the Inspector jumping into the river. Amrit and Uma are reunited with a repentant Gopal asking Kundan’s forgiveness.
Today’s song is the last and final song from this film, making it an YIPPEED film.
Song-Matwaale o matwaale nainon ke teer khaa le (Kundan)(1955) Singers-Shamshad Begam, Lata, Lyrics-Shakeel Badayuni, MD-Ghulam Mohammad
Chorus
Matwaale o matwaale
nainon ke teer kha le
matwaale o matwaale
nainon ke teer kha le
dil mein dard basa le ae
dil mein dard basa le ae
matwaale o matwaale
nainon ke teer kha le
dil mein dard basa le ae
dil mein dard basa le ae
duniya hai aani jaani
chhode jaa koi nishaani
ho o o o o
duniya hai aani jaani
chhode jaa koi nishaani
ulfat mein choor ho jaa
har gham se door ho jaa
hans le aur hansa le ae
hans le aur hansa le ae
matwaale o matwaale
nainon ke teer kha le
dil mein dard basa le ae
dil mein dard basa le ae
aa aa aa aa aa
kisi ke dil pe nigaahon ke teer chalte hain
aen aen aen aen aen
mere jahaan mein
aahon ke teer chalte hain
ho o o o
daulat ke sab hain bhookhe
bekas ko koi na poochhe
bekas ko koi na poochhe
ho o o o
daulat ke sab hain bhookhe
bekas ko koi na poochhe
bekas ko koi na poochhe
duniya hai paagal saari
soorat hai sabki pyaari
duniya hai paagal saari
soorat hai sabki pyaari
dil ke rang hain kaale ae
dil ke rang hain kaale ae
matwaale o matwaale
nainon ke teer kha le
matwaale o matwaale
nainon ke teer kha le
dil mein dard basa le ae
dil mein dard basa le ae
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5762 | Post No. : | 18287 |
Today’s song is a song sung by Kishore kumar in his inimitable style, from the film Dilli Ka Thug-1958.
1958 was the year when so many musical films came. One could see the excellence of lyricists and the art of the Music Directors making those songs popular. In those days the active lyricists were Shakeel Badayuni, Sahir Ludhianvi, Shailendra, Majrooh, Hasrat Jaipuri, Bharat Vyas, Rajendra krishna, Prem Dhawan, Kaifi Azmi, Pradeep to name a few.
Composer kalyan ji debuted as an independent MD, for the film ‘Samrat Chandragupt’, in which a song written by Nirupa Roy was used. Iqbal Qureshi entered films with ” Panchayat”. Anand Bakshi debuted with ‘Bhala Aadmi’ and continued for another 45 years, becoming one who wrote maximum number of songs for Hindi films.
This was also the year in which, due to a misunderstanding, the long standing bond between Rajendra krishna and C.Ramchandra was broken and it became an additional reason for C Ramchandra’s downfall from his successful musical career. In this year 3 Qawalis became Hits. First was ‘Sadhana’s ‘ Aaj kyun humse parda hai’. The other 2 qawalis were from B and C grade fils. ‘Jungle Princess’ had the first ever qawali’ Adaayen teer hain’, which was a competition between Males and females. The third one was a real surprise. Film ‘Al Hilal’ gave ” Hamen to loot liya hai milke husn walon ne”, composed by Bulo C Rani.
Nargis- Sunil Dutt got married on 11th March and Shashi Kapoor- Jeniffer got married on 2nd July. Old time actors Gope and Yaqub expired. Devika Rani got Padmashree.
Some of the popular and Hit films were Aakhri Dao-Madan Mohan, Aji Bas Shukriya – Roshan, Amar Deep-C.Ramchandra, Chalti ka naam gaadi, Kala pani, Sitaron se aagey and Solva Saal – S.D.Burman, Dilli ka Thug-Ravi, Howrah Bridge, Phagun and Ragini- O.P.Nayyar, Lala Rukh and Phir Subah Hogi- Khayyam, Madhumati-Salil Chaudhari, Parvarish-Dattaram, Sadhana-N.Datta, Yahudi-Shankar-Jaikishen etc etc.
Dilli ka Thug-1958 was prodominently a Kishore Kumar film.
Kishore Kumar came to Bombay to become a singer, but he was forced by the circumstances to become a comedy actor. For Kishore Kumar, his dream of becoming a singer was looking bleak. Instead of singing, he was getting offers to do comic roles in films. It was only Dada Burman who dared to cast Kishore as the Playback singer for Dev Anand. The first ever song he sang for Dev Anand was ” Mere labon mein chhipe”-Baazi-51. However, it was not until his song in Munimji-55 ” Jeevan ke safar mein raahi” that he proved he was a singer first and actor next. Out of all 12 songs of Munimji, only this song was the most popular and hummable. In Funtoosh-56,Dada gave him ” Dukhi man mere”.By now Kishore was out of Saigal’s shadow. The song clicked, but not Kishore, because in that period he had heaps of acting offers and there was no time for concentrating on singing. He settled for singing his own songs and those songs for Dev which Dada gave him occasionally.
When Kishore kumar was trying very hard to establish himself in the film industry, at least as a comedy hero-if not a singer, it was Dada Burman who helped him by giving him songs in almost every film of his in the 50s.
Dada was an experimentalist and had judged Kishore very well. He knew that Kishore was a talented artiste, though without formal training in music. In the days when the music was serious and classical oriented, there were no takers for Kishore except Dada Burman. Kishore had a plain voice and had nothing else except his spontaneity in front of the mike to help him.
S D Burman was a path breaker. There are few instances of Dada going against the tide and winning ! The trend in the film industry was to use one singer for one actor in one film. Like, Mukesh for Raj Kapoor, Kishore for Rajesh khanna or Rafi for Dilip or later on for Shammi kapoor etc. Dada did not subscribe to this theory. He would use the singer depending on the mood of the song and situation of the song in the film. No matter if he has to use more singers for one Hero in One film.
Thus, Manhar, Kishore and Rafi sang for Amitabh in Abhimaan and Rafi, Kishore and Manna Dey sang for Dev Anand in Manzil. He had tried Kishore on Raj Kapoor in Pyar-50. In Sagina, Kshore sang for Dilip Kumar.
Kishore Kumar is the only singer in the world to have sung songs for three generations of actors from one family-TWICE !
He sang song “Bainya chhodo” for Mumtaz Ali, father of Mehmood-for whom Kishore sang many songs and in film Yehi hai Zindagi, Kishor sang for Mehmood’s son Lucky Ali.
He sang for Raj Kapoor in Pyaar-50, then he sang many songs for his son Rishi Kapoor. In the 2008 film, ” Bachna ae Haseeno”- Kishore Kumar song- Bachna ae Haseena was lip synched by Rishi Kapoor’s son, Ranbir Kapoor.
Despite the outstanding success of ”Padosan”-68, Kishore remained where he was- neither an actor nor a singer. The turning point came in 1969. S D Burman was composing music for ‘Aradhana’. He had already recorded 2 duets of Rafi and then Dada Burman fell seriously ill. He handed over the reins of music of this movie to his son R D Burman. Dada had already made the tunes. R D had only to make the recordings. Fresh from the success of Padosan and the songs of Kishore in that film, R D decided to record 2 solos and 1 duet with Lata in Kishore’s voice. Dada was not at all in a position to even protest and R D had never preferred Rafi over Kishore.
