Archive for the ‘“Aankh” song’ Category
Tere nain nashe de pyaale
Posted on: July 21, 2021
This article is written by Peevesie’s mom, 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 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 : |
4751 | Post No. : | 16488 |
Hullo Atuldom
I have been wanting to send this song for almost a week or ten days now. I had first thought of 12th July which was the death anniversary of Jubilee Kumar a.k.a Rajendra Kumar. But, I was unable to, due to various reasons.
Then, yesterday, 20th July the birth anniversary of Rajendra Kumar- missed that too. Why? I was too busy attending (online) birthday parties. And reading all the blog-birthday posts. That simple.
But today is another opportunity to present this song to the blog-followers. Anand Bakshi – the lyricist- has his birth anniversary today. Would have been 91.
The song from the 1972 release “Gora Aur Kala” is composed by Laxmi-Pyare and sung by Mohd Rafi. The movie had a cast of Rajendra Kumar, Prem Chopra, Jagdeep, Madan Puri, Sundar, Premnah, Rajan Haksar, and two very young beauties (my personal favourites) Hema Malini and Rekha with Sulochana playing the mother of the two Rajendra Kumars (yes he played a double role in the movie). This song is sung by the Karan Singh (the better looking and well-mannered twin) in a disguise in the court. I haven’t seen the movie but I am sure that it is an attempt to fool Madan Puri who is on the throne (I think he plays Hema’s father), along with Prem Chopra and others in the court. The power of the song is seen in the fact that the Princess Anuradha (Hema) starts dancing to the song.
On reviewing what I have written in the beginning of this post, a thought crossed my mind. If Atulji had given us such excuses this blog would not have completed 13 years – 4,749 days – 16,484 posts. (as on 19th July). A statement (in Sudhirji’s post of the 19th) “Do you know that the average daily rate of posting is upwards of three posts per day. Try doing that seven days a week, 365 days a year, and continuously at that rate for 13 years. Try writing a letter each to three friends every day, day on day, for 13 years. My, does that no yet boggle the mind.” also set me thinking.
Hatsoff to Atulji for relentlessly giving us more than one song-a-day.
Song-Tere nain nashe de pyaale (Goraa Aur Kaala)(1972) Singer-Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Lyrics
tere nain
tere nain
tere nain nashe de pyaale ae
tere nain nashe de pyaale
inhen piyenge naseebon wa..aa..le ae ae
tere nain nashe de pyaale
inhen piyenge naseebon wa..aa..le ae
tere nain
tere nain
kya kaha tujhe qaatil agar na kaha aa aa aa
kya kaha tujhe qaatil agar na kaha aa
kya kahoon kuchh kehna hi mushkil hua
aa aa
tauba meri zulfein teri
jaise baadal kaale
tujhe ek nazar dekha toh
tujhe ek nazar dekha toh
mere honthon pe lag gaye taale ae ae
tere nain nashe de pyaale
inhen piyenge naseebon waale ae ae
tere nain
tere nain
aa gayi yaad mujhko jawaani meri ee ee ee
aa gayi yaad mujhko jawaani meri
lut gayi aaj phir zindgaani meri ee ee
rang gulaabi chaal sharaabi
kehte hain kehne wale
thukhra de woh iss duniya ko
thukhra de woh iss duniya ko
jise roop tera apna le ae
tere nain nashe de pyaale
inhen piyenge naseebon waale
tere nain
tere nain
kya hai tu khoobsoorat kahaani hai tu oo oo
kya hai tu khoobsurat kahaani hai tu
aasmaanon ki pariyon ki raani hai tu oo oo
tu jo aaye masti chhaaye jhoom uthhe dilwaale
bin aaj piye mehfil mein
bin aaj piye mehfil mein
sab log huye matwaale ae
tere nain nashe de pyaale
inhen piyenge naseebon waale ae
tere nain
tere nain
tere nain
tere nain
This article is written by Sadanand Kamath, 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 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 : |
4748 | Post No. : | 16476 |
Kishore Sahu, actor, producer, director and story/screen-play/dialogue writer must be a dynamic, ambitious and resourceful person. Otherwise, how could one explain the pace at which he turned producer after the release of only one film? He started his acting career with a lead role in Bombay Talkies’ ‘Jeewan Prabhat’ (1937). One film old Kishore Sahu set up a film production company, India Artists Ltd. As a managing director of the company, he produced ‘Bahurani’ (1940) which was released in June 1940. The film was commercially successful.
By 1945, Kishore Sahu had become a successful film producer, director, writer and actor. But before that he faced a ‘speed breaker’ in his career path. Sometime in the latter half of 1940, Kishore Sahu’s marriage with Snehprabha Pradhan, his co-star in ‘Punar Milan’ (1940) in September 1940 ran into trouble. In less than six months of their marriage, they separated. The long court battles and the resultant divorce sometime in 1942 affected Kishore Sahu to such an extent that he left Bombay in early 1941 and went into ‘hibernation’ for a year or so in his native town and Nagpur.
It is said that a person in a depressed mind for a long time is likely to experience change in his personality after he overcomes the depression. But in the case of Kishore Sahu, it appears that more than the likely change in his personality, the recovery from the personal problems changed his filmy career for the better. Kishore Sahu returned to Bombay with a story of ‘Kunwaara Baap’ (1942) which was his debut film as a director. He was also the lead actor opposite Protima Dasgupta. It was a social satirical film.
The box office success of ‘Kunwaara Baap’ (1942) encouraged him to direct two more films with similar theme – ‘Raja’ (1943) and ‘Sharaarat’ (1944) making them a trilogy of films with social satire as the theme. He was once again paired with Protima Dasgupta in both these films. While ‘Raja’ (1943) was a commercial success, ‘Sharaarat’ (1944) did not fare well at the box office. But his subsequent film, ‘Veer Kunal’ (1945) which Kishore Sahu produced and directed under the banner of Ramnik Productions was a commercially successful film. In this film, he played the lead role of Veer Kunal.
The next line of career progression took place in 1945 when he bought the banner, Hindustan Chitra Production and become the producer-director under his own banner. Films like ‘Sindoor’ (1947), ‘Saawan Aaya Re’ (1947), ‘Kali Ghata’ (1951) and “Mayur Pankh’ (1954) became successful at the box office. As a director, he saw success in ‘Saajan’ (1947), ‘Nadiya Ke Paar’ (1948). ‘Dil Apna Aur Preet Paraayi’ (1960), ‘Grihasti’ (1963) etc. He also acted in films of other banners.
As happens with many film directors, after his successful innings of around 10 years, Kishore Sahu, by and large, failed as a director in his later part of the career. After ‘Grahasti’ (1963), he could not attain the same level of success as in the 1940s and 1950s. In the 1960s and 70s, Kishore Sahu produced and directed ‘Poonam Ki Raat’ (1965), ‘Hare Kaanch Ki Chooriyaan’ (1967), ‘Pushpanjali’ (1970) and directed ‘Dhuen Ki Lakeer’ (1974) but could not create ripples on the box office front.
