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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Archive for the ‘Asha Bhonsle songs’ Category


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 : 3836 Post No. : 14845

“Mera Jeewan”(1976) was directed by Vindu Shukla for Shreejee International, Bombay. This “social” movie had Vidya Sinha, Ambika Johar, Dushyant, Satyen Kappu, Jairaj, Shivraj, Viju Khote, Dinesh Hingoo, Padma Rani, Arvind Rathod, Baby Guddi, Sunita, Shekhar Purohit, Uday Kumar, Ranveer Raj, Jugnu, Anand Bihari,Harbans Pape, Pardesi, Amrit Patel, Madhavi, Master Ajay, Baby Sabiha etc. A K Hangal (friendly appearance) and Sulochana, Veena and Harindranath Chattopadhyay (special appearances) also figured in the movie.

The movie had four songs in it. Two songs from the movie have been covered in the past, including the title song which was the most popular song from the movie.

When I checked up on the four songs of this movie, I realised that all the four songs were quite popular during its time before they were forgotten.

Here is the third song from “Mera Jeewan”(1976) to appear in the blog. The song is sung by Asha Bhonsle. M G Hashmat is the lyricist. Music is composed by Sapan Jagmohan.

The song is picturised on Vidya Sinha as a “man mein laddoo phootna” genre of song. 🙂

I have not been able to get one word in the lyrics. I request our readers with keener ears to help fill in the blank/ suggest correction as applicable.


Song-Koi mere haathhon mein mehandi laga de (Mera Jeewan)(1976) Singer-Asha Bhonsle, Lyrics-M G Hashmat, MD-Sapan Jagmohan

Lyrics

Koi mere haathhon mein mehandi laga de
Koi mere haathhon mein mehandi laga de
aaj bole re lagan
jisko kehte hain dulhan
koi kaise sajaa de
Koi mere haathhon mein mehandi laga de
Koi mere haathhon mein mehandi laga de

aaj meri aankhon mein chamke pyaar ki jyoti
seep ke man mein muskaaye armaanon ke moti
khushiyon ke moti
pyaar ki jyoti
khushiyon ke moti
pyaar ki jyoti
aaj meri aankhon mein chamke
pyaar ki jyoti
aaj bole mera man
jisko kehte hain sajan
koi us’se milaa de
Koi mere haathhon mein mehandi laga de
Koi mere haathhon mein mehandi laga de

aaj suni kaanon ne mere
dil ki shehnaai
tod ke pinjra panchhi bhaaga
tooti tanhaai
suni shehnaai
tooti tanhaai
suni shehnaai
tooti tanhaai
aaj suni kaanon ne mere
dil ki shehnaai
jaise udti hai pawan
aur jhhoome re gagan
koi kaise uda de
Koi mere haathhon mein mehandi laga de
Koi mere haathhon mein mehandi laga de
aaj bole re lagan
jisko kehte hain dulhan
koi kaise sajaa de
Koi mere haathhon mein mehandi laga de
Koi mere haathhon mein mehandi laga de

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Blog Day : 3834 Post No. : 14842

Today is the 93rd birth anniversary of O P Nayyar (16 january 1926- 28 january 2007).

According to my calculations, O P Nayyar worked in 73 movies and he composed 569 songs in these movies.

This blog has 472 songs from these movies. So, all 73 Hindi movies where O P Nayyar composed music are represented in the blog. 49 of these movies are already YIPPEED. 24 more of movies with O P Nayyar music are yet to be YIPPEED. In addition, one Non movie song composed by O P Nayyar has also been covered in the blog.

So, just under one hundred of O P Nayyar compositions remain to be covered.

