Archive for the ‘“Aankh” song’ Category
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.
|
Blog Day : |
4832 | Post No. : | 16613 | Movie Count : |
4524 |
Hullo Atuldom
10th October is the birth date of the ageless Bollywood Diva Bhanurekha Ganesan.
I don’t remember which was my first post on the blog on her birthday, but over the last few years I have been trying to write out a song and present her with an actor who was not one of her regular heroes; meaning someone except Amitabh Bachchan, Dharmendra, Jeeetendra, Rajesh Khanna, Vinod Mehra etc. Today’s song is also one such song.
This song is from the 2000 release “Bulandi” which was directed by T. Rama Rao. It had a cast of Rajnikanth (special appearance), Anil Kapoor, Harish (from South Indian films), and Rekha, Raveena Tandon, Aruna Irani along with Shakti Kapoor, Ranjeet, Kulbhushan Kharbanda, Paresh Rawal, Sadashiv Amrapurkar in supporting cast. Songs of the movie were penned by Anand Bakshi and tuned by Viju Shah. The playback singers used were Udit Narayan, Kavita Krishnamurthy, Kumar Sanu, Anuradha Paudwal, Jaspinder Narula, Sukhwinder Singh, Abhijeet and Alka Yagnik -in short all the popular singers of the 90s.
The movie was the tale of a family of Zamindars which is headed by Rajnikanth who has a sister -Aruna Irani and three sons Anil Kapoor (double role plays two brothers) and Harish Kumar. Rekha plays the zamindar’s elder daughter-in-law who is the bhabhi-maa to her devars. And here I would like to mention that the two Anil Kapoors are not twins. Today’s song happens at the girl’s family meeting the boy’s family ritual and the older Anil Kapoor is the groom-to be. Aruna Irani the would-be atyaa (paternal aunt) starts the song as cue to the coy Bride-to-be who then begins singing and also fantasizing about her hubsand married life etc
There have been many instances when big a star/ actor accepts a role in a film because the main actor/ character is being enacted by a senior star/actor of whom the junior is a fan. Like for example, Amitabh Bachchan played Dilip Kumar’s son in Ramesh Sippy’s “Shakti”. Similarly Rekha played miniscule role in one of Dev Anand’s final movie, “Censor” and also one of Manoj Kumar’s last directorial.
Anil Kapoor did a second rung character in this film as he was sharing screen space with a senior (workwise)-Rekha. And the dance that accompanies sees Rekha and Anil Kapoor matching each other decently well. It is only recently I found out that there is just two year age gap between these two actors but one began working in 1966 (age 12) when the other might have been in school and not even given a thought to what career to pursue. That must be one of the reason why the viewer may feel that Anil Kapoor was acting with a much senior actress, she was a senior only because she was already in the entertainment business for 14 years before Anil made his debut.
The singers for this song are Kavitha Krishnamurthy and Udit Narayan.
Happy birthday to Rekha. May we keep seeing her on the silver screen.
Song-Teri ankhiyon mein jeena hamen marna (Bulandi)(2000) Singers-Kavita Krishnamurthy, Udit Narayan, Lyrics-Anand Bakshi, MD-Viju Shah
Both
Lyrics
aa aa aa aaaa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aaaa
aa aa aa
chhedo naa mujhko chhedo
aise naa mujhko dekho
jo dekhna hai kuch tumko hai
to phir mere dil ko dekho
hum pyaar ke hain raahi
dil pyaar ki hai manzil
kis kaam ki yeh mehfil
dil se na mila jo dil
hoga milna hamaara mushkil
hoga milna hamaara mushkil
hoga milna hamaara mushkil
dekho dekho dekho
aise mujhko naa chhedo
kya kahega yeh zamaana
ban jaayega fasaana
badi hogi badnaami
hamen hogi pareshaani
hum pyaar ke hain raahi
dil pyaar ki hai manzil
kis kaam ki yeh mehfil
dil se na mila jo dil
hoga milna hamaara mushkil
hoga milna hamaara mushkil
hoga milna hamara mushkil/em>
teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna
teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna
teri marzi tu jaane
meri marzi main jaanoon
maine kar liya faislaa aa aa aa
ho
teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna
teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuch karna
teri marzi tu jaane
meri marzi main jaanoon
maine kar liya faislaa aa aa aa
ho teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna
vaadon ka hai aaj mausam
hum koi vaada karen
arre yeh jaan bhi tumko de di
ab kya zyaada karen
tera naam liya
tujhe yaad kiya
sab kuchh main bhool gayi
o teri marzi tu jaane
meri marzi main jaanoon
maine kar liya faislaa aa aa a
o teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna
o teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna
maange agar tu sitaare
main tod laaoon sanam
ho karne hain kya yeh sitaare
tu chaand se kya hai kam
haaye deewaana hua mastaana hua
dil aise jhoom gaya
teri marzi tu jaane
meri marzi main jaanoon
maine kar liya faislaa aa aa aa
ho teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna
ho teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna
dekho dekho dekho
aise mujhko naa chhedo
kya kahega yeh zamaana
ban jaayega fasaana
badi hogi badnaami
hamen hogi pareshaani
hum pyaar ke hain rahi
dil pyaar ki hai manzil
kis kaam ki yeh mehfil
dil se na mila jo dil
hoga milna hamara mushkil
hoga milna hamara mushkil
hoga milna hamara mushkil
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.