Of these four films, I had seen ‘Poonam Ki Raat’ (1965) when it was released. The film was a suspense thriller. I found the film interesting with tightly maintained suspense coupled with outstanding song compositions by Salil Chowdhury. Around the same time, I had seen ‘Gumnaam’ (1965), and later, I had also watched on TV ‘Wo Kaun Thhi’ (1964), The common factors in all these three films were (i) suspense thriller, (ii) Manoj Kumar as the lead actor and (iii) melodious music and songs. While ‘Poonam Ki Raat’ failed at box office, the other two films were box office success. Can it be said that the young directors were more innovative and had read the pulse of the filmy audience of mid 1960s better than Kishore Sahu or was it simply a loss of his magic touch?
When Kishore Sahu was facing a downturn in his career as a producer-director, he started doing character roles in the films of other banners. Dev Anand seems to be fond of Kishore Sahu who acted with him in ‘Kala Paani’ (1958), ‘Kala Baazar’ (1960), ‘Guide’ (1965), ‘Gambler’ (1971) and ‘Hare Rama Hare Krishna’ (1972). By the way, Dev Anand worked with Kishore Sahu for the first time in ‘Namoona’ (1949).
Kishore Sahu died on August 22, 1980 while on a family trip to Thailand. His last film, ‘Vakil Babu’ (1982) was released after his death.
‘Raja’ (1943) was Kishore Sahu’s third film as a director and the 5th film as an actor. He also wrote the story, screen-play and dialogues for the film. The star cast included Kishore Sahu and Protima Dasgupta in the lead roles supported by Ranibala, Moni Chatterjee, Gulab, Vijay Sahu, Wasker, Anant Prabhu etc.
There were 8 songs in the film of which one song has been covered on the Blog. I am presenting the film’s second song, ‘aankhon ki ye sharaab piye jhoom ke nikle’. The song is written by Amritlal Nagar which is set to music by Khan Mastana. Most of the on-line resources mention Kishore Sahu as the singer. But it is apparent that the voice in this song is that of Khan Mastana.
When I first listened to the song, it gave me an impression of a song of enjoyment. By the time I come to the last stanza of the song, it dawns to me that all is not well in protagonist’s love life.
Audio Clip:
Song-Aankhon ki ye sharaab piye jhoom ke nikle (Raja)(1943) Singer-Khan Mastana, Lyrics-Amritlal Nagar, MD-Khan Mastana
Lyrics
shar…..aab
shar….aab
ye shar…..aab
aankhon ki ye sharaab
aankhon ki ye sharaab
aankhon ki ye sharaab piye jhoom ke nikle
haan jhoom ke nikle
haan haan jhoom ke nikle
armaan mere dil ke
armaan mere dil ke ghaav choom ke nikle
haan choom ke nikle
haan haan choom ke nikle
aankhon ki ye sharaab
aankhon ki ye sharaab piye jhoom ke nikle
haan jhoom ke nikle
haan haan jhoom ke nikle
aankhon ki ye sharaab
main kis tarah bachoon
main kis tarah bachoon na ke madhosh banoon main
behosh banoon main aen
main kis tarah bachoon na ke madhosh banoon main
behosh banoon main
behosh banoon main
gar ?? khud sharaab
gar ?? khud sharaab bane jhoom ke nikle
haan jhoom ke nikle
haan haan jhoom ke nikle
aankhon ki ye sharaab
aankhon ki ye sharaab piye jhoom ke nikle
haan jhoom ke nikle
haan haan jhoom ke nikle
aankhon ki ye sharaab
toota huwa dil ek bhi apna sa na paaya
hamne nahin paaya
toota huwa dil ek bhi apna sa na paaya
hamne nahin paaya
hamne nahin paaya
ham pyaar ki duniya se
ham pyaar ki duniya se bahut ghoom ke nikle
haan ghoom ke nikle
haan haan ghoom ke nikle
aankhon ki ye sharaab
aankhon ki ye sharaab piye jhoom ke nikle
haan jhoom ke nikle
haan haan jhoom ke nikle
armaan mere dil ke
armaan mere dil ke ghaav choom ke nikle
haan choom ke nikle
haan haan choom ke nikle
aankhon ki ye sharaab
This article is written by Peevesie’s mom, 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 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 : |
4730 | Post No. : | 16450 |
Hullo Atuldom
“Ek Shrimaan Ek Shrimati” (1969) was produced by Surinder Kapoor and directed by Bhappie Sonie with songs written by Rajinder Krishan and composed by Kalyanji Anandji. It had a cast of Babita, Shashi Kapoor, Om Prakash, Rajendranath, Prem Chopra, Kamini Kaushal, Helen Hari Shivdasani etc.
The story was a straight forward one of a rich girl (Babita) falling in love with Prem Chopra who is after her wealth (as usual). Pritam (Shashi Kapoor) falls in love with this girl and tries to woo her away from her chosen person and has the approval of her rich uncle (Om Prakash) and is eventually successful. Then there is a minor twist regarding the birth mother foster mother etc. That is the synopsis. The movie had 7 songs of which the blog has 6 as under:-
| Song | Date of posting |
|---|---|
| Chaandni raat mein yoon dil ko jalaake to na jaa | 8 July 2009 |
| Pyaar to ik din honaa thhaa | 1 May 2010 |
| Kuchh kahen to khafa chup rahen to khafa | 17 Aug 2010 |
| Aaye baithhe khaaye piye khiske | 21 August 2010 |
| Hey hey hello hello | 5 September 2013 |
| Jeewan pathh par pyaar ne chhedi madhur madhur sargam (full of statistics and marked a milestone) | 30 November 2020 |
We are visiting the movie again today to mark the 93rd birth anniversary of Kalyanji Virji Shah. There is enough material on the blog giving life history of the music legend so let us get directly on to the song.
Audio
Video
Song-Raaja tohe nainon se madira pilaaye doon (Ek Shrimaan Ek Shrimati)(1970) Singer-Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Kalyanji Anandji
Chorus
Lyrics(Provided by Prakashchandra)
ho o ho o ho o ho o ho o ho o
ho o ho o ho o ho o ho ho o
hey ae ae
hoye
raaja tohe
raaja tohe nainon se madira pilaaye doon
raaja tohe nainon se madira pilaaye doon
tu preet ka khiladi
magar hai anaadi
aaja daanv main sikhaay doon oon oon hoye
raaja tohe nainon se madira pilaaye doon
raaja tohe nainon se madira pilaaye doon
aaaa
hoye hoye
oooo
hoye hoye hoye
aaaaa
hoye hoye hoye
oooo
hoye hoye
oooo o o aa aa aa aa
oooo o o aa aa aa
chandaniya ki chhainyya mein
galbahiyaan daar ke
handaniya ki chhainyya mein
galbahiyaan daar ke
main rang dhang sainyyan
dikha doon tohe pyaar ke
main rang dhang sainyyan
dikha doon tohe pyaar ke
pyaar ke pyaar ke haaan
raaja tohe
raaja tohe nainon se madira pilaaye doon
raaja tohe nainon se madira pilaaye doon
ye jangal mein mangal
manaane ki raatein
ye jangal mein mangal
manaane ki raatein
najar se najariya milaane ki raatein
najar se najariya milaane ki raatein
ki raatein
ki raatein
ho
raaja tohe
raaja tohe nainon se madira pilaaye doon
raaja tohe nainon se madira pilaaye doon
aaaa
ho ho
oooo
ho ho
aaaaa
hoye hoye hoye
oooo
hoye hoye
o o o o o o aa aa aa
o o o o o o aa aa aa
o preet mori tora jiyarva na jaane
o preet mori tora jiyarva na jaane
agan more man ki piyarava na jaane
agan more man ki piyarava na jaane
na jaane na jaane ho
raaja tohe
raaja tohe nainon se madira pilaay doon
raaja tohe nainon se madira pilaay doon
tu preet ka khilaadi
magar hai anaadi
aaja daanv main sikha doon oon oon
haay
raaja tohe nainon se madira pilaay doon
raaja tohe nainon se madira pilaay doon
aaaa
hoye hoye
oooo
hoy hoy
o o o o
hoye hoye hoye
aaaaa
ho ho
oooo
hoy hoy hoy
aaaa
hoye hoye hoye
Nain se nain milaaye aao
Posted on: May 30, 2021
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 : |
4699 | Post No. : | 16391 | Movie Count : |
4454 |
Today’s song is from an unknown film – Daawat aka invitation-1943.This film falls under the II category of ” Road Closed” movies – which means, except for the information given in HFGK, no other information about the film is available anywhere, as on today. What do we do then ? Nothing. Just try to know more about whatever is available.