Kishore recorded the songs and ”the rest is History” as they say. In the 21st year of his film career, finally, Kishore had achieved what he had been dreaming of. Now every other composer wanted only Kishore and not Rafi. R D Burman had quietly brought a revolution in HFM, hoodwinking all, even his own father ! On his part, Kishore too had matched Rajesh Khanna’s screen presence with vitality and freshness in the songs of Aradhana. The success of Aradhana-not only its songs, but also a successful popular film with the most ordinary plot ever, was so much that people forgot that Hemant Kumar too had used Kishore Kumar for Rajesh Khanna in 1969 only itself in film Khamoshi, for the song” Voh shyam kuch ajeeb thi”. But this classic song from Hemant Kumar was swept away in Aradhana floods.
With ‘Aradhana’, Kishore’s second Golden period started-1970 to 1975, from 1970 to 1985, it is called Kishore Yug in HFM, but the melodious songs which he sang during the 6 years, i.e. 70-75 were really his best. Even after that Kishore did give some good songs, but,as he himself said in an interview ” the real music ended with 1975. Later on it was only factory production on line”. During 1970 to 1985 he sang more than 1800 songs in 764 films. You can imagine the quality of songs in later years.
Kishore had waited for 21 years to become a Singer, and he did become one, he sang only for 18 years !
it is a coincidence that one of the actors in Film Dilli ka Thug had also come to films to become a singer- and he had recorded some songs too- but ended up as an actor. The name may be unexpecte for most readers. He was IFTEKHAR !
Sayyadana Iftekhar Ahmed Shareef was born in Jallundhar on 26-2-1922. His father was a big gun in a private company at Kanpur, so his education upto Matriculation took place in Kanpur. Then he went to Lucknow to do a Diploma in Painting. He was very fond of singing and wanted to become a singer like the legendary Saigal. Naturally , he went to Calcutta to gain entry into singing . There he met Kamal Dasgupta who was impressed with his personality and mannerisms.
He not only recorded 2 of his songs, but also recommended his name as an actor to his production company. In 1944, Iftekhar was taken as an actor in the film Taqraar, opposite actress Jamuna. Next year, he did Ghar-45 and also Rajlakshmi-45- in which Talat Mehmood also acted and sang songs. During this period he fell in love with a Jew Girl- Hanna Joseph, who stayed in his building. Iftekhar broke his earlier engagement to Sayeeda from Lucknow and got married to Hanna, after converting her to Islam. Sayeeda never married in her lifetime after this break up. He got 2 daughters.
After 1947, his family had migrated to Pakistan, but he chose to remain in India. By that time he had done 2 more films, namely, Aisa Kyun and Tum aur Main. He decided to shift to Bombay due to riots in Calcutta in 47-48. In Bombay, he had no work and faced a lot of problems. His wife had to do a job for sustenance. Iftekhar was recognised and helped by Ashok Kumar. He was given a role in the film Muqaddar-50. Being a good painter, Iftekhar taught Painting to Ashok Kumar. In the next 20 years, he did 70 films.
Then came the film Ittefaq-1969, in which he did the role of a Police Officer. This film changed his life and there was no looking back. Films like Zanjeer, Deewar etc further augmented his image and he was well entrenched. He bought a house, car etc. His daughters got married. Iftekhar acted in 318 films in all.
After his younger daughter’s death, Iftekhar was a broken man. He fell ill and within a month’s time, he died on 1-3-1995.
It is written in many places on the Internet, that Iftekhar was the brother of actress Veena. It is NOT true. His only sister Shameem got married and migrated to Lahore, in 1947, where she died recently. Veena’s brother Iftekhar was a different person who got embroiled in the love affair of actress Suraiya. ( adapted, with Thanks, from http://www.beetehuedin.blogspot.com in addition to my own notes.)
With today’s song video, film Dilli ka Thug-1958 becomes an YIPPEE film, having all its songs covered here. Enjoy….
Song-Tera yoon nazar churaa ke jaanaa haaye haaye (Dilli Ka Thug)(1958) Singer- Kishore Kumar, Lyricist- Shailendra, MD- Ravi
Lyrics
chal re fakeere
chal ri amiran
takataka takbak
chal re fakeere
jibi chak jibi chak
dheere dheere
bidi bidi bidi bidi bidi bidi bidi bidi
hrrf mere
ae
o bandariya
o bandariya apne bandar se jhagadna hai bura
ik zara si baat par
aise bigadna hai bura
arrey tera yoon nazar chura ke jaana haaye haaye
yoon shuru hua hai yeh fasaana haaye haaye
tera yoon nazar chura ke jaana haaye haaye
yoon shuru hua hai yeh fasaana haaye haaye
rooth ke kahaan chali
o meri champakali
kab talak phiroongaa main
is tarah gali gali
tere bina mere dil ki
dil mein rahi jaaye
haaye haaye
yoon shuru hua hai yeh fasaana haaye haaye
tera yoon nazar chura ke jaana haaye haaye
yoon shuru hua hai yeh fasaana haaye haaye
dil chura ke chal diye
waah kya kamaal hai
ae tussi
ae tussi
ai tussi great ho ji ee
dil chura ke chal diye
waah kya kamaal hai
chor jaisi harkaten
mor jaisi chaal hai
dil bhi churaaye aur aankh bhi dikhaaye
haaye
haaye
yoon shuru hua hai yeh fasaana haaye haaye
tera yoon nazar chura ke jaana haaye haaye
yoon shuru hua hai yeh fasaana haaye haaye
berukhi se iss tarah
jaate hain toh jaayiye
haahaa haahhaah
berukhi se iss tarah
jaate hain toh jaayiye
haath na maliye janaab
honth na chabaaiye
bekadar ho pyaar kya hai
tum na samajh paaye
haaye haaye haaye
yoon shuru hua hai yeh fasaana haaye haaye
tera yoon nazar chura ke jaana haaye haaye
yoon shuru hua hai yeh fasaana haaye haaye
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5760 | Post No. : | 18285 |
Today’s song is a video song of a dance number from the film Alibaba aur 40 chor-1954.
The names Alibaba, Aladdin and Sindbad immediately revive the memories of childhood. Readers in the age group of 65+ will surely drift into Nostalgia. These are some of the popular stories from the ‘Arabian Nights’, one of the Bestsellers of the world. There is hardly any language with a script, which has not translated these stories into their literature. Out of the 1001 stories of the Arabian Nights, the other popular stories were that of Hatimtai and Gul-E-Bakavali.
Several generations grew up reading, enjoying and dreaming about these stories in their school days, all over the world. (I can not vouch for the recent generation, however). Owning these books was a treasure. No wonder filmmakers from all over the world made films on these stories and raked a lot of money. Places like Basra, tatar and Baghdad etc. became known in every country. Grandfathers all over the world made their grandchildren go to sleep while telling them these stories.
India was also not far behind other countries and many films were made on these stories. Not only this, the story departments of studios had such fertile imaginations that they created sons and daughters to all these heroes, which were not in the original stories. Thus, a variety with sureshot masala was added to such films.
It started with silent films. Films on Alibaba were made in 1927 (2), Aladdin- 1927 (20, 1928 and 1930, Sindbad in 1930 (2). After Talkie films started, films were made on Alibaba in 1940, 1946, 1976, Alibaba and 40 thieves in 1932, 1954 (2), 1966, 1977,1980 and 2004. Films on Aladdin in 1933, 1935, 1945, 2009, On Aladdin and magic lamp in 1938, 1952 (2), 1958, 1966,1978, 1982 (20. Films on Aladdin ka Beta in 1939 and 1955, Aladdin and Laila in 1941 and 1957 and Aladdin ki Beti in 1949. On Sindbad in 1946 (20, 1952 (2), 1965 and 2000. As a Bonus Sindbad ki Beti-19658 was also made. The top was, the film Sindbad- Alibaba and Aladdin-1965, sort of ALL IN ONE !