Here is the filmography of O P Nayyar:-

Movie Year No of songs in the blog No of songs in the movie Remarks
Aasmaan 1952 8 8 YIPPEED
Chham Chhama Chham 1952 9 11
Baaz 1953 8 8 YIPPEED
Aar Paar 1954 8 8 YIPPEED
Mangu 1954 4 4 Md Shafi composed 3 other songs
Mehbooba 1954 5 5 Roshan composed 4 other songs
Baap Re Baap 1955 11 11 YIPPEED
Miss Coca Cola 1955 8 8 YIPPEED
Mr and Mrs 55 1955 8 8 YIPPEED
Musaafirkhaana 1955 8 8 YIPPEED
Sabse Bada Rupaiyya 1955 6 6 Naashaad composed 3 other songs
Bhaagam Bhaag 1956 10 10 YIPPEED
Chhoomantar 1956 10 10 YIPPEED
C I D 1956 7 7 YIPPEED
Dhaake ki Malmal 1956 7 7 One song by Robin Chatterji
Ham Sab Chor Hain 1956 9 9 YIPPEED
Mr Lambu 1956 8 8 YIPPEED
Naya Andaaz 1956 11 11 YIPPEED
Shrimati 420 1956 8 9 Tum to hamre man mein bhagwaan ban ke base ho- this balance song in untreceable as of now
Bade Sarkaar 1957 4 4 YIPPEED
Duniya Rang Rangeeli 1957 8 8 YIPPEED
Johny Walker 1957 6 6 YIPPEED
Maai Baap 1957 6 6 YIPPEED
Naya Daur 1957 9 9 YIPPEED
Qaidi 1957 5 8
Tumsa Nahin Dekha 1957 6 6 YIPPEED
Ustaad 1957 7 7 YIPPEED
12 o clock 1958 7 7 YIPPEED
Farishta 1958 6 6 YIPPEED
Howrah Bridge 1958 8 8 YIPPEED
Kabhi andhera Kabhi Ujaala 1958 5 9
Mr Qartoon MA 1958 5 8
Mujrim 1958 8 8 YIPPEED
Phagun 1958 11 11 YIPPEED
Raagini 1958 8 12 YIPPEED
Sone Ki Chidiya 1958 8 8 YIPPEED
Do Ustaad 1959 8 8 YIPPEED
Basant 1960 10 14
Jaali Note 1960 8 8 YIPPEED
Kalpana 1960 5 10
Mitti Mein Sona 1960 7 7 YIPPEED
Ek Musaafir Ek Haseena 1962 12 12 YIPPEED
Hongkong 1962 9 9 YIPPEED
Phir Wohi Dil Laaya Hoon 1963 9 9 YIPPEED
Kashmir Ki Kali 1964 9 9 YIPPEED
Mere Sanam 1965 9 9 YIPPEED
Akalmand 1966 7 9
Bahaaren Phir Bhi Aayengi 1966 6 6 YIPPEED
Do Dilon Ki Daastaan 1966 7 8
Love and Murder 1966 2 6
Mohabbat Zindagi Hai 1966 5 8
Saawan Ki Ghata 1966 8 8 YIPPEED
Ye Raat Phir Na Aayegi 1966 8 8 YIPPEED
CID 909 1967 6 6 YIPPEED
Naseehat 1967 3 6
Dil Aur Mohabbat 1968 6 6 YIPPEED
Hamsaaya 1968 7 7 YIPPEED
Kahin Din Kahin Raat 1968 7 7 YIPPEED
Kismat 1968 5 5 YIPPEED
Shrimaanji 1968 3 6
Sambandh 1969 5 12
The Killers 1969 1 6
Aisa Bhi Hota Hai 1971 1 4
Ek Baar Muskura Do 1972 8 8 YIPPEED
Pran Jaaye Per Vachan Na Jaaye 1973 6 6 YIPPEED
Taxi Driver 1973 6 6 YIPPEED
Khoon Ka Badla Khoon 1978 1 8
Bin Maa Ke Bachche 1979 1 6
Heera Moti 1979 3 6
Muqaddar Ki Baat (UR) 1983 1 8
Mangni 1992 1 8
Nishchai 1992 1 6
Zidd 1994 1 7
Total 473 569 YIPPEEED movies=49

As a tribute to O P Nayyar on the occasion of his birth anniversary, here is a song from “Raagini” (1958). This movie was produced by Ashok Kumar and Ganesh and directed by Rakhan for Ashok Productions, Bombay. This “social”movie had Ashok Kumar, Kishore Kuamr, Padmini, Jabeen, Baalam, Sundar, Nazeer Hussain, Achla Sachdev, Ameer Banu, Protima devi, Rajendra, Master Vinod, Baby Leela, Navmi, Ifthhikar, Jamal, Mirajkar, Kathana, < Bhardwaj, Narbada Shankar, Master Raja etc in it.

The movie had twelve songs in it. Eight of these songs have been covered.