The film was made by Eastern Pictures, Bombay. It was directed by M.Nazir, who apparently directed only this film. However, he acted in 15 films, from Zingaro-35 to Mala-41. I found one more name, Nazir Ajmeri (5 films) as a director. Obviously he must be a different person. There were 8 songs in the film, written by lyricist Tanvir Naqvi. He was one of those people who first migrated to Pakistan after partition and then came back to India to get some work and then went back again to Pakistan for good.
Tanvir Naqvi ( real name- Syed Khursheed Ali ) was born on 16th February 1919, at Lahore. His father was a Jahagirdar and elder brother was ADC to a Nawab. Tanvir went to Persia, along with father, where he was educated in Urdu and Persian. From the age of 14 years, he started writing poetry and participated in various Mushairas. He published a book ” Suhane Sapne ‘ of his poetry. By chance, A R Kardar read it and called Tanvir to Bombay to write for his film ‘ Swami’-41 made by CIRCO.
In his next film, Nai Duniya-42, Suraiya sang his song as her First song. His films Anmol Ghadi-46 and Jugnu-47 became hits and all his songs were appreciated much. He had earned a good name. However, after the film Parda-49, he migrated to Pakistan. In 1954, K.Asif invited him to India to write songs for his film ‘Mughal E Azam’, but by that time, Naushad had built his own team and he declined to take Tanvir Naqvi. From 1954 to 1959, Tanvir did many films. He also joined S.Mohinder and wrote songs for his 7 films.
In 1959, Tanvir Naqvi shifted again to Pakistan, but this time for good. There also he wrote for many films,like Koel, Jhoomar, Salma, Gulfam,Elaan etc etc. He also wrote for Punjabi films. He had married Idaan- elder sister of actress singer Nurjehan. However,since he had no children from her, he married again and had 2 children. He died in Lahore on 1-11-1972. In India, he wrote 224 songs for 48 films. Some of his songs are popular even today.
The Music Director of this obscure film was equally obscure – Vasant Kumar Naidu. There were a number of people who came to Bombay to try their luck in films. They had hopes, skill and a will to do hard work. Such people came to Bombay from all over India. Naidu came all the way from Burma-via Madras. All could not succeed. Those with strong Luck got some God Fathers and some could get opportunities which they turned into solid performance, but some could not get any of these and remained unknown. There are strange cases where Luck just came near but eluded them leaving them empty handed.
Vasant Naidu was not only one such person, who could not become a big name, but he was also one about whom hardly any information was available anywhere. In the case of music director Vasant Kumar Naidu, no information is available in any book or on the internet. Only Pankaj Raag wrote about his films and songs in his book ‘Dhunon Ki Yatra’. This too is based on HFGK only. Luckily Ms. Sai Lakshmi and Mr. Krishna Kumar Naidu, niece and nephew of Vasant Kumar Naidu visited this Blog and left some comments on an article . I picked up this slender lead and wrote to both of them. It is to their credit that both responded promptly . They tried to provide song and film information from different sites, which I already knew. After exchanging a few mails, they sent me a newspaper cutting, announcing the passing away of Vasant Kumar Naidu, along with his photo and a copy of his death certificate. Krishna Kumar ji also gave me some information about his family. I can understand their limitations. Naidu ji died in 1951. At that time these two were very young and now there may not be any other elder who may provide information about this artist.
Anyway, earlier I had zero information, now at least I have some information about him, plus his filmography as per the HFGK. I sincerely thank Ms. Sai Lakshmi ji and Shri Krishna Kumar Naidu ji for their help.
Vasant Kumar was born on 5-6-1915. His family had settled in Burma like thousands of other South Indian families. When Burma was struggling for independence, in the 1930s, most Indians left Burma and came to India. Many went to Calcutta and many went to South India. Many families walked for around 6 months from Burma to India. Mr.Vasant Kumar’s family was one amongst them. They walked from Rangoon to Madras. The family settled in Madras for some years.
Vasant Kumar had come alone to Bombay earlier in search of a career in music. He was an instrumentalist and could play any string instruments and also harmonium. He was also very much interested in reading different languages. There were many books that he read. He was also very keen on dressing up and had several suits in those days. He joined the industry and started growing as a Music Director. He then called his mother and other siblings to live with him in Mumbai along with his eldest brother’s widow and her son. He had 4 brothers. His eldest brother expired in Madras itself. Vasant Kumar was the second eldest. He had two younger brothers as well. They all lived on Peddar Road initially. Later, he left his Peddar Road flat and moved to Parel.
Vasant Kumar thereafter lived in Parel until his passing away on 16-10-1951.
Vasant Kumar got married in Madras. This marriage was arranged by his mother. Eventually his other brothers also got married. All three brothers and their wives stayed under the same roof in Parel in a joint family which was headed and supported monetarily by Vasant Kumar ji. His younger brother, the late Mr. Pandurang Naidu was also working towards a career in music. He became a musician (played banjo and mandolin). Vasant Kumar ji taught several string instruments to his brother, Pandurang ji. His youngest brother, the late Mr. Sreenivasn Naidu, became a composer at a later stage of his life for the Indian Railways Music Academy (Central Railway Cultural Academy).
Vasant Kumar is survived by his only daughter, Mrs. Pramila Naidu, who is now a widow. She lives in Pune with her grown up children. Pramila ji was around 5 years old when her father passed away. She has vague memories of her father. It is sad to see her struggling now financially. She continues to give tuition at the age of 70 to make her living. She lawfully owns 3 flats in Parel, Mumbai but the 3rd generation of the family has occupied these flats and are not willing to vacate. This property is now worth in crores. The cousins of Pramila ji have gotten together and have filed a lawsuit against these 3rd generation greedy family members. The lawsuit has been going on now for the past 3 years.
When luck is not in your favour, any amount of hard work, efforts or support from influential persons does not work. This is amply proved by what happened in Naidu’s case. Naidu, before starting as an independent composer and even later, for some time, was an assistant to Anil Biswas. To help Naidu establish, Anilda sometimes used to put a word to known people for him as M.D.
Anilda knew Harishchandra Rao kadam very well. When he decided to become a Producer and make a film “Sukhi Jeevan”, Anilda met him and took a promise from him to make Naidu the MD for that film.