Film Alibaba and 40 Thieves-1954 was made by Basant Pictures and it was directed by its owner Homi Wadia. The music was by the pair of S.N.Tripathi and Chitragupt. In his initial days, Chitragupt had been Tripathi’s assistant for a few years. He has also sung some songs under his baton. This film was first censored on 10-3-1954 as a B & W film. However, its colour version was again censored on 22-11-1956.
A Tamil remake of this film was made in 1956 by Basant pictures with local stars. S. Dakshinmoorthy had done the music orchestration of the Tamil songs which had used all tunes from its Hindi original. The cast of the Hindi film was Shakeela, Mahipal, B.M. Vyas, S.N.Tripathi, Maruti, Sharda Deulkar, Shalini, Ismail, Dalpat, Azeem, Sardar Mansoor and many more. The original story as appeared in “The Arabian Nights’ was adapted by J.B.H.Wadia, by changing its last part of events. His name is given as the Story Writer in the film credits. Finally, the story of the film was like this……..
Alibaba (Mahipal) lives in the city of Dil Pazir. His dancer friend Marjina (Shakila) notices that he pays great attention to his sister Salma (Shalini), after his elder brother Qasim (S.N.Tripathi) has usurped all his ancestral property. His friend Abboo (Maruti) loves Sitara (Sharda Deulkar), Salma’s companion.
When Alibaba goes to the jungle for wood cutting, he accidentally sees the dacoit Abu Hasan (B.M.Vyas) and notes the password to get into his cave of treasure. In the night, Alibaba quietly opens the cave door with the password and collects a lot of wealth and becomes rich. The cunning wife of his brother comes to know and gets him arrested. Margina cleverly gets Alibaba out of jail and they run away with Salma and Abboo.
Qasim goes into the cave, collects wealth but at the time of leaving forgets the password and is stuck inside. Abu Hasan comes and kills Qasim, severing his head from body. Alibaba sees this in his next visit to the cave and brings the dead body parts to his house. Marjina brings a blindfolded tailor who sews the body with the head. This news reached Abu Hasan. To corner and kill Alibaba, he visits his house as a Saudagar along with his 40 thieves hidden in sacks. Marjina recognises him and with the help of Sitara and Abboo, they throw all sacks in a deep valley killing all thieves. Then Marjina tries to kill Abu Hasan, but he tricks her and runs away with her to the hideout. In the climax, Alibaba rescues Marjina, kills Abu Hasan and in the end all is well.
There were -for the first and last time- two Melody makers were the music Directors. Tripathi was an old horse in such types of films. He was a favourite of Wadia Brothers, who made most of these films. Tripathi had a studied knowledge of Arabian style music. Both MDs presented a bouquet of 8 lovely songs in this film. In the starcast, you will find the name Sharda. She was Sharda Deulkar, younger sister of singer lalita Deulkar, who was Sudhir Phadke’s wife. Shakila and Mahipal looked like they were born to act in such films only. Barring a few social films, Shakila was mainly seen in Costume and action films. Having worked with A class actor Dev Anand in film C.I.D.-1956 also did not help her much.
Mahipal or Mahipal Singh or Mahipal Bhandari (24 November 1919 – 15 May 2005) was a film actor who worked in Hindi cinema mostly in stunt films like Parasmani, Zabak, Cobra Girl, Jantar Mantar, Arabian nights themed movies such as Alibaba, Aladdin And The Wonderful Lamp, Roop Lekha, Sunehari Nagin, and Hindu mythological movies like Sampoorna Ramayan, Ganesh Mahima, Veer Bhimsen, Jai Santoshi Maa. He is known for playing the iconic role of Lord Vishnu, and his two avatars, Lord Rama and Lord Krishna in lot of various puranic, Ramayana, Mahabharata, Bhagavata Purana based movies, besides playing Tulsidas and Abhimanyu, and is also best known as the lead in V. Shantaram’s Navrang (1959), and the songs “Tu Chhupi Hai Kahan Me Tadapta Yahan” and “Aadha Hai Chandrama Raat Aadhi”. He acted in several well-known films of the 1950s and 1960s including V. Shantaram’s Navrang (1959) and Babubhai Mistry’s Parasmani (1963).
He was born on 24-11-1919 in Jodhpur, Rajasthan, where after his schooling, he graduated in literature from Jaswant Government College Jodhpur. Thereafter, he worked in the theatre before migrating to Mumbai in the early 1940s.
He made his film debut in the 1942 film Nazrana. However, the film didn’t work, thereafter he wrote lyrics for four films. He went on to work with directors such as Sohrab Modi and later with the Wadia Brothers, Homi Wadia and J. B. H. Wadia, however, it was his work with V. Shantaram that got him lasting acclaim. He worked in several mythological and historical films with actresses such as Nirupa Roy, Mala Sinha and even Meena Kumari.
Mahipal was never counted as an A category actor and so, leading actresses who started their careers with Mahipal in the lead were ashamed of revealing or accepting this fact. For example, In all her interviews, Mala Sinha always quoted “Rangeen Raten”-56 with Shammi Kapoor as her first film in Bombay. She was ashamed of revealing that in the film Riyasat-55, her Hero was Mahipal. She always hid this fact. Similarly, A grade Heroine Meena Kumari also had done several Mythological and costume films before Baiju Bawra took her high up and above other Heroines. Films like Shri Ganesh Mahima-50, Laxmi Narayan-51, Hanuman Paataal vijay-51 and Alladin aur Jadui Chirag-52 had Mahipal as her Hero. In her later years, she always hid her earlier film Heroes.
He also did a series of fantasy films based on Arabian Nights, including Alibaba and 40 Thieves (1954), Jennie (1953) ,Aladdin Aur Jadui Chirag (1952) and Alibaba ka Beta (1955), which gave him popularity even in the Gulf countries. Later in his career, he switched to character roles, and appeared in films such as Jai Santoshi Maa (1975), a 1970s hit.
He wrote 13 songs in 4 films,namely Mali-44, Aap ki Sewa mein-47 (Lata Mangeshkar’s first playback song was written by Mahipal in this film), Mere Laal-48 and Adalat-48. Mahipal acted in 131 Hindi films. He had also worked in Marathi, Rajasthani and Assamese films. His first film was Nazrana-42 and the last film was Amar Jyoti-84….a career spanning 42 years. He worked with Shakila in 18 films, with Anita Guha in 11 films,With Shyama in 6 films, and in 4 films with Nirupa Roy. He worked with Meena Kumari in 4 films. He is the only actor in Mythological films who sang a song on screen in the role of Shri Ram, in the film Hanuman Pataal Vijay-1951.
He died in Mumbai of cardiac arrest, at the age of 86. He was survived by his wife Akkal Kunwar and daughters Sushila Jain and Nirmala Oswal. (Thanks to book Inhe na Bhulana by Harish Raghuwanshi ji and my notes).
Today’s song is the YIPPEE song, as all songs of this film get covered here with this song. Enjoy….