Here is the ninth song from "Raagini"(1958) to appear in the blog. The song is sung by Asha Bhonsle. Jaan Nisaar Akhtar is the lyricist. Music is composed buy O P Nayyar.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Dil todne waale bata ke jaa (Raagini)(1958) Singer-Asha Bhonsle, Lyrics-Jaan Nisaar Akhtar, MD-O P Nayyar

Lyrics

dil todne waale bata ke ja
dil todne waale bata ke ja
dil todne waale bata ke ja
maine tera kya kiya
oye maine tera kya kiya
maine tera kya kiya
oye maine tera kya kiya
dil todne waale bata ke ja
dil todne waale bata ke ja

aa aa
ro ro ke maine pukaara tujhe
toone chhoda magar besahaara mujhe
ro ro ke maine pukaara tujhe
tune chhoda magar besaahaara mujhe
mujhko rulaake kaha chal diya
dil todne waale bata ke ja
dil todne waale bata ke ja
maine tera kya kiya
oye maine tera kya kiya
maine tera kya kiya
oye maine tera kya kiya
dil todne waale bata ke ja
dil todne waale bata ke ja

ye sooni raahen andhera sama
ye sooni raahen andhera sama
ye sooni raahen andhera sama
is dil ko maia leke jaaun kahaan
is dil ko main leke jaaun kahaan
jaaun kahaan haaye jaaun kahaan
dil todne waale bata ke ja
dil todne wale bata ke ja
maine tera kya kiya
oye maine tera kya kiya
maine tera kya kiya
oye maine tera kya kiya
dil todne waale bata ke ja
dil todne waale bata ke ja


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 : 3828 Post No. : 14833

Today’s song is from film Hum kisi se kam nahin-77, made under the banner of Nasir Hussain films.

This is the 3rd consecutive song from the 70s that I am discussing. Do not wonder whether I have shifted sides- from writing on films of 30s and 40s to the 70s. Possibly, for the time being, this is the last one from this period. Actually, I have nothing against the musical or film aspect of the period 70s and beyond. It is only that, mostly they are not of my likings. Of course, I have always said that , ” Everything that was made before 70s was not all good, as much as everything made after 70s was not bad either.”

Good or bad depends upon the personal perceptions, because these are opinions. If you measure them on a scale- like say-durability, then it is measurable and no one can deny the durability quotient of old songs vis-a- vis songs after 70s. A lot can be said on this issue, but not today and not here. Anyway, to each his own !

Why do people like a movie ? If the correct answer was known to anybody, he would be a Trillionnaire in no time ! However, when this question is asked to a common man on the street, the answers one would get would be 1. Story is good. 2. Acting is good. 3. Music is good. 4. I like this Hero/Heroine and many such explanations. My observation is that Music and Songs is one major reason for a movie to be popular and successful. There are many examples like Albela-51, Baiju Bawra-52, Anarkali-53, almost all films of Saigal, most Noorjehan and Suraiya films and most films made by Producer, Director and Writer Nasir Hussain.

Nasir Hussain probably had received from God, the formula for successful films-for a short term use. Out of his 13 films, first 10 were hit films- primarily due to Romance and excellent music. It is said that being a script and story writer himself he used one story for all his films-with some variations, of course- and the time he changed the story his films became a flop. Shammi kapoor, whose sinking career took up turn because of the Nasir Hussain film ” Tumsa nahin dekha”-57, had once said, ” we have heard stories of Marwadis coming here with just one Lota and building empires. Here was a man who used one story for his films for 30 years and succeeded !”

Mohammed Nasir Hussain Khan aka Nasir Hussain was born on 2-2-1931 ( wiki says it is 16-11-1926) in Bhopal.His family was related to Maulana Abul Kalam Azaad. While studying in Lucknow University, he wrote several dramas for A.I.R., Lucknow. He even got First prize for 2 consecutive years in the University writing competition .( one of these stories were used to make film ‘ Baharon ke Sapne’). In 1948, he came to Bombay and joined Filmistan.

His first story was for film Shabnam-49, jointly with Qamar Jalalabadi. Independently he wrote story/screenplay/dialogues for Shabistan-51, Anarkali-53, Shart-54, Munimji-55 and Paying Guest-57. Then he wrote Tumsa Nahin Dekha and insisted to direct the film himself. Tolaram Jalan, the owner of Filmistan was not ready to give it to a New director, but when NH threatened to quit, he relented unwillingly but cut the film’s budget. Nasir took Shammi Kapoor ( who had given 9 flops in a row) and new comer Ameeta and made the low budget film Tumsa Nahin Dekha-57.