|
Blog Day : |
4820 | Post No. : | 16594 |
———————————————–————————————
Blog 10-Year Challenge (2011-2021) – Song No. 32
———————————————————————————–
When I look at this day ten years ago (28 September 2011), I find that as many as eight songs were covered on this day ten years ago. Six out of eight songs were Lata Mangeshkar songs to celebrate the 82nd birthday of Lata Mangeshkar.
| Blog Post number | Song | Movie (Year) | MD | Lyricist | Singer(s) | Remarks |
|---|---|---|---|---|---|---|
| 4712 | O main banke jogan aayi tori gali khhidki mein aa jaa | Preet(1945) | Bulo C Rani | D N Madhok | Snehprabha Pradhan | 4 songs covered out of 13 |
| 4713 | Sapera re zehar utaar mera zehar utaar | Kaun Hamaara(1947) | Bulo C Rani | Pt Indra Chandra | Hamida Bano | Two songs covered out of 9 by now |
| 4714 | Aankhon mein samaa jaao is dil mein rahaa karnaa | Yaasmeen(1955) | C Ramchandra | Jaan Nissar Akhtar | Lata | Movie YIPPEED by now |
| 4715 | Ae chaand zaraa sun le | Pyaar Ki Manzil (1950) | Husnlal Bhagatram | Shewan Rizvi | Lata and Husnlal | 7 songs covered by now out of 10 |
| 4716 | Unki pehli nazar kyaa asar kar gayi | April Fool(1964) | Shankar Jaikishan | Hasrat Jaipuri | Lata | Movie YIPPEED by now |
| 4717 | Pyaase huye nain sulag gayi shaam | Afsaana(1966) | Chitragupta | Majrooh Sultanpuri | Lata | 3 songs covered by now out of 6 |
| 4718 | Aajkal ke sabhi naujawaan bade jhoothhe bade beimaan | Johar in Bombay(1967) | Usha Khanna | Qamar Jalalabadi | Lata and Usha Mangeshkar | Movie YIPPEED by now |
| 4719 | Aa aa bhi jaa raat dhhalne lagi | Teesri Kasam(1966) | Shankar Jaikishan | Shailendra | Lata | Movie YIPPEED by now |
Today, ten years later, Lata Mangeshkar is celebrating her 92nd birthday. As Blog Ten Year Challenge, here is another Lata Mangeshkar song from “Pyaar Ki Manzil”(1950).
“Pyaar Ki Manzil”(1950) was directed by Keki Mistry for Superteam Federal Productions, Bombay. The movie had Munawwar Sultana, Rehman, Gope, Kamal, Pratima devi, Ramesh Sinha, Seeta Bose, Niranjan Sharma, Jankidas, Roohi, Devaskar, Fazloo, Bheemji, Maqbool, Hari Bhai, Altaf etc in it.
The movie had ten songs in it. Seven of these songs are covered in the blog.
This eighth song from “Pyaar Ki Manzil”(1950) is sung by Lata Mangeshkar. Rajinder Krishan is the lyricist. Music is composed by Husnlal Bhagatram.
We take this opportunity to wish Lata Mangeshkar a very happy birthday and many more happy returns of the day.
Song-Aankhon se door ho ke dil se na bhool jaana(Pyaar Ki Manzil)(1950) Singer-Lata, Lyrics-Rajinder Krishan, MD-Husnlal Bhagatram
Lyrics
aankhon se door hoke ae
dil se na bhool jaana
ujde huye chaman mein ae
banke bahaar aana
aankhon se door hoke ae
dil se na bhool jaana
aankhon se door hoke
jab tak juda rahoge ae
roti rahengin aankhen aen
roti rahengin aankhen
jab tak juda rahoge ae
roti rahengin aankhen aen
roti rahengin aankhen aen
aa na sakega mere ae
honthon ko muskuraana aa
aankhon se door hoke ae
dil se na bhool jaana
aankhon se door hoke
saajan siwa tumhaare ae
koi nahin hai mera aa
koi nahin hai mera
saajan siwa tumhaare ae
koi nahin hai mera aa
koi nahin hai mera aa
tum meri zindagi ho o
tum hi na roothh jaana
tum meri zindagi ho o
tum hi na roothh jaana
aankhon se door hoke ae
dil se na bhool jaana
aankhon se door hoke
Nazar badli zamaane ki
Posted on: September 25, 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.
|
Blog Day : |
4817 | Post No. : | 16589 |
Hullo Atuldom
Today we are revisiting a movie that released in 1966 and was directed by J B H Wadia. The songs were all written by D.N. Madhok and C Ramchandra was the music director. It had 8 songs of which only 2 are on the blog. These are the ones posted:
| Song | Remarks |
|---|---|
| Duniya banaane waale ne | post by Sudhirji marking 4200th post of the blog and has a lot of info about the actor Sajjan. |
| Tasveer bhi dekhi thhi | this is also a post by Sudhirji. |
Interesting notes are present in this second post about how C Ramchandra and D N Madhok have collaborated only twice (before this movie) and that too in the beginning of their careers.