Harishchandra Rao wanted Master Bhagwan as the film’s Director. Bhagwan agreed but put a condition that C.Ramchandra be made the MD for this film. Rao told him about Anilda and the promise given for Naidu. Bhagwan refused his film if C.Ramchandra was not made MD. To solve this problem, Anilda was called and after discussing with all, he withdrew his demand for Naidu. Thus Naidu lost and C.Ramchandra got his first Hindi film ” Sukhi Jeevan”-42 , to start his career ! ( from the book ” Ek Albela” by Isak Mujawar).
Vasant Kumar started his career in 1939 by giving music to films ‘Thunder’ and ‘Pakke Badmash’. Till 1947, he composed music for 22 films, as per the HFGK. He sang 1 song as a duet with Khan Mastana for the film ‘Mere Sajan’ (1941). He has composed 160 songs in these 22 films. His filmography, as per the Geet Kosh, is ‘Thunder’ (1939), ‘Pakke Badmash’ (1939), ‘Rangeela Jawaan’ (1940), ‘Jung-e-Azadi’ (1940), ‘Desh Bhakt’ (1940), ‘Suhaana Geet’ (1941), ‘Meri Khwaish’ (1941), ‘Mere Saajan’ (1941), ‘Lehri Jawaan’ (1941), ‘Lala ji’ (1942), ‘Call Of Youth’ (1942), ‘Maata’ (1942), ‘Watan Ki Pukaar’ (1943), ‘Nai Zindagi’ (1943), ‘Mohabbat Ki Jeet (1943), ‘Daawat’ (1943), ‘Circus Girl’ (1943), ‘Bhaagta Bhoot’ (1943), ‘Beda Paar’ (1944), ‘Shaahi Khazaana’ (1946), ‘Chamkati Bijli’ (1946) and ‘Toote Dil’ (1947).
Unfortunately, Vasant Kumar got mostly B and C stunt and action films for composing the music. Big banners like National Studios gave him an opportunity with the film ‘Lala ji’ (1942), in which he got many songs sung by Anil Biswas, Kusum Mantri, and Vatsala Kumthekar. However such films came to him only as an exception, therefore his exposure to audiences was limited and his name did not gain any fame. Actually, many big, well known and popular singers have sung for him.
However, without a mentor, God Father or the support of a big banner, it became impossible for Vasant Kumar to grow further. During the transition period of 1947-48, when many composers migrated to Pakistan, the existing big composers made their positions solid. Thus smaller composers never got any opportunity to benefit from the void created by the exit of composers. This was the case of many small-time composers like him.
Today’s song is a duet by Rajkumari and G M Durrani. This rare song comes from Shri Abhay Jain ji (US) and was uploaded by Sadanand Kamath ji for me. Thanks to both. With this song, film Daawat-43 makes its Debut on this Blog.
Song- Nain se nain milaaye aao (Daawat)(1943) Singers- G M durrani, Rajkumari, Lyricist- Tanveer Naqvi, MD- Vasant Kumar Naidu
Both
Lyrics
Nain se nain milaaye aao
Nain se nain milaaye aao
Man ko man se taulen aen aen
Man ko man se taulen
nindiya ban kar do nainon mein
sapnon ke pat kholen aen aen
nindiya ban kar do nainon mein
sapnon ke pat kholen
nain se nain milaaye aao
Man ko man se taulen aen aen
Man ko man se taulen
main raat gaye ka sapna
main raat gaye ka sapna
main saanjh bhaye ki dhool
saanjh bhaye ki dhool
main pawan ki sheetal ??
main pawan ki sheetal ??
main bhor bhaye ka roop
main bhor bhaye ka roop
ye bhed kabhi na kholen aen
bhed kabhi na kholen
Man ko man se taulen aen aen
Man ko man se taulen
main kali banoon bagiyaa mein chatkoon
kunj kunj mehkaaun
main kali banoon bagiyaa mein chatkoon
kunj kunj mehkaaun
main bhannwra ban kar it ut doolon
door door ho aaun
door door ho aaun
aur munh se kuchh na bolen
aur munh se kuchh na bolen
Man ko man se taulen aen aen
Man ko man se taulen
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 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 : |
4693 | Post No. : | 16379 |
Hullo Atuldom
This is one of the posts which pays tribute to one great and wishes happy birthday to another.
With this we also will be taking this movie a step closer to YYIIPPEEEEHOOD!!!
“Doosra Aadmi” directed by Ramesh Talwar & produced by Yash Chopra had a cast headed by Rakhee- Neetu Singh- Rishi Kapoor with a supporting cast of Deven Verma, Sheetal, Satyen Kappu, Gita Siddharth, and Parikshat Sahni in a special appearance and Shashi Kapoor in guest appearances. It had songs penned by Majrooh Sultanpuri and tuned by Rajesh Roshan. The movie had six songs of which the blog has the following four.
| Song | Date of post |
|---|---|
| Kya mausam hai | 17 september 2008 |
| Maathe pe lagaike bindiya | 18 september 2008 |
| Aao manaayen jashne muhabbat | 24 may 2019 |
| Jaan meri roothh gayi | 24 may 2020 |
We can see this movie began its journey on the blog in 2008 with songs posted on 17th and 18th of September, and then one song each in the last two years on Rajesh Roshan’s birthday or Majrooh Sultanpuri’s (Asrar ul Hassan Khan being the birthname) remembrance day both being on 24th of May.
Here is today’s song which is sung by Lata Mangeshkar and Kishore Kumar and filmed on a Honeymooning Timsi (Neetu Singh) and Karan Saxena (Rishi Kapoor). It is shot in the snow-clad locales of Kashmir and we see the couple enjoying the various snow-time activities possible- sledging in a horse-drawn sledge, camping and campfire, etc.
With this song we add one more of Lata Mangeshkar’s songs from 1977 which according to this post of Atulji was 44 songs from 96 recorded that year from 50 movies (with Lata Mangeshkar songs in them) released. Since then we have added two more and as of today the tally of Lata-songs of 1977 stands at 46 on the blog.
Song-Nazron se keh do pyaar mein milne ka mausam aa gaya (Doosra Aadmi)(1977) Singers-Lata, Kishore Kumar, Lyrics-Majrooh Sultanpuri, MD-Rajesh Roshan
Lyrics
nazron se keh do pyaar mein milne ka mausam
ho milne ka mausam aa gaya
nazron se keh do pyaar mein milne ka mausam
ho milne ka mausam aa gaya
baahon mein baahen daal ke khilne ka mausam
ho khilne ka mausam aa gaya
nazron se keh do pyar mein milne ka mausam
ho milne ka mausam aa gaya
Kannu Kannu
arre baaba jaanu
ssshhhh
roko na tum mujhe
zara suno toh oooo
iss pyaar se tera haath laga
lehra gaye gesu mere
iss pyaar se tera haath laga
lehra gaye gesu mere
arre kuchh bhi nazar aata hi nahin
masti mein mujhe tujh se pare
kaandhe pe
kaandhe pe meri zulf ke dhalne ka mausam
ho dhalne ka mausam aa gaya
baanhon mein baanhen daal ke khilne ka mausam
ho khilne ka mausam aa gaya
aaaa
tum mil bhi gaye phir bhi dil ko
kya jaane kaisi aas hai
tum mil bhi gaye phir bhi dil ko
kya jaane kaisi aas hai
tum paas ho phir bhi honthon mein
jaane kaisi pyaas hai
honthon ki
honthon ki thandi aag mein jalne ka mausam
hey ae jalne ka mausam aa gaya
nazron se keh do pyaar mein milne ka mausam
ho milne ka mausam aa gaya
Zara muskura kar milaao nazar hi
Posted on: May 22, 2021
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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4691 | Post No. : | 16375 | Movie Count : |
4448 |
‘Bahurani’ (1940) was produced by Kishore Sahu under the banner of the then newly set up, India Artists Ltd. The star cast included Kishore Sahu and Rose in the lead roles with Anuradha, Mubarak, Pratima Devi, Masood, Nana Palsikar etc in the supporting role. The film had its mahurat shot taken in January 1940 under the direction of Mubarak. In February 1940, R S Junnarkar was assigned the direction of the film along with Mubarak. So, it was their joint directorial venture. For Mubarak, it was his maiden attempt as a director which happened to be his last film as a director. R S Junnarkar was a screen-play and dialogue writer for Huns Pictures of Master Vinayak. It was also his first Hindi film as a director.