Song- Zara nazren mila lo muskura lo dil sambhaalo(Alibaba Aur Chaalis Chor)(1954) Singer- Shamshad Begam, Lyricist-Raja Mehdi Ali Khan, MD-S.N.Tripathi and Chitragupt
Chorus
Lyrics
?? ??
o o o o
zara nazren mila lo
muskura lo dil sambhaalo
zara nazren mila lo
muskura lo dil sambhaalo
meri sachchi mohabbat aazma lo naaz waalon
meri sachchi mohabbat aazma lo naaz waalon
ye raaten pyaaree pyaaree
nazar ki beqaraari
ye raaten pyaaree pyaaree
ye raaten pyaaree pyaaree
nazar ki beqaraari
gire kadmon pe jo sadmon se to humko uthha lo
gire kadmon pe jo sadmon se to humko uthha lo
zara nazren mila lo muskura lo dil sambhaalo
meri sachchi mohabbat aazma lo naaz waalon
meri sachchi mohabbat aazma lo naaz waalon
?? ??
uthhi kaali ghataayen
tadapti hain adaayen
uthhi kaali ghataayen
uthhi kaali ghataayen
tadapti hain adaayen
badi mushkil mein hai ye dil
ise apna bana lo
badi mushkil me hai ye dil
ise apna bana lo
zara nazren mila lo muskura lo dil sambhaalo
meri sachchi mohabbat aazma lo naaz waalon
meri sachi mahobat aazma lo naaz waalon
?? ??
zara nazren mila lo muskura lo dil sambhaalo
meri sachchi mohabbat aazma lo naaz waalon
meri sachchi mohabbat aazma lo naaz waalon
?? ??
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5753 | Post No. : | 18277 |
Today’s song is from the film Zingaro-1963.
This Costume film was produced and directed by Chandrakant. It had music by S.N.Tripathi. The cast of the film was Jairaj, Jabeen jalil, Tiwari, Bela Bose, Maruti, Aruna Irani, Mrudula, Baburao Pehelwan and others. From this cast, actors Jairaj and Baburao Pehelwan and actresses Mrudula and Jabeen Jalil are the artistes who were quite capable, but somehow LUCK did not favour them and they fell aside from Big Banners and well known films.
I feel really sad for Mrudula, who was the heroine of Dilip Kumar in his Debut film Jwar Bhata-1944. It was the Debut film for Mrudula too, but see where Dilip Kumar reached -to be India’s famous and A grade top Hero, whereas Mrudula never reached that level. She was good looking and a capable actress. The question is, then why did she fall back in the race ? The simple but unknown answer is – she became a victim of the Studio system.
Till the end of the 1940’s decade, the Studio System was very strong. Initially films were promoted and sold on the names of the studio making it. The names of actors were not even mentioned on the posters and in the booklets. Thanks to actress Sulochana Sr. (Ruby Meyers), who fought for it and names of actors started appearing on the posters and in booklets, albeit in smaller types than the names of studios. If you see the advertisements in old issues of magazines like Film India (whose old issues are freely available on the Internet), you will notice what I am saying.
Due to the Contract system of studios and adamant natures of the studio owners, careers of many actors, actresses and singers were ruined. The culprits were Prabhat, Minerva, Shalimar, Bombay talkies etc. Some tough and courageous artistes like Shanta Apte, Master Vithal and Meena Shorey could get their freedom from giants like Sharda, Prabhat and Minerva, but many others spoiled their careers. Some examples are Mrudula from Bombay Talkies, Manju from Prabhat, Sitara Kanpuri and Shama Dulari from Shalimar etc.
Mridula ( real name Chandrakanta) was born on 2-11-1924 at Almora, but was educated in Delhi. When she was in college doing her graduation, Amiya Chakravarty of Bombay Talkies came to Delhi on a Talent Hunt. He contacted her and gave her an offer. She signed a 5 year contract with Bombay Talkies and Devika Rani became her Mentor, teaching her everything. She was paid 2500 rupees salary with a furnished house. Her first film was “Jwar Bhata”-44, opposite another Debutant Dilip Kumar (Yousuf Khan). After Himanshu Rai’s death, Bombay Talkies was already in disarray. Many people had left the company due to differences with Devika Rai. A group of them formed Filmistan.
She got married to her lover Mr. G C Andley. However the marriage was unsuccessful and she went back to Delhi. She spent a miserable life selling whatever she had to survive. She got divorce and came back to Bombay to work in films, in 1954. She worked in 53 films in all. Her last released film was Saboot-80, though she had married again and retired some time before that.
Mridula was also a victim of her contract with Bombay Talkies. It destroyed her career as a Heroine forever. Devika Rani was her Mentor in Bombay Talkies. However, after Himanshu Rai’s death, no one was listening to her in the company due to groupism. Disgusted, Devika rani left Bombay Talkies, having sold all the shares. Mridula got stuck in the company without work, due to her 5 year contract. It was Vijay Bhatt of Prakash Pictures who somehow convinced Bombay Talkies to loan her to him and she got roles in 2 of their films. In the film ‘Bhakta Dhruva”-47, she played mother to 16 year old Shashi kapoor (sr) when she herself was about 23 year old only ! But she had no choice. The film and her role became famous, but she lost her chances of becoming Heroine in any film thereafter.
Till 30-9-2016 she was living in Worli, Mumbai all alone. Her only daughter stayed nearby and looked after her. There is no news about her anymore.
The other actress who could not or did not go far in the film industry was Jabeen Jalil. She did only 24 films ( plus 5 films unreleased) in the span of 20 years from 1954 to 1974. It was not due to the studio system, but simply due to bad luck.
Jabeen Jaleel was a short, petite but attractive actress. She was born on 1st April 1936 in Delhi, but was educated in Japan and Bombay, as her father was in foreign services of India. She used to take part in college dramas and in one such drama the judges were Nigar Sultana and her director husband S.M.Yusuf. They offered her a film as a Heroine. Jabeen’s father had expired and only mother and younger brother were there. She accepted the offer. Her first film was Guzara in 1954. Her second film in 55 was Lutera. Her first hero was Karan Dewan and second was Nasir khan. She became famous in New Delhi-56, in the role of Kishore’s sister Nikki’s role. She acted in 29 films, out of which 5 were unreleased. She also acted in 4 Punjabi films. She got a National award in 1962 for a Punjabi film in which her Hero was Prem Chopra.
She was a popular actress of Hindi cinema of the 50s & 60s. Although She acted in merely 24 Hindi ( plus 5 films were unreleased) & 4 Punjabi films in her almost 20 years career, she made millions of fans of her beauty and wonderful acting. She has worked with top Bollywood stars like Shashi Kapoor, Shammi Kapoor, Kishore Kumar, Dev Anand & Pradeep Kumar during 1955 to 1965.
Jabeen made her film debut with Guzaara (1954) where her hero was Karan Dewan. Her second film was Lutera (1955) where her hero was Nasir Khan. She however got true recognition with her third film, New Delhi (1956) where she played the role of Kishore Kumar’s sister Nikki. She got benefitted by the success of New Delhi. In the late 1950s, many films starring her released, including Char Minar, Fashion, Jeevan Sathi, Hathkadi, Panchayat, Raagini, Bedard Zamana Kya Jaane and Raat ke Raahi. In the 60s, Jabeen acted in films like Batwara, Khiladi, Sachche Moti, Taj Mahal and Raju. The Batwara song “Yeh Raat Yeh Fizaayen Phir Aayen Na Aayen” picturised on her and Jawahar Kaul is popular to this day. She also got the National Award for the 1962 Punjabi film Chaudhary Karnail Singh in which her hero was Prem Chopra. Jabeen acted in three other Punjabi movies Kadi Dhoop Kadi Chhaon, Geet Baharaan De & Aye Dharti Punjab Di.