When Tolaram Jalan saw the film, he was not happy at all,but the film celebrated Jubilees in 30 cities in India. Nasir Hussain got Rs. 10000/- for the story and his salary for 8 months, Rs.8000/- a total of Rs 18000 for this successful film ! When his mentor Shashdhar Mukherjee left Filmistan, to start his own ‘ Filmalaya Studios’, Nasir also left. For this new company. he made Dil Deke Dekho- 59, introducing Asha parekh as New Heroine. The film was a Hit , but he got only Rs. 25000- . Nasir decided that only his own company can give him more money.

With just Rs. 10,000/- in pocket he established his own Nasir Hussain Films Ltd. and made ‘ Jab pyar kisise hota hai-61. Another Hit. Then he made Phir wohi dil laya hoon-63, Teesri manzil-66. Baharon ke sapne-67, Pyar ka Mausam-69, Carvan-71, Yadon ki baraat-73 and Hum kisise kam nahin-77.

For film Teesri manzil-66, the film started with Dev Anand as the Hero. After 2 reels’ shooting, Dev had some differences and he left the film. Shammi Kapoor was roped in. The film was directed by Vijay Anand and for the first time R D Burman was taken for providing Music. Later on Nasir Hussain, Majrooh Sultanpuri and RD Burman collaborated for another 5 films.R D Burman continued till 1985, doing in all 9 films for Nasir Hussain.

After his films in 1981,84 and 85 flopped serially, Nasir Hussain stopped direction and wrote screen play and dialogues for Qayamat se Qayamat taq-88 and Jo Jeeta Wohi Sikandar-92. His nephew Amir Khan was launched in these films. Nasir Hussain died on 13-3-2002 after a Heart attack.

Actors Asha Parekh, Rajendra Nath , Sidhu, Malika and Krishan Mehta owe their career to Nasir Hussain. Shammi Kapoor ,a struggling actor was given a new identity by him & thanks to him, Shammi Kapoor reached at the pinnacle of popularity. Even Amita became a hit property overnight by the success of Tum Sa Nahin Dekha,

While he encouraged new comers, he did not forget the veteran actors ,who had passed their prime . Late B M Vyas ,who was getting roles only in period/religious/Arabian Night movies was chosen by Nasir Hussain for an important role in main stream movie Tum Sa Nahin Dekha. Old timer Wasti ,who regaled the audiences with his natural acting in Sanjog , Rattan, Pugree made in forties and many Punjabi & Hindi movies later on , was passing through a bad phase . Nasir honored him by offering the roles of substance in Dil Deke Dekho,Jab Pyar Kisi Se Hota Hai & Phir Wohi Dil Laya Hoon. He rekindled the fond memories of the forties ,when he signed actors of proven caliber like Rajinder Singh, Mubarak, Kanu Roy, Raj Mehra ,Mumtaz Ali , Surendra Nath & many more . Here I’ll specifically mention the name of Nasir Khan & Bharat Bhushan ,who were passing through the most difficult phase of their lives . The benign film maker Nasir took them in his movies Yaadon Ki Baraat & Pyar Ka Mausam respectively ,just to assure them that they have not been forgotten and the industry recognizes their contribution . It is my strong belief that it was the blessings of those grateful old timer actors ,which made Nasir Hussain so prosperous and successful.

Nasir Hussain had that typical story formula in most of his films of “overhearing” ! In Tumsa Nahi Dekha, Pran overhears about Shammi Kapoor arriving & after stealing Shammi Kapoor’s recommendation letter, introduces himself as Shankar (Shammi Kapoor) . In Dil Deke Dekho, JPKSHH & Pyar Ka Mausam, the heroes concerned, overhear the heroine speaking about a comedian’s arriving (mostly as a marriage candidate) & after packing the comedian back,the hero banks on the name of the comedian. In Teesri Manzil, Shammi Kapoor overhears Asha Parekh speak, that she has come there to take revenge on himself (Rocky) and implies to Asha & her friends that he is different person named Anil Kumar Sona .
Even though with this common formula in most of his films , all his movies did well at the theatre on the basis of good songs & music !