The film was expected to be released in April 1940. However, it was finally released on June 20, 1940. The film’s premier was held in Excelsior theatre and Dada Saheb Phalke, the father of the Indian film industry was the guest of honour among many big wigs of Hindi film industry who attended the premier.
Kishore Sahu started his filmy career as a lead actor in Bombay Talkies ‘Jeevan Prabhat’ (1937) which was a box office success. Probably, his entrepreneurial ambition made him to leave Bombay Talkies and float a film production company. In his ambition, Seth Ramnath Daga, a Bikaner based multi-millionaire, supported him with the finance required for such a venture. It was the brain child of Seth Ramnath Daga to set up a film production company called ‘India Artists Ltd’ for which he appointed Kishore Sahu as the Managing Director. He was assisted by Seth Ramnath Daga’s educated son, Dwarkadas Daga.
‘Bahurani’ (1940) was the first film produced under India Artists Ltd. The vision of the banner was to make socially relevant films. During the making of the film, Kishore Sahu had creative differences with Seth Ramnath Daga, the main financial supporter of the banner. After the release of “Bahurani’ (1940), Kishore Sahu resigned from the company and returned to Bombay Talkies to take the lead role in the film ‘Punar Milan’ (1940) opposite Snehprabha Pradhan. It took another 4 years for Kishore Sahu to float his own film production banner, Hindustan Chitra under which he produced and directed ‘Sharaarat’ (1944) and many more films thereafter.
The story of ‘Bahurani’ (1940) was adapted from a Hindi novel ‘Mimansa’ (1937) written by Hindi laureate, Anuplal Mandal who is regarded as ‘Premchand of Bihar’. The screen-play and dialogues were written by another Hindi laureate, Amritlal Nagar. The film was reviewed in ‘Filmindia’ magazine and for a change, the reviewer had praised the film for its story, screen play/dialogues and the performances of the main actors viz, Kishore Sahu, Rose and Anuradha (real name: Khursheed). Based on the review of the film. I have summarized the story as under:
Vijay (Kishore Sahu), a young landlord meets Aruna (Anuradha), a poor village girl born out of wedlock, during a village wedding. He likes Aruna and visits in her house where her mother is seriously ill. She takes a promise from Vijay that he would take care of Aruna if she did not survive. The mother soon dies. As promised, Vijay brings Aruna to his house and is treated as a child of the family by Didi (Pratima Devi) the elder widowed sister of Vijay. Diwanji (Mubarak), the trusted servant of the family is aware of Aruna’s background. But he keeps quite about it.
Soon, Vijay goes to the city for completing his education. He meets Mallika Rai (Rose), a sophisticated girl in the college. Vijay finds her on the same wave length as his in his idealistic approach. After completion of his education, Vijay returns home and finds Aruna now grown up and charming. Vijay falls in love with her and proposes her for the marriage. After overcoming a minor resistance from the family, Vijay and Aruna get married. The couple respects each other and Didi loves Aruna like her own daughter. The life goes on very well. But behind her happiness, there is a lurking fear in Aruna’s mind as to what will happen if Vijay and Didi comes to know about her background of a girl born out of wedlock.
In the meanwhile, Didi leaves for few days to visit her relatives. Vijay is busy with his involvement in the village upliftment activities and to support his growing activities, he calls Mallika to join him. She is given accommodation in Vijay’s house. Both Mallika and Aruna likes each other, Mallika likes Aruna for her simplicity and Aruna likes Mallika for her woman supportive views. Most of the day, Vijay is in the company of Mallika in the village upliftment activities and in course of time, both become close to each other. Aruna is aware of their closeness but pretends to both as if she is not aware of their relationship.
Under these circumstances, Lallan (Masood), the younger brother of Vijay returns home after completing his education. He gets to know the stigma attached to Aruna and tries to blackmail her to satisfy his lust. The stress of ‘affair’ of her husband with Mallika and the blackmailing by Lallan affects her health and she becomes bedridden. How, Vijay and Aurna comes out of the difficult situations and find a solution to a happy ending for everyone is not revealed in the film review.
I was interested to know as to how the story end to the satisfaction of all the main characters. Fortunately, the novel ‘Mimansa’ is available to read on-line in Hindi. I read the entire novel (203 pages). It is really a moving story in a realistic setting. At the end, the main character in the story – Vijay, Aruna, Mallika, Didi will surely get sympathy from the readers. Incidentally, the film has used the same names for the characters as in the novel.
The film has followed more or less the same story as depicted in the novel up to the entry of Lallan who has been shown as a villain in the film. To some extent, Mallika has also some shade of villain, being the ‘other woman’ in the life of Vijay. However, in the novel, no character has been depicted as villain.
Both Aruna and Mallika have cordial relations though some mild arguments do take place between them. But the respect for each other overwhelms such ‘noise’ in their relationship. Again, Aruna and Lallan have good relations. The only villainous streak in him is that he reveals to Didi the background of Aruna which makes her, in turn, to reveal the secret to Vijay. The novel makes the society at large as the main villain for the likes of Aruna.
The end is somewhat dramatic to the relief of Aruna. Didi has already written a letter to Vijay about the background of Aruna which makes Aruna jittery. To add to her misery, Vijay has become close to Mallika. The intense stress in her life makes Aruna ill. Vijay arranges the best doctors and medicines. But she is not recovering from her illness. The servants tell Vijay that bahurani is not taking medicines and is not allowing doctors to check her. Both Vijay and Mallika think that Aruna has no will to survive from her illness.
Both Mallika and Vijay visit Aruna separately to make her understand to take medicines. During the conversations, Mallika realises that Aruna’s love for Vijay is undiminishing despite their affair. The greatness of Aruna is that she is not blaming either Mallika or Vijay for what is happening to her life. With a lot of deliberations, Mallika decides that it is better to detatch herself from Vijay. She leaves Vijay’s house without informing anyone and goes back to her city. Before leaving, she writes a letter address to Vijay to take care of Aruna and suggests him to take Aruna for a long outing for a change.
The story in the novel ends with Vijay and Aruna travelling to Puri. While in the train, Aruna hands over a letter written by Didi revealing the stigma attached to her. Vijay reads it and tears off the letter by telling Aruna that he was already made aware of her background by Diwanji when he proposed her for the marriage. It was his conscious decidion to marry her and he was capable of facing the repurcussion even now. But nothing will break their union.