Many songs picturised on her were extremely popular including ‘Tum Aur Hum…’ (Fashion), ‘Madbhari Yeh Pyaar Ki Palken…’ (Fashion), ‘Ta Thaiyya Karte Ana…’ (Panchayat), ‘Piya mai hoon patang tu dor…’ (Raagini), ‘Qaid mein Hai Bulbul Sayyad Muskuraye…’ (Bedard Zamana Kya Jaane), ‘Door Kahin Tu Chal…’ (Bedard Zamana Kya Jaane), ‘Aa Bhi Ja Bewafa…’ (Raat Ke Rahi), ‘Tu Kya Samjhe Tu Kya Jaane…’ (Raat Ke Rahi) and ‘Ek Nazar Ek Ada…’ (Raat Ke Rahi).
Jabeen Jalil quit films in 1974 after wrapping up her career with the film Vachan. In 2008 she had produced a movie “Pehli Nazar Ka Pyaar”.
Jabeen got married in the year 1968. Her Husband Ashok Kak is of Kashmiri Origin & hailed from Jodhpur. He was President of the Kodak Company and was the youngest CEO of that time. After moving away from films Jabeen was active in social work also. Jabeen and her family stayed in America for 10 years. The family moved back to Mumbai in 1998. She lives with her husband, son and elderly mother-in-law in her flat in South Bombay and divides her time between playing the devoted wife and the ideal mother.Her son Divvij Kak is also an actor and Jabeen became a producer with Jabeen International. She lives in Dadar, Mumbai nowadays.
Today’s film is the routine King, Queen and Vazier type story. For a change, the Vazier is good but the Queen is evil. The story of the film is……
A ruler’s demise leaves a kingdom in turmoil, with a fight over which of his two wives should become queen mother. The honor goes to the elder queen, much to the dismay of Chandrasen (Tiwari), who hoped his sister would gain the position.
Mad for power, Chandrasen meets a holy man who requires seven virgins to be sacrificed to his guru. The holy man gives Chandrasen a magic flower that will allow him to take any form, and he uses it to become a duplicate of the God that is worshiped by the jungle people. He is challenged by Zingaro (Jairaj), a swarthy young jungle man, so Chandrasen turns his servant, Bahadur, into a copy of Zingaro and orders him to abduct girls from the village.
The Queen mother begs someone to capture Zingaro, but because of his legendary prowess and strength, nobody is brave enough to take the challenge except Kiran (Jabeen), the daughter of Diwan, the late king’s loyal assistant. Kiran finds Zingaro, but Zingaro convinces her of his innocence and the two set out together to capture the impostor who is committing the crimes. They apprehend the fake and throw him in jail, but Chandrasen’s magic flower helps set him free. Chandrasen then kidnaps Kiran and locks her up in his palace.
Zingaro, searching for Kiran, is arrested and Kiran must now figure out a way to save herself and Zingaro. Zingaro gets help from his friends and escapes. He finds about the magic flower, secures it and then changes the picture, Kiran is freed and the younger queen and her brother Chandrasen are arrested and hanged. Zingaro destroys the magic flower. he and Kiran get married.
Today’s song is sung by Mahendra Kapoor, who seems trying to copy Rafi style unsuccessfully. This is the last and final song and the film gets YIPPEED, with all its songs covered. Enjoy the song….
Song-Zulfen hain teree Kashmiri sitamgar (Zingaaro)(1963) Singer-Mahendra Kapoor, Lyricist- Prem Dhawan, MD- S N Tripathi
Lyrics
Zulfen hain teri Kashmiri sitamgar
aankh teree Bangaale kee
hoye hoye
zulfen hain teri Kashmiri sitamgar
aankh teree Bangaale kee
khair nahin o ghoonghat waalee
aaj kisi dilwaale kee
haaye re haaye haaye
zulfen hain teri Kashmiri sitamgar
aankh teree Bangaale kee
hoye hoye
hum se kaisee pardaadaaree
saamne to aao zaraa
gorey mukh se kaalee chunree
dhheere se sarkaao zaraa
kyaa zaroorat
chaand pe hai
kaho to baadal kaale kee
haaye re haaye haaye
zulfen hain teri Kashmiri sitamgar
aankh teree Bangaale kee
husn tujhse bheekhh maange
ishq sau sau sajde kare
ik nazar jo dekh le wo
zindagee bhar aahen bhare
waah re Kudrat
aisee soorat ke banaane waale kee
hoye hoye
zulfen hain teri Kashmiri sitamgar
aankh teree Bangaale kee
hoye hoye
zulfen hain teri Kashmiri sitamgar
aankh teree Bangaale kee
khair nahin o ghoonghat waalee
aaj kisi dilwaale kee
haaye haaye haaye haaye haaye
zulfen hain teri Kashmiri sitamgar
aankh teree Bangaale kee
hoye
Tanik tum hamri nazar pahchaano
Posted on: April 3, 2024
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5738 | Post No. : | 18260 |
“Albeli”(1974) was produced by Vijay Bali and directed by Karunesh Thakur for Kusum Pictures, Bombay. The by now obscure movie had Rehana Sultan, Vinod Mehra, Naazima, Sujit Kumar, Mahmood, Uttara(new find), Nana Palsikar, Sanjana, Maruti, V.Gopal, Husn Bano, S.N.Bannerjee, Dhanraj, Qamar Sarhadi, Billo, Kailash Kumari, Bimla Sharma, Darashan Rajendra, Ramlal, Niaz Haider, Kajal, Bhushan Tiwari etc in it.
The movie had four songs in it. The four songs were penned by four different lyricists. Two songs have been covered so far.
Here is the third song from “Albeli”(1974) to appear in the blog. According to credits, this song is sung by Suman Kalyanpur and Kanchan. Prabha Thakur is the lyricist. Music is composed by Kalyanji Anandji.
One of the earlier posted song was penned by Maya Goivind. This song is written by Prabha Thakur. It is rare to find even one female lyricist in Hindi movies, but this movie had two of them ! The lyrics have some colloquial Hindi words in it that were rarely used in Hindi movie songs.
Only audio of the song is available. It sounds like a synchronised dance song or may be a song where some females are getting teased by their sahelis. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of the song.
I have not been able to get a few words right. I request our readers with keener ears to help fill in the blanks/ suggest corrections wherever applicable.