There was a letter from a reader, in Filmfare, which stated thus, ” It is not at all important to pay attention to that so-called Hindi movie critic group who always referred and called Nasir Hussain as man of the movie with Escapism themes all the time to make his movie at box office hit. Working men need to have some kind of entertainment after spending hours and hours in heaps of works and concerned chores. Naturally there grows the tendency to escape from daily reality by engaging in daydreaming, fantasy….and there comes Nasir Hussain with this magical stick plus his established style of screenplay writing and later directing evergreen chocolate hero viz. Dev Anand…rebellious Shammi Kapoor…smiling Joy Mukherjee….charming Shashi Kapoor….handsome Jeetendra….and there was all time beautiful dancing lady ever present in her gorgeous smile…Asha Parekh who worked with these heroes with her fresh enthusiasm. What else an ordinary cine goer wish to have while spending his money for a ticket at window ? Apart from main hero and heroine there were devoted character actors playing various parts . ”

The Hero of the film Hum kisise kam nahin-77 was Rishi Kapoor, born on 4-9-1952. His first entry through Mera Naam Joker-70 fetched him a Film fare award. His debut as a Hero in Bobby-73 also brought him an award from filmfare. He is one actor who is popular even after he retired from films-not fully though. A film The Body-2019, was just released last week, directed by Jitu Joseph.His son Ranbir Kapoor is carrying the Kapoor mantle very ably.

Rishi Kapoor aka Chintoo has some different records on his name. He is the only actor having had 45 different heroines with whom he was cast. He also worked with 20 New entrant Heroines in their Debut films. He was Hero to seniors like Shabana Azmi, Rekha, Rakhee and Hema ( she was launched by his father), then with Madhuri, Shridevi, Tina Munim and Raveena Tandon. He worked with Simi Garewal in film Karz-1980, after his first film Mera Naam Joker-70. Some of his New heroines were Dimple, Kajal Kiran, Bhavna Bhatt, Ashwini Bhave, Radhika, Farah, Vinita, Zeba, Divya, Naseem, Rukhsaar etc etc. He acted in 162 films and also directed 1 film-Aa ab laut chale-99. He lent his voice in 7 songs in 6 films.

Today’s song is a copy of the famous Abba song ” Mama Mia”. So be it, seeing the youthful Rishi and Kajal Kiran singing and dancing is a real treat, in this video. Enjoy….
( For this article I have used information from Yadon ki Baraat by S Kanekar, The Hindu, wiki, MuVyz, HFGK, article by M N Sardana ji in woh din yaad karo and my notes)


Song- Mil gaya hum ko saathi mil gaya (Ham Kisi Se Kam Nahin)(1977) Singers- Asha Bhonsle, Kishore Kumar, Lyrics- Majrooh Sultanpuri, MD- R D Burman
Chorus

Lyrics

mil gaya
hum ko saathi mil gaya
hum se gar koi jal gaya
wu wu
jalne de
wu wu
jalne de
chal gaya
pyaar ka jaadu chal gaya
hum se gar koi jal gaya
wu wu
jalne de
wu wu
jalne de

tere liye
zamaana tere liye
aur tu mere liye
tere liye
zamaana tere liye
aur tu mere liye

mil gaya
humko saathi mil gaya
hum se gar koi jal gaya

wu wu
jalne de
wu wu
jalne de

tere liye
zamaana tere liye
aur tu mere liye

tere liye
zamaana tere liye
aur tu mere liye

haa

ae haa

hey

ae haa

haa

turuturututu
ha
turuturututu
ha
turuturututu
ha
turuturututu

wow beauty


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 : 3826 Post No. : 14830

“Ek Naari Do Roop” (1973) was directed by Madhusudan for Cooperative Pictures Bombay. This “social” movie had Shatrughan Sinha, Rashmi, Asha Sachdev, Jr Mehmood, Ifthikar, Madan Puri, Nadira, Roopesh Kumar, Malika, Chaman Puri, Haneychhaaya, Sapru, Lalita Kumara, Maruti, Kajal, Rajni, Moolchand, Qureshi, Ranveer Raj, Subhash, Master Sheroo, Master Ratan, Master Cheekoo etc in it.

The movie had five songs in it. Two songs from the movie have been covered in the blog. The iconic Rafi song, Dil ka soona saaz taraana dhoondhega was the first song from the movie to be covered on 31 july 2008. The second song from the movie was covered four years later in 2013, which was nearly six years ago !