The film had 9 songs written by J S Cashyap and Azad. However, individual credit to the songs is not available. All the songs were set to music by Rafique Ghaznavi. I am presenting the film’s first song, ‘zara muskura kar milaao nazar hi’ to appear on the Blog. HFGK mentions Zohra as the singer of the song. The voice in the song does not sound like that of Zohrabai Ambalewaali.
In the 1930s, there was an actor-singer called Miss Zohra Jaan who was a star in her own right. She had two sisters – Mushtari Bai who was also an actor-singer in early 1930s. Unfortunately, she died in her teenage in 1934. The other sister was Khursheed (known as Anuradha in Hindi films). Shri Arunkumar Deshmukh has painstakingly collated the rare information on ‘Zohra Sisters’ and has covered in an article, mere baba ne baat meri maan li.
Rafique Ghaznavi, the music director of the film was married to Zohra Jaan in the 30s. After divorcing her in early 1940s, he married her sister Khursheed (Anuradha). Since Anuradha is in the film under discussion, it further strengthens my belief that the singer of the song is Zohra Jaan.
The song is written in Ghazal style, fit for a mujra. Towards the end of the song, there is a long music suggestive of a mujra dance, It is quite possible that the song may have been picturised on Zohra Jaan herself who was also a good mujra dancer though her name does not appear in the credit. But there are cases where some of the actor-singers appeared in the films uncredited.
With this song, ‘Bahurani’ (1940) makes its debut on the Blog.
Audio Clip:
Song-Zara muskura kar milaao nazar hi(Bahurani)(1940) Singer-Zohra Jaan, MD-Rafiq Ghaznavi
Lyrics
haan aa aa
zara muskura kar milaao nazar hi
zara muskura kar milaao nazar hi
meri jaan ham bhi
aa aa aaa aa
aa aaa aa aa
meri jaan ham bhi khade hain idhar hi
meri jaan ham bhi khade hain idhar hi
na jaao jagaao o o aa aa
na phir phir ke dekho o o o
mujhe chhod do haan aan aan aan
mujhe chhod do bas mere haal par hi
mujhe chhod do bas mere haal par hi
sambhal kar meri jaan aa aa aa aaa aa
na khanjar uthhaana aa aa aa aa aa aa
kahin bal na khaa jaaye aa aa aa aa aa
kahin bal na khaa jaaye teri kamar hi
kahin bal na khaa jaaye teri kamar hi
shab-e-hijr kaa aa aa aa aaa
fasl ki chabri()?? ee ee ee ee ee
ke haan haan mein naa naa
haan aan aan aan aan
ke haan haan mein naa naa rahi raat bhar hi
ke haan haan mein naa naa rahi raat bhar hi
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 : |
4682 | Post No. : | 16363 |
I had almost forgotten about the existence of a film titled ‘Room No. 9’ (1946) until I came across a song from the film on one of the video sharing platforms a few days back. I checked on our Blog to know that two songs from the film was covered in the Blog as early as in March 2013 but surprisingly, the song which I had heard has not yet been covered in the Blog. I liked the song so much that I decided to share the song on the Blog with a small write-up.
‘Room No. 9’ (1946) was produced by S R Rajguru under the banner of Navyug Pictures and was directed by Vedi. The star cast included Shyam and Geeta Nizami in the lead role with K N Singh, Dar Kashmiri, Saroj Borkar, Randhir, Kesari etc in the subsidiary roles. At the outset, I did not have any idea as to which genre the film belonged. The film’s title gives an impression that it may be crime thriller. But an advertisement of the film which appeared on one of the 1946 issues of ‘Filmindia’ magazine indicates that film has the ‘most unusual romance’.
The film was released in Mumbai on June 15, 1946 and a review of the film was published in August 1946 issue of ‘Filmindia’ magazine. Based on the review, I am presenting below a summarized version of the story of the film:
Geeta (Geeta Nizami) is an heiress to a huge fortune left by her father. With this, Geeta’s life is at risk as her uncle is eyeing on her fortunes. For the attainment of his objective, he employs Pratap (K N Singh) a crook to do the needful.
For completing the formalities of handing over the fortunes to Geeta, Barrister Premchand (Raj Bishwas), the executor of the will, comes to the city and stays in a hotel where his son, Shyam (Shyam) escorts Geeta to the hotel room. However, Geeta suspects Shyam to be a crook without knowing that he is the son of Barrister Premchand. Instead, she relies on Pratap, the crook who kidnaps her. However, Shyam rescues her.
Thakur Ajit Singh (Randhir) who is a regular guest in the hotel gets attracted towards Geeta though he already has Rani (Saroj Borkar) as his mistress who is a disgraced wife of Barrister Premchand and the mother of Shyam. Neither Rani nor Shyam is aware that they are mother and son.
In Geeta’s room, Thakur Ajit Singh tries to molest her and, in this milieu, Thakur is shot dead. Thinking that Geeta must have shot him, Shyam takes the crime on himself and runs away from the police. However, he is arrested and put on trail for the murder of Thakur Ajit Singh. Based on the evidence given by Rani, Shyam is sentenced to death by hanging.
Barrister Premchand appeals to the high court for the review of the lower court’s verdict. In the court, he produces the childhood photograph of Shyam with his mother Rani. The mother in Rani makes her to confess that she had shot dead Thakur Ajit Singh in that fateful night. Shyam is acquitted and there is a happy end to the film.
The film had 8 songs, all written by Nakshab Jarchvi and set to music by Rashid Attre. As mentioned earlier, two songs have been covered in the Blog. I am presenting the 3rd song ‘tum iss nigaah se dekho na baar baar mujhe’ sung by Mohammed Rafi.
The song is written in a ghazal format and it is one among Rafi’s early dozen odd solo renditions. From his rendition, I can guess that Rafi has mastered the art of voice modulation for particular actors as early as 1946. The moment I heard the song, I got a feel that he was singing for Shyam.
Audio Clip:
Song-Tum is nigaah se dekho na baar baar mujhe(Room number 9)(1946) Singer-Rafi, Lyrics-Nakshab, MD-Rashid Atre
Lyrics
rahe to kaise rahe ae
dil pe ikhtiyaar mujhe ae ae ae ae
haan aan aan
rahe to kaise rahe ae ae
dil pe ikhtiyaar mujhe ae ae ae ae ae
tum iss nigaah se dekho na baar baar mujhe
tum iss nigaah se dekho na baar baar mujhe
jo mujhse bachte thhe
pahlu mein aaye baithen hain
jo mujhse bachte thhe
bachte thhe
pahlu mein aaye baithen hain
bahut dinon se thha iss din ka intzaar mujhe
bahut dinon se thha iss din ka intzaar mujhe
tum iss nigaah se dekho na baar baar mujhe
hamesha aapne
hamesha aapne
haan aapne
gairon pe ki nigaah e karam
hamesha aapne
haan aapne gairon pe ki nigaah e karam
hamesha aapne rakha hai bekaraar mujhe
hamesha aapne rakha hai bekaraar mujhe
tum iss nigaah se dekho na baar baar mujhe
wohi to ho
jo meri ek bhi na sunte thhe
wohi to ho jo meri ek bhi na sunte thhe
wohi to ho jo meri ek bhi na sunte thhe
ab ikhtiyaar tumhen hai ke ikhtiyaar mujhe
ab ikhtiyaar tumhen hai ke ikhtiyaar mujhe
tum iss nigaah se dekho na baar baar mujhe
tum iss nigaah se
dekho na baar baar mujhe…e
Arre dheere dheere aankh ladi
Posted on: April 26, 2021
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 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 : |
4664 | Post No. : | 16337 | Movie Count : |
4436 |
Hullo Atuldom
Who is a dainty person?