Song-Tanik tum hamri nazar pahchaano (Albeli)(1974) Singers-Suman Kalyanpur, Kanchan, Lyrics-Prabha Thakur, MD-Kalyanji Anandji
Lyrics
ho o o
ho o o
o o o
o o
tanik tum
tanik tum hamri nazar pehchaano
tanik tum hamri nazar pehchaano
o o
baat jiya ki maano
tanik tum
baat jiya ki maano
tanik tum
tanik tum hamri nazar pehchaano
tanik tum hamri nazar pehchaano
o o o o
o o o o
o o o o o
o o o
more nainon mein
more naino mein saawan bas gaya
bas gaya
haaye naag prem ka das gaya
das gaya
koi das gaya das gaya das gaya
nazron ne daale hain dore dore
nazron ne daale hain dore
dekho nadan manva phans gaya
phans gaya phans gaya phans gaya
more saath saath mein
?? chubhat hai
??
tanik tum
tanik tum hamri nazar pehchaano
tanik tum hamri nazar pehchaano
tera sakhiyon ko
tera sakhiyo kon bhed bataaungi
main bataaungi
tohe aisa maza main chakhaaungi
main chakhaaungi
saara jeevan tu yaad karegi
karegi
saara jeevan tu yaad karegi
tohe aisa main paathh padhaaungi
are naa re naa naa baba
aisa naa kariyo
aise naa ban ??
tanik tum
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5682 | Post No. : | 18197 |
‘Haasil’ (2003) was produced under the banner of Karma Networks Productions and was directed by Tigmanshu Dhulia who also wrote the story, screenplay and dialogues. The cast included Jimmy Shergill, Hrishita Bhatt in the lead roles supported by Irfaan Khan, Ashutosh Rana, Rajpal Yadav. Varun Bundela, Sharat Saxena, Sudhir Pandey, Raj Zutshi, Tinu Anand, Brijendra Kala, Navani Parihar, Atmaram Bhende etc. The film is a political thriller which starts with students’ politics with a link to the national politics.
This was Tigmanshu Dhulia’s first film as a director and his first collaboration with Irfaan Khan in a film after which they worked together in some more films such as, ‘Charas’ (2004), ‘Paan Singh Tomar’ (2012), ‘Sahab Biwi Aur Gangster’ (2011), ‘Sahab Biwi Aur Gangster Returns’ (2013). On the basis of some of the films I have watched, Tigmanshu Dhulia’s treatment of the story in terms of presentation is quite different from the mainstream Bollywood films. At the same time, his films cannot be called the ‘middle of the road’ or ‘parallel’ cinemas. Most of his films are action/crime thrillers.
Prayagraj born Tigmanshu Dhulia’s family belong to Pauri in Uttarakhand and have no connection with films except that his father, K C Dhulia who was a judge in Allahabad High Court was fond of watching both Hindi and English films. Sometimes, the young Tigmanshu would accompany his father in film theatres who would explains to him the nuances of the films’ stories. His mother was a Professor of Sanskrit in Allahabad University. His schooling was done in Prayagraj and later in Dehradun.
Tigmanshu Dhulia is the youngest among three brothers. His eldest brother, Sudhanshu Dhulia is currently a judge in the Supreme Court while the elder brother, Himanshu Dhulia was a Captain in Indian Navy.
During his college years, Tigmanshu Dhulia started participating in the college dramas as an actor. He was also a member of the college’s music band in which he used to play guitar. After completing his B.A. in English and Economics from Allahabad University in 1986, he took admission for post-graduation in National School of Drama, New Delhi. During his last year in NSD, Delhi, Tigmanshu’s childhood girlfriend, Tulika ran away from her home to get married to him when her parents were arranging marriage with someone else. They got married in 1989 at an Arya Samaj temple followed by a court marriage. Tulika Dhulia now works as Costume designer mostly for her husband’s films.
After completion of his post-graduation from NSD, Tigmanshu Dhulia shifted to Mumbai with his wife sometime in 1990 and stayed with his elder brother, Himanshu Dhulia who was that time attached to INS Hamla. So, his basic requirements of food and shelter were taken care of. But he was still unemployed.
In those days, BI was starting a new private TV channel for broadcasting TV programmes through cables. So, Tigmanshu Dhulia got an offer to produce and direct a TV serial for it. ‘Hum Bambai Nahi Jaayenge’ (1993) was his first TV serial for BI TV, directed by him. However, the series could not be telecast as BI TV had some problems with the cable operators. So, the series remained unreleased. However, his work as a writer-director was appreciated which got him the work as a casting director for ‘Bandit Queen’ (1994). He had also done a few cameo roles in some films. Thereafter, he started assisting director, Pradip Krishen in ‘Electric Moon’ (1992) and Ketan Mehta in ‘Sardar’ (1993). For the next 10 years or so, he directed many TV serials which included ‘Naya Daur’ (1995),’Rajdhani’ (1999) and ‘Best Sellers’ (1999) under which six short stories were presented. During this period, he also wrote dialogues for ‘Dil Se’ (1998).
By the turn of the century, Tigmanshu Dhulia had already written a script for ‘Haasil’ (2003) but he was not getting a producer/financier. The climax in the film was planned with the crowd of Kumbh Mela in Allahabad (Prayagraj). When only 4 days were left to the close of the Kumbh Mela, one of his friends hurriedly arranged some money to enable him to shoot the climax scenes in the midst of Kumbh Mela. After watching the rushes of the climax scenes, a producer agreed to finance the film. The film was critically acclaimed. He started getting a number of films to direct. However, most of the films he signed did not materialised. So, what he got was only the signing amount. With this experience, Tigmanshu Dhulia decided to direct the films at his initiative with the willing producers/financiers.
‘Charas’ (2004) was Tigmanshu’s next released film which, despite critically acclaimed, failed at the box office. Probably, he took a sabbatical from film making and concentrated of a couple of TV serials. He returned to directing ‘Shaagird’ (2011) which was again critically acclaimed but failed at the box office. With ‘Sahab Biwi Aur Gangster’ (2011) and ‘Paan Singh Tomar’ (2012), Tigmanshu Dhulia turned the tide with box office success. The latter film won him the National Film Awards for the Best Feature Film. Tigmanshu Dhulia has so far directed 14 films and a few Web Series. [Note: The early life of Tigmanshu Dhulia is mainly based on his TV interview with Neelesh Misra under his TV Series, ‘The Slow Interview’].
The story of ‘Haasil’ (2003) is as under:
The opening scene of the film sets the tone to the power of the students’ leader when he enters the hall with his cronies to take his seat in the midst of the Vice Chancellor’s speech. He has to abruptly stop his speech for some time when the students are hailing their leader. Of the many factions of the students’ politics, there are two main factions – one led by Daya Shankar Pandey (Ashutosh Rana) and the second by Ranvijay Singh (Irfaan Khan). There are violent clashes that take place between the rival gangs just before the election of the President of the Students Union.
There is another track running parallel to the students’ politics in the film – Annirudh Sharma (Jimmy Shergill) and Niharika Singh (Hrishita Bhatt). Both are college students from descent families, away from the college politics and are also theatre artists. They are in love with each other.
One day, Annirudh saves Ranvijay Singh from the goons of the rival gang and becomes friendly with him. He slowly drifts towards students’ politics under Ranvijay Singh. His family members and Niharika advise Annirudh to keep away from Ranvijay Singh. But he is swayed by the power of Ranvijay Singh without realising that he is getting into a trap set by Ranvijay Singh who secretly loves Niharika. He helps Ranvijay Singh to get votes from students to become the President of Students’ Union by eliminating his main rivals.
One day, Annirudh commits a crime on the instigation by Ranvijay Singh. To save Annirudh from the police, Ranvijay arranges his escape to Mumbai where he has to look after himself. In the meanwhile, Niharika’s father arranges her marriage with someone else. Annirudh returns to Allahabad, and he is shocked to learn that it is Ranvijay Singh who is Niharika’s prospective groom. He feels a great betrayal by Ranvijay Singh whom he has considered as his elder brother. Now, Ranvijay’s marriage with Niharika is fixed in a matter of days. Annirudh and Niharika escape to a unknown place in the city.