Both these posts provide links to Memsaab’s blog and the synopsis/ review to the movie. BTW I forgot to mention that we are revisiting “Tasweer”.
As I sat to write this post my aim was to look for movies starring Zulfiqar Ali Shah Khan whose birthday falls on 25th September. He would have turned 82. I was paying particular attention to movies at the start of his career. I stumbled on a few movies where he had made uncredited appearances and the songs associated with them. I found that most of his initial songs are already present on the blog. I also found the song which was his absolute first appearance. I looked up for the song on the blog and also posted a comment pointing to the actor’s presence (that is the reason for my noticing that detail Nahmji).
I am sure the followers of the blog have figured out that I am talking of the very handsome, smart, fashionable, uber-cool icon of Bollywood. An actor, who in the later half of his career made super cool movies which were all phenomenal successes. His movies were peppered with great music, action and emotions. He had a special liking for the Cow-Boy getup. We are remembering Feroz Khan today. Sudhirji’s post of 2017 gives us a lot of insight on Feroz ‘stylish’ Khan and his career, I am sure I can’t better it.
Today’s song see him dance with Helen. We have Kalpana sitting, getting sad and shedding a tear and Sajjan (in a french beard) as part of the audience.
Video
Song-Nazar badli zamaane ki (Tasveer)(1966) Singer-Mahendra Kapoor, Lyrics-D N Madhok, MD-C Ramchandra
Chorus
Lyrics
nazar badli zamaane ki
na tum badle
na hum badle
wahi hai dil
wahi armaan
wahi waade mohabbat ke
(chorus)
nazar badli zamaane ki (lara lara)
na tum badle (lara lara)
na hum badle (lara lara)
wahi hai dil (lara lara)
wahi armaan (lara lara)
wahi wade mohabbat ke (laa laa laa)
jhatak de tu agar gesu
toh yeh mehfil mehek jaaye
jhatak de tu agar gesu
toh yeh mehfil mehek jaaye
tere nazron se takraaye
toh saaghar bhi behek jaaye
na badli woh adaa teri
na zulfon ke makam badle
wahi hai dil
wahi armaan
wahi wade mohabbat ke
(chorus)
nazar badli zamane ki (lara lara)
na tum badle (lara lara)
na hum badle (lara lara)
wahi hai dil (lara lara)
wahi armaan (lara lara)
wahi wade mohabbat ke (laa laa laa)
tumhaara naam sunte hi
dhadak jaataa hai dil ab bhi
tumhaara naam sunte hi
dhadak jaataa hai dil ab bhi
jo naghma tumne chheda thha
wo dohraata hai dil ab bhi
mile bichhde huye phir se
agar nazrein karam badle
wahi hai dil
wahi armaan
wahi waade mohabbat ke
(chorus)
nazar badli zamane ki (lara lara)
na tum badle (lara lara)
na hum badle (lara lara)
wahi hai dil (lara lara)
wahi armaan (lara lara)
wahi waade mohabbat ke (laa laa laa)
Man achcha ke nain saajnaa
Posted on: September 22, 2021
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.
|
Blog Day : |
4814 | Post No. : | 16584 |
“Champa”(1945) was directed by Barkat Mehra for Shorie pictures, Punjab. This movie had Manorama, Asha Posle, Hari Shivdasani, Majnu, Salma, Zahoor Shah wtc in it.
The movie had nine songs in it. One song has been covered in the past.
Here is the second song from “Champa”(1945) to appear in the blog. HFGK mentions Anupam Ghatak as the music director of the song. No other details are mentioned in HFGK. According to the uploader, this song is sung by Zeenat Begam and Gulrej. Lyricist is not known.
I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Man achcha ke nain saajna (Champa)(1945) Singers-Zeenat Begam, Gulrej, Lyrics-, MD-Anupam Ghatak
Lyrics
hayee ho o
haiyya ho o
Itni baat bata do sainyya
man achcha ki nain saajna
man achcha ki nain
man achcha ke nain
haan
man achcha ke nain saajna
man achcha ke nain
man
nainon se pal mein aake
apne sukh mein aag lagaa ke
man
nainon se pal mein aake
apne sukh mein aag lagaa ke
dheemi dheemi aag mein tapna aa
dheemi dheemi aag mein tapna
jalta hai ?? saajna
man achcha ki nain saajna
man achcha ki nain
sainyya
sainyya ho
nain baawre jab mil jaayen ae
nain baawre jab mil jaayen ae
dukhi banaayen man chhalkaayen aen
ho o
dukhi banaayen man chhalkaayen
ik baar ?? aur khojo
ik baar ?? aur khojo
jeewan bhar ka chain saajna
man achcha ke nain saajna
man achcha ke nain
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.
|
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.
|
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
|
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.
|
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.
|
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.
|
Blog Day : |
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
Recent comments