Dainty is an adjective. If you describe a movement, person, or object as dainty, you mean that they are small, delicate, and pretty.
There is this actress from my growing up years who was very Dainty. Petite is another word that could be used to describe her. Not only was she loved by the audiences she was also a favourite of all her co-stars. Sanjeev Kumar would treat her like a child (as admitted by this actress in an interview) possibly an after effect of their first movie together where he played her father. Even though after that they went on to co-star in many movies and enacting a whole gamut of relations. Rishi Kapoor and Mithun were friends of hers and she has co-starred opposite Vinod Khanna in her younger days and also played mother roles to his sons in movies of the new millennium. She has paired opposite Amitabh Bachchan in 2 films in the ’70s and was seen in a brief role in a Bachchan starrer in 2015. She was often heroine to Jeetendra, Rajesh Khanna, Vinod Mehra, Shashi Kapoor and was also comfortable sharing her heroes and screen space with actresses of her time be it Rekha, Shabana, even Sridevi. She has said that Dharmendra, who was her father-in-law’s (Hemant Kumar) friend, used to be very protective. Who wouldn’t be considering how dainty or petite or small she looked in comparison to half her heroes.
When I think back, I find that I remember many of her songs and used to like all of them. “Sun ri pawan, pawan purvaiyya”; “neend churaaye, chain churaaye”; “chhatri na khol udd jaayegi”; “tera saath hai toh mujhe kya kami hai”; “megha re megha re mat pardes jaa re”; “zindagi ek naatak hai”- all of them and some more, are on my list of personal favourites.
Oh I didn’t say who I was speaking of. Indira Chattopadhaya is our birthday girl today. She is called Moushumi Chatterjee in the film industry. She has been entertaining audiences since her debut in Bengali films in 1967. Her Hindi debut happened in 1972 with “Anuraag” where she played a blind girl opposite Vinod Mehra. She was awarded a Lifetime Achievement Award by Filmfare in 2015.
“Itni Si Baat” ( 1981) was a movie directed by Madhu M. (possibly the only Hindi movie by him) and produced by K. Raghavan (not heard this name too). Kalyanji- Anandji were the music directors with Viju Shah, Babla, Anil Mohile as assistants; and Anjaan was the lyricist. Asha Bhonsle, Alka Yagnik, Hemlatha, Amit Kumar and Kishore Kumar are the playback singers (as per the titles of the movie) It had Sanjeev Kumar- Moushumi Chatterjee heading a cast of Tamanna, Arun Govil, Urmila Bhatt, Asit Sen, Roopesh Kumar, Kanan Kaushal, Baby Geetha, Master Gautam, Aashoo, Kesho Rana, Pardesi etc. Madan Puri and Om Prakash were in guest appearances.
I have seen this movie a few times on television and like its story. It is basically a story about a couple who are leading a harmonious monetarily comfortable life till they become parents. Then the wife starts feeling that things will ease up if she too takes up a job but the husband feels that is unnecessary. Also he has a feeling that she can help by being a little thrifty around the house and that would be help enough. To prove their points the couple switch duties and the wife finds a job and the husband starts looking after the house. They agree to experiment on this for a short period. What follows is chaos for the husband at home and wife at work and some hilarious moments. The movie comes to a close with the two realizing जिसका काम उसी को साजे और करे तो बुद्धु / डंडा/ ठेंगा बाजे’ “jiska kaam usiko saajhe, aur kare toh buddhu/ danda/ thenga baaje” (roughly translating to “every person is an expert in his own field”). Of course I don’t recall what happened to their monetary issue. 🙂
Today’s song happens at the beginning of the movie when Raja (Sanjeev Kumar) and Asha (Moushumi) have just expressed their love to each other. The song sung by Kishore Kumar and Anuradha Paudwal, runs through titles of the movie showing courtship, marriage and start of the family.
Here is wishing our cute Moushumi a very Happy birthday.
Song-Arre dheere dheere aankh ladi (Itni Si Baat)(1981) Singers-Kishore Kumar, Anuradha Paudwal, Lyrics-Anjaan, MD-Kalyanji Anandji
Both
Lyrics
Arre dheere dheere
dheere dheere aankh ladi
baaton mein baat badhi
dheere dheere aankh ladi
baaton mein baat badhi
hone lagi
arre hone lagi mulaqaat
idhar udhar ghadi ghadi
darde jigar
darde jigar aisa badha
dil pe nasha aisa chada
phir na pucho kya ho gaya aa
yeh ho gaya dekho yeh ho gaya,
yeh ho gaya dekho yeh ho gaya
la la laa la la laa
la la laa la la laa
la la laa la la laa
aisa jadoo chala pyar ka
har taraf tu hai tu
dil yeh kehne laga
har taraf tu hai tu
dil yeh kehne laga
phoolon mein
taaron mein
phoolon mein taaron mein
saari bahaaron mein
tuhi tu tuhi tu dikhne laga
mujhe tuhi tu tuhi tu dikhne laga
arre do dil hue aise fida
do dil huye aise fida
jee na sake hoke juda
phir na poochho kya ho gaya
ho oo saath jab se hai tera mila
saari duniya yeh kitni haseen ho gayi
saari duniya yeh kitni haseen ho gayi
ek dooje mein hum kho gaye
kaise sapnon mein yeh zindagi kho gaye
kaise sapnon mein yeh zindagi kho gayi
mann se yeh mann
tan se yeh tan
mann se yeh mann
tan se yeh tan
aise mile aise mile
aise mile aise mile
phir na poochho kya ho gaya
yeh ho gaya dekho yeh ho gaya
yeh ho gaya dekho yeh ho gaya
arre dheere dheere
dheere dheere pyaar badha
aur badha aur badha
do se hum teen huye
phir bhi ghar soona laga
daur kai aur chale
pyaase dil aur mile
phir na poochho kya ho gaya
haan
yeh ho gaya dekho yeh ho gaya
yeh ho gaya dekho yeh ho gaya
- In: "Aankh" song | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Geeta Dutt songs | Guest posts | Lyrics contributed by readers | Post by nahm | Rafi songs | Song sung by three or more singers | Songs of 1950s (1951 to 1960) | Songs of 1958 | Usha Mangeshkar songs | Yearwise breakup of songs
- 1 Comment
This article is written by nahm, 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 : |
4654 | Post No. : | 16320 |
Geeta Dutt – Solos and Duets (05)
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Geeta Dutt – Solos and Duets (05)
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Among the first few songs, I had selected for posting in this series, is this group song, with folksy tune. The film is ‘Chaalbaaz’ (1958), the music is composed by Chitragupt and lyricist is Prem Dhawan. The title of the film evokes memories of late Sridevi and her double role and the comic act in the film of same title in the year 1989.