Ranvijay Singh comes to know that Annirudh and Niharika have been kept in a safe house by Chief Minister (CM), Kabanlal Tiwari (Sudhir Pandey) to prevent Niharika’s marriage with Ranvijay Singh. He blackmails CM with a tape recording of his conversations which can result in the fall of his government and the end of his political career if the tape is released to public. CM succumbs to blackmail and instructs his staff to release Annirudh and Niharika the next day in the Kumbh Mela with a revolver to Annirudh for his safety.
Ranvijay comes at the Kumbh Mela with his gang with the intention of kidnapping Niharika. Annirudh confronts him and in a fit of rage, he kills Ranvijay Singh with his revolver. At that very moment, some plainclothes policemen come and showers bullets on Ranvijay Singh who is already dead. They remove from his pocket, the recorded tape and take Annirudh and Niharika to the CM who is waiting in his official car. He tells Annirudh that there is no need for him to surrender to the police as in the official record, Ranvijay Singh has been killed in encounter with police. The film ends with Annirudh and Niharika walking away from the Kumbh Mela.
The film is fast-faced, and the action shots look realistic without much of extravagances. Dialogues are crisps and well delivered by the concerned actors. All the main actors have performed their bests. After watching Irfaan Khan’s performance in the film, I think, this film was a turning point in his acting career worthy of a National Film Award for the best actor. Unfortunately, the producer did not submit the film to the panel for the consideration of the National Film Awards. Despite critical acclaims, the film was a ‘disaster’ at the box office front as per Box Office India report.
The film had 7 songs written by Israr Ansari (3), Kausar Pandey (2), Devmani Pandey (1) and Satyaprakash (1) which were set to music by Jatin-Lalit. One song has been covered on the Blog. I am presenting the 2nd song, ‘aankhen bhi hoti hai dil ki zubaan’ from the film which is rendered by Abhijeet on the words of Israr Ansari. This is the first song in the film in the background of the budding love affairs of Annirudh (Jimmy Shergill) with Niharika (Hrishita Bhatt). It is a background song in which Annirudh recalls his various meetings with Niharika.
The song starts with the prelude of a short piano recital which reminds me of the piano prelude of the song, ‘pehla nasha pehla khumaar’ from ‘Jo Jeeta Wohi Sikandar’ (1992). In the second and the last interludes, saxophone and guitar, respectively are mainly used.
Video Clip:
Audio Clip:
Song-Aankhen bhi hoti hain dil ki zubaan (Haasil)(2003) Singer-Abhijeet, Lyrics-Israr Ansari, MD-Jatin Lalit
Lyrics (based on audio clip):
aankhen bhi…. hoti hain dil ki zubaan
aankhen bhi…. hoti hain dil ki zubaan
bin boley kar deti hain
haalat ye pal mein bayaan
aankhen bhi… hoti hain dil ki zubaan
bin boley kar deti hain
haalat ye pal mein bayaan
aankhen bhi… hoti hain dil ki zubaan
khaamoshi bhi to pyaar mein
rakhti bahut hi asar hai
kab ishq ho jaaye yahaan
dil ko kahaan ye khabar hai
do dil ke ye silsile
chup sake hai kahaan
aankhen bhi… hoti hain dil ki zubaan
aankhen bhi… hoti hain dil ki zubaan
hey ae ae
he he he
haa aa aa aa aaa
hmm neend aaye na
jab aankhon mein
badhne lage bekaraari
shabnam ko bhi chhoone se jab
mehsoos ho chingaari
to aisa kyun lagtaa hai
ek hai zameen aasmaan
aankhen bhi… hoti hain dil ki zubaan
aankhen bhi…ee hoti hain dil ki zubaan
bin boley kar deti hain
haalat ye pal mein bayaan..aan aan
bin boley kar deti hain
haalat ye pal mein bayaa……an
Nazron mein jaadoo bharaa
Posted on: January 23, 2024
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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In the 1970s, Basu Chatterjee was one of those Hindi film directors who made films on the stories which a majority of the filmi audience could relate to their own every day life. Starting with ‘Saara Aakaash’ (1969), he made the classic films such as ‘Rajanigandha’ (1974), ‘Chhoti Si Baat’ (1975), ‘Chitchor’ (1976), ‘Khatta Meetha’ (1977), ‘Swaami’ (1977), ‘Baaton Baaton Mein’ (1979), ‘Shaukeen’ (1982) etc. But in 1990s and thereafter, Basu Chatterjee seems to have lost his magic touch to his ‘middle of the road’ cinemas.
‘Gudgudee’ (1997) was one of his such films which failed to attract the filmgoers and get critical appreciations. It was a romantic comedy inspired from the Hollywood film, ‘The Seven Year Itch’ (1955). The film was produced by Mahesh Bhatt under the banner of Plus Films and was directed by Basu Chatterjee. The cast included Anupam Kher and Pratibha Sinha in the lead roles, supported by Deb Mukherjee, Prateeksha Lonkar, Jugal Hansraj, Satish Kaushik, Naresh Suri, Mushtaq Ahmed, Jaya Bhattacharya etc. Shah Rukh Khan was the narrator at the beginning of the film.
The story of the film is as under:
Middle-aged Ajay Prasad (Anupam Kher) is a businessman based in Jaipur who stays with his wife, Sunita (Prateeksha Lonkar) and a school going son, Raja (Master Wajid). He is absent-minded and forgetful. Another problem with Ajay Prasad is that he imagines to be a charming person and women get attracted to him easily. He concocts many such stories about this to his friend, Shekhar (Deb Mukherjee) who has come to stay with him. Because of his imagination, any woman who comes to his contact , Ajay thinks that she has fallen for him, even with his own office secretary.
Ajay Singh receives an invitation from his close friend to attend a marriage in Mumbai with his family which is a three-day functions followed by a visit to Goa. His wife and son cannot accompany him to visit Mumbai as his son has to prepare for the school examinations. His wife, Sunita reminds him that as per the doctor’s advice, he is not to take alcoholic drinks and to control his imagination about women getting attracted towards him like a magnet. She also tells him to buy a teddy bear doll for Raja in Mumbai.
Ajay reaches Mumbai and he is received at the airport by Rabindranath (Satish Kaushik) who is going to be his attendant during his stay in Mumbai. An exclusive car and a fully furnished flat for his stay have been arranged. Ravi drops him at his rented flat. While taking the lift, Chandni (Pratibha Sinha), joins him in the lift. She stays in the adjoining flat on rental basis. She is a model who acts in advertising films. She is aspiring to be an actress to enjoy a luxurious living. She has a child-like behavior with some eccentricities.
Chandni often visits Ajay’s flat on some or other pretexts. Ajay starts imagining that even Chandni has fallen for his charm. The fact is that she is visiting his flat just to enjoy the air-conditioning in his flat whereas she has only a fan in her rented flat. But Ajay is reminded of his wife’s warning to avoid imagining about women. So, he behaves with Chandni just as a gentleman will behave with a lady. At the same time, he starts imagining that in his absence in Jaipur, Shekhar is flirting with his wife.
In the adjoining flat of Chandni, a budding singer (Jugal Hansraj) stays who likes her and dreams of marrying her. But Chandni is not interested in him though as a neighbor, she talks well with him.