Though the movie is best known for its iconic Rafi song, the other songs in the movie were also wonderful songs to listen to. In fact, when I played the remaining songs, each one of them sounded so pleasing to my ears that I wondered which song I should save for some special occasion. May be that is the reason why I have not been able to cover these songs in the blog.

Instead of any further procrastination, here is the third song from “Ek Naari Do Roop” (1973) to appear in the blog. The song is sung by Asha Bhonsle. Naqsh Llayalpuri is theb lyricist. Music is composed by Ganesh.

The song is picturised on Rashmi (I guess) and Shatrughan Sinha, with another lady looking on from a distance. I request our knowledgeable readers to help identify the two ladies seen in the picturisation.

Listening to the song gives one a feeling that the tune resembles another song- and then one realises that the tune is same as the song Main tere ishq me mar na jaaun kahin(Loafer)(1973).

What is the reason for the resemblence ? Both songs were created in the same year. “Loafer”(1973) had music by Laxmikant Pyarelal, where Pyarelal was the brother of Ganesh. Both these movies had Gorakh (brother of Pyarelal and Ganesh) as music arranger. Loafer song was sung by Lata. So it was a special case of same tune being composed by one pair of brothers and sung by another pair of sisters. 🙂

The “Loafer”(1973) song became quite popular. The fact that the song was picturised on Mumtaz obviously had something to do with the popularity of that song. This “Ek Naari Do Roop” (1973) on the other hand was lip synced by an unknown lady who continued to remain unknown even after this movie.

PS-Our inhouse face recognition expert Prakashchandra points out that I had got my identification wrong. It is Asha Sachdev who lip syncs the song while Rashmi looks on from a distance. Prakashchandra also tells us that Rashmi marry Anil Dhawan.

This song is a nice song to listen to, on its own. The same is the case with the other two songs from the movie that remain to be covered. It may have taken more than ten years for three songs of “Ek Naari Do Roop” (1973) out of five to get covered. Now that I have noticed this fact, One can be sure that the remaining songs will find their way into the blog sooner rather than later. 🙂

Audio

Video

Song-Zindagi mein sada muskuraate raho (Ek Naari Do Roop)(1973) Singer-Asha Bhonsle, Lyrics-Naqsh Llayalpuri, MD-Ganesh

Lyrics

zindagi mein sada muskuraate raho
zindagi mein sada muskuraate raho
muskuraane se gham paas aata nahin
zindagi mein sada muskuraate raho
muskuraane se gham paas aata nahin
kya haqeeqat hai gulshan mein us phool ki
kya haqeeqat hai gulshan me us phool ki
jo bahaaron ka daaman sajaata nahin
zindagi mein sada muskuraate raho

wo fasaana bano jo kahe har jabaan
geet aisa bano jisko gaaye jahaan
wo fasaana bano jo kahe har jabaan
geet aisa bano jisko gaaye jahaan
dard ke saaz par jisko gaana pade
dard ke saaz par jisko gaana pade
aisa naghma koi gungunaata nahin
zindagi mein sada muskuraate raho

aane waale ghamon ka ho gham kis liye
hum karen apni aankhon ko nam kis liye
aane waale ghamon ka ho gham kis liye
hum karen apni aankhon ko nam kis liye
jo sitaara andheron se darta rahe
jo sitaara andheron se darta rahe
raushni ban ke wo jagmagaata nahin
zindagi mein sada muskuraate raho
muskuraane se gham paas aata nahin
zindagi mein sada muskuraate raho


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 : 3825 Post No. : 14829

Wonder pe Thunder !

Today’s song is from film ‘Hare Rama Hare Krishna’ (1971). When I found that this very popular and famous song of the early 70s was yet to be covered in the blog, my first reaction was to disbelieve it. I was almost sure that there was some mistake. I scanned the entire ‘H’ alphabet film list, bur could not see this song under any heading. Then I checked the year wise and MD wise lists – with same result. I was wondering how this song has escaped from the keen eyes of our contributors, who are specialists in the songs of the 70s ! At the end of it, I even checked with Atul ji, who confirmed that the song, indeed, was yet to be covered by us. This was a bonanza for me.