The song is a brief one for a group song and the lyrics are very colorful, and not just because of the color-coding. Reminds me of a famous song, a truet of Lata-Rafi-Mukesh, with choruses and Rafi Sahab’s alaaps – “Ramaiyyaa Vastavaiyya“. This is a famous song, and we know all about this one.
Present song is not so famous one, but for all I know it might have been a hit and popular one in 1958. Singers are Geeta Dutt, Mohammed Rafi and Usha Mangeshkar. I found it last year on YouTube and saved it for this series, as it sounded folksy and peppy, with the clap sounds enhancing the enjoyment. Apart from ‘Qawwalis’ and the ‘Tappa’ genre, the folk forms use the clap as a rhythmic addition in the song, which must be enjoyable for those not actually singing or playing music instrument, as they can also participate. Hindi film songs are a dime a dozen for using ‘claps’ in songs.
A few such songs (non-Qawwali) which come to mind :
“Laara Lappa Laara Lappa Laai Rakhda” – from ‘Ek Thi Ladki’ (1949)
“Na munh Chhupa Ke Jiyo” – from ‘Hamraaz’ (1967)
“Is Duniya Mein Jeena Hai To Sun Lo Meri Baat” – from ‘Gumnaam’ (1965)
“Ye Chaand Sa Roshan Chehra” – from ‘Kashmir KI Kali’ (1964)
“Suno Jaana Suno Jaana Mere Pehlu Se Mat Jaana” – from ‘Hum Sab Ustad Hain” (1965)
Also there are many ‘garba’ songs which have women dancing with accompanying hand claps.
I have found a pdf file containing list of all Hindi film songs by Geeta Dutt. But I don’t know a way of sorting data, if it is possible in pdf file. I will try to get it converted in excel, that will make it easy to sort data. For example, we can know how many songs Geeta Dutt sang for Chitragupt in her career.
Atulji is doing a great job of collating information of all Lata mangeshkar’s songs year wise viz-a-viz songs posted in the blog. I can see that a similar collation of data is possible with a list of all songs of Geeta Dutt, with the help of this pdf file.
Okay, I found a way. I searched and found 94 times Chitragupt’s name in the pdf list of Geeta Dutt’s songs. So here goes the stats:
| Sr. no. | Name of singer/s | Total songs with Chitragupt | Songs posted in the blog |
| 1 | Geeta Dutt | 94 | 48 |
| 2 | Geeta Dutt-Rafi | 28* | 19 |
| 3 | Geeta-Rafi-Usha Mangeshkar | 2 | 1 |
*Includes 4 truets, two with Usha Mangeshkar and two with S Balbir.
Done with the stats, so let us move to the song, of which only audio is available.
Song – Hamen Maar Gayi Re Tirchhi Najariyaa Tori (Chaalbaaz) (1958), Singer – Mohammed Rafi, Geeta Dutt, Usha Mangeshkar, Lyrics – Prem Dhawan, MD – Chitragupt
Male Chorus
Female Chorus
Lyrics
tinak tinak dhin
dhinak dhinak dhin
tinak dhinak
taat daat dhin tinak
taat dhin
taat tiba bap
bap brrrrrrrrrrr…
ho ooo oooo
ho ooooo
hoy ye……
ambuwa ki daal pe jhoole pade
arey saawan mein tere sang naina lade
hamen maar gayi re
tirchhi najar tori maar gayi ee eee
hamen maar gayi re ea
tirchhi najar tori maar gayi
kaisi ghadi haay naina lade
dil ko hazaar dukh sehne pade
main to haar gayi re
tose sajan main to haar gayi
ae ji haar gayi re ea
tose sajan main to haar gayi
aisi najar se saiyyan ne dekhaa
nanha sa jiya mora dol gaya
ha aaa aaaaaa
ho ooooo
aaaa aaaa
ho oooo
aisi najar se saiyyan ne dekhaa
nanha sa jiya mora dol gaya
dheere se aa ke
ghoonghat utha ke
nainon ki boli koi bol gayaa
haaye
dekhi sooratiya to reh gaye khade
poonam ki raat jaise chandaa chadhe
hamen maar gayi re
tirchhi najar tori maar gayi haan aan
hamen maar gayi re
tirchhi najar tori maar gayi
dhokha hai pyaar jaane saara zamaana
phir bhi kise na yahaan pyaar huaa
ha oooo oooo
ooo oooo
dhoka hai pyaar jaane saara zamaana
phir bhi kise na yahaan pyaar huaa
kis ka kalejaa hai bolo jahaan se
nazron ka teer nahin paar huaa
haaye
baitthe hain haath haaye
dil pe dhare
aage teri marzi hai jo bhi kare
hamen maar gayi re
tirchhi nazar tori maar gayi
ae ji haar gayi re
tose sajan main to haar gayi
ooo ooooo ooo
ooooooo
ae ji to haar gayi re
ooooooo
tose sajan main to haar gayi
oooo ooooooo
ae ji haar gayi re
ooooooo
tose sajan main to haar gayi
ae ji haar gayi re
tose sajan main to haar gayi
————————————————————
Hindi Script Lyrics (Provided by Sudhir)
————————————————————
तिनक तिनक धिन
धिनक धिनक धिन
तिनक धिनक
तात धिन
तात तिबा
बप बर्रर्रर्रर्रर्र॰ ॰ ॰
हो ओ ओ ओ ओ
हो ओ ओ
होय
अम्बुवा की दाल पे झूले पड़े
अरे सावन में तेरे संग नैना लड़े
हमें मार गई रे
तिरछी नजर तोरी मार गई॰॰ई॰॰ई
हमें मार गई रे
तिरछी नजर तोरी मार गई
कैसी घड़ी हाय नैना लड़े
दिल को हज़ार दुख सहने पड़े
मैं तो हार गई रे
तोसे साजन मैं तो हार गई रे
ए जी हार गई रे
तोसे साजन मैं तो हार गई रे
ऐसी नजर से सैंयां ने देखा
नन्हा सा जिया मोरा डोल गया
हा आ आ
हो ओ
आ आ
हो ओ
ऐसी नजर से सैंयां ने देखा
नन्हा सा जिया मोरा डोल गया
धीरे से आ के
घूँघट उठा के
नैनों की बोली कोई बो गया
हाए
देखि सुरतिया तो रह गए खड़े
पूनम की रात जैसे चंदा चढ़े
हमें मार गई रे
तिरछी नजर तोरी मार गई हाँ हाँ
हमें मार गई रे
तिरछी नजर तोरी मार गई
धोखा है प्यार जाने सारा ज़माना
फिर भी किसे ना यहाँ प्यार हुआ
हा ओ ओ
ओ ओ
धोखा है प्यार जाने सारा ज़माना
फिर भी किसे ना यहाँ प्यार हुआ
किसका कलेजा है बोलो जहां से
नज़रों का तीर नहीं पार हुआ
हाए
बैठे हैं हाथ हाय दिल पे धरे
आगे तेरी मर्ज़ी है जो भी करे
हमें मार गई रे
तिरछी नजर तोरी मार गई रे
ए जी हार गई रे
तोसे सजन मैं तो हार गई रे
ओ ओ ओ
ओ
ए जी हार गई रे
ओ
तोसे सजन मैं तो हार गई रे
ओ
ए जी हार गई रे
ओ
तोसे सजन मैं तो हार गई रे
ए जी हार गई रे
तोसे सजन मैं तो हार गई रे
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