During one of Chandni’s visit to his flat, Ajay nearly losses his gentlemanly behavior by trying to take her in his arms. But he loses balance and falls on her. He is terribly embarrassed as he has succumbed to his weak moment. However, Chandni is not perturbed as she consoles him by telling that such incidences often happen with her while shooting for advertising films. After this incidence, Ajay starts imagining, rather day-dreaming, that she has told her friends in TV channels about this incidence which is being telecast on news channels. He also imagines that his wife has seen the reporting of this incidence of TV and she would be coming to Mumbai. That evening, Ajay attends the marriage reception of his friend’s daughter where he meets a psychiatrist, Dr. Soormawala (Mushtaq Ahmed). He tells him that these type of the incidences often happen with middle-aged married persons. Without solving his problems, Dr. Soormawaala advises Ajay to read his book on this subject.
The next day, Chandni pays a visit to Ajay and tells him that for the last three nights, she did not have a proper sleep due to the fan in her flat not working. She has a shoot next day and she needs to have a sound sleep before the shoot. She requests Ajay to allow her to sleep in his flat on his sofa. Ajay agrees but he offers his bed room to her and he sleeps on the sofa in the living room. Next morning, Ajay finds his friend from Jaipur, Shekhar on his door. He says since he was on a personal visit to Mumbai, Sunita has told him to collect the teddy bear doll from him to take it back to Jaipur. Somehow, Ajay sends him out of his flat on some pretext as he does not want him to know that Chandni is in his flat which can create misunderstanding.
Fed up with the tension of imagining what the society would say about Chandni’s frequent visits to his flat and also spending a night in his flat, Ajay decides to leave for Jaipur, cutting short his stay in Mumbai and skipping his visit to Goa. When Chandni is about to leave his flat, Ajay informs her that he is returning to Jaipur by the earliest flight and she can stay in this flat for some more days for which he would speak to his host. Chandni thanks him for allowing her to stay in his flat. From the feedback, Ajay has given to her about his wife, she gives a piece of advice to Ajay that his wife has seen him to be a simple, shy, soft and of smiling nature and therefore, she does not need to keep a tag on him as to what he does when away from her. The film ends with Ajay giving a counter advice to Chandni that her singer friend has the same attributes worthy of her husband. If she agrees, she should get married to him and he would definitely attends the marriage.
After watching this film, I also watched ‘The Seven Year Itch’ (1955). The Hindi film is almost scene by scene replica of the original English version. The mannerisms of Anupam Kher and Pratibha Sinha in the film are partially inspired from those of Tom Ewell and Marilyn Monroe, respectively. Even some of the costume used by Pratibha Sinha in the film almost resembles that of Marilyn Monroe, especially of her cream color dress. There are some minor differences, like instead of Evelyn Keyes (wife of Tom Ewell in the film) going on a picnic with her son and a friend, it is Anupam Kher in Hindi film who is on a visit to Mumbai. While opening the champagne bottle, Tom Ewell’s finger gets stuck in the bottle, while in Hindi film, Anupam Kher’s finger gets stuck in Coca Cola bottle. I did not find in the credit titles any acknowledgement of the original story of the film.
Despite good performances by Anupam Kher and Pratibha Sinha, ‘Gudgudee’ (1997) flopped at the box office and currently, it has become an obscure film. The main reason for audience’s lack of interest in the film is that not only the end of the film, but also each and every actions of the main characters in the film are predictable. Also, Basu Chatterjee seems to have succumbed to the formula of mainstream Bollywood films with a couple of long duration songs which give the impression of ‘item songs’. Nonetheless, the film is interesting enough for an one-time watch.
‘Gudgudee’ (1997) had six songs written by Yogesh Gaud (4) and Amit Khanna (2) which were set to music by Bhappi Lahiri. I am presenting the first song from the film, “Nazaron Mein Jaadoo Bhara” to appear on the Blog. The song is rendered by Shivaji Chattopadhyay on the words of Amit Khanna.
The tune of the song sounds familiar to me and the orchestration song sounds akin to that of RD Burman. I think, the tune of the song sounds close to “Dil Ki Umangen Hain Jawaan from ‘Munim ji’ (1954) under the music direction of SD Burman. Probably, Bappi Lahiri seems to have deliberately done this composition in the light of the background to the song in the film. The import of the first line of “Dil Ki Umangen Hain Jawaan” has the same as ‘nazron mein jaadoo bharaa’. The middle-aged Anupam Kher’s has the aspiration of a young heart.
Before the song gets played in the film, Pratibha Sinha enters the flat of Anupam Kher with soft drinks bottles to enjoy the drink in the air-conditioned atmosphere. She suggests to listen to a ghazal. Anupam Kher switches on the tape recorder and the this song starts playing. Anupam Kher has inclination to flirt with Pratibha Sinha but limits his flirtation to dancing with her. After the end of the song, momentarily, Anupam Kher losses his control and tries to take Pratibha Sinha in his arms when he slips and both fall on a food trolley.
Video Clip:
Audio Clip:
Song-Nazron mein jaadoo bharaa (Gudgudee)(1997) Singers-Shivaji Chattopadhyay, Lyrics-Amit Khanna, MD-Bappi Lahiri
Female Voice
Lyrics (based on audio clip):
nazron mein jaadoo bhara
chaahon mein kho jaa zara
tanhaa na ab hum rahen
baahon mein so ja zara…aa
pa pa paa
pa ra pa pa
pa pa
pa pa paa..
nazron mein jaadoo bhara
chaahon mein kho jaa zara
tanhaa na ab hum rahen
baahon mein so ja zara…aa
pa pa paa
pa ra pa pa
pa pa
pa pa paa…
akeli hai hansinee
rootha hai uska piya
akeli hai hansinee
rootha hai uska piya
mana legi usey pyaar se
khud se hai waada kiya
nazron mein jaadoo bhara
chaahon mein kho jaa zara
tanhaa na ab hum rahen
baahon mein so ja zara…aa
pa pa paa
pa ra pa pa
pa pa
pa pa paa
ik lay mein do sur sajen
geet aisa gunguna
ik lay mein do sur sajen
geet aisaa gunguna
saanson ke taaron pe tu
dhun milan ki suna
nazron mein jaadoo bhara
chaahon mein kho ja zara
tanhaa na ab hum rahen
baahon mein so jaa zara…aa
pa pa paa
pa ra pa pa
pa pa
pa pa paa…
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
नज़रों में जादू भरा
चाहों में खो जा ज़रा
तन्हा ना अब हम रहें
बाहों में सो जा ज़रा॰॰आ
पा पा पाs
पा रा पा पा
पा पा
पा पा पाs
नज़रों में जादू भरा
चाहों में खो जा ज़रा
तन्हा ना अब हम रहें
बाहों में सो जा ज़रा॰॰आ
पा पा पाs
पा रा पा पा
पा पा
पा पा पाs
अकेली है हंसिनी
रूठा है उसका पिया
अकेली है हंसिनी
रूठा है उसका पिया
मना लेगी उसे प्यार से
खुद से है वादा किया
नज़रों में जादू भरा
चाहों में खो जा ज़रा
तन्हा ना अब हम रहें
बाहों में सो जा ज़रा॰॰आ
पा पा पाs
पा रा पा पा
पा पा
पा पा पाs
इक लय में दो सुर सजें
गीत ऐसा गुनगुना
इक लय में दो सुर सजें
गीत ऐसा गुनगुना
साँसों के तारों पे तू
धुन मिलन की सुना
नज़रों में जादू भरा
चाहों में खो जा ज़रा
तन्हा ना अब हम रहें
बाहों में सो जा ज़रा॰॰आ
पा पा पाs
पा रा पा पा
पा पा
पा पा पाs
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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