This is one of the songs of RD Burman, which I liked very much. Comparatively, he was one of the new composers in those times – in my opinion – though he had already done about 40 films before ‘Hare Rama Hare Krishna’ (HRHK). In last few years I had liked few songs from his earlier films like ‘Parichay’ (1972), ‘Seeta aur Geeta’ (1972), ‘Caravan’ (1971), ‘Kati Patang’ (1970) and ‘Teesri Manzil’ (1966). However, he suffered in my hands, due to my biased view of film songs of the period of 70s and beyond and except few more songs of RD Burman, I never liked his music, which in general I felt, was too loud and mostly copied from other sources (see several U-Tube videos on this issue, as a proof). However, I concede that he was a worthy son of a worthy composer compared to some other composer-son composers and that his music was much better than theirs and that he lasted for a longer period, cut short only by his sudden death in 1994, at the age of 55 years.

Today’s song is sung by Asha Bhosle and chorus and its video shows that it was sung on screen by a Hippie Girl (Zeenat Aman) amidst a smoking Hippie crowd. Somewhere in the year 1966, I had visited Goa (Panaji) to participate in a conference. During my visit, we had 2 free days and we roamed around the beautiful beaches of Goa. Goa had been liberated from the Portuguese about 6 years back and the Indian tourists did not have enough time yet to spoil the beaches and cities of Goa. So we could really enjoy our trip. During our beach visits we saw many Hippie groups, behaving in a ‘who cares’ attitude on the beaches. No wonder, many of my colleagues took their photographs to show in their respective private circles. That was a time when the Hippie culture had spread around the world.

Hippie (also spelled hippy) people were members of a counter cultural movement during the 1960s and 1970s, that rejected the mores of mainstream American life. The movement originated on college campuses in the United States, and also spread to other countries. Hippies felt alienated from middle-class society, which they saw as dominated by materialism and repression, and they developed their own distinctive lifestyle. They favoured long hair and casual, often unconventional, attire, sometimes in ‘psychedelic’ colours.

Many males grew beards, and both men and women wore sandals and beads. Long flowing granny dresses were popular with women, and rimless granny glasses with both men and women. Hippies commonly took up communal or cooperative living arrangements, and they often adopted vegetarian diets based on unprocessed foods and practiced holistic medicine. Hippies tended to be dropouts from society, foregoing regular jobs and careers, although some developed small businesses that catered to other hippies.

Hippies advocated non-violence and love, a popular phrase being “Make love, not war,” for which they were sometimes called ‘flower children’. They promoted openness and tolerance as alternatives to the restrictions and regimentation they saw in the middle-class society. Hippies often practiced open sexual relationships and lived in various types of family groups. They commonly sought spiritual guidance from sources outside the Judeo-Christian tradition, particularly Buddhism and other Eastern religions. Hippies promoted the recreational use of hallucinogenic drugs, particularly marijuana and LSD (lysergic acid diethylamide), in so-called head trips, justifying the practice as a way of expanding consciousness.

By the mid-1970s the movement had waned, and by the 1980s hippies had given way to a new generation of young people who were intent on making careers for themselves in business and who came to be known as yuppies (young urban professionals). Nonetheless, hippies continued to have an influence on the wider culture, seen, for example, in more relaxed attitudes toward sex, in the new concern for the environment, and in a widespread lessening of formality.

Film HRHK was Dev Anand’s idea. Initially, he wanted Zahida to become its Heroine. She, however rejected the offer when she learnt that in the film, she would be Dev’s sister – Jasbir. Dev Anand also wanted SD Burman to do the music. When Dada heard the original story, in which Zeenat falls in love with Dev, not knowing that he was her brother, Dada flatly refused the film and also advised Dev to change the story, as Indian public would be averse to an incest story. Eventually RD Burman was selected as MD.

Similarly, this song – “Dum Maaro Dum” was originally to be a duet of Usha Uthup and Lata Mangeshkar. Possibly Asha Bhosle, who was on the verge of leaving OPN and joining RD Burman (who had applied for a divorce with Rita –  his wife) scuttled the plan and the song came to Asha as a solo and another duet with usha Uthup. RD burman then changed the whole tune of the song, using Asha’s skill of singing in higher pitches.

All songs of this film became popular, especially “Phoolon Ka Taaron Ka Sabka Kehna Hai” and “Dum Maaro Dum” were heard everywhere. The lyrics of the song “Dum Maaro Dum” were very apt to indicate and describe the philosophy and frustration of the younger generation in that period –

duniya ne hum ko diya kya
duniya se hum ne liya kya
hum sab ki parvah karen kyun
sabne hamara kiya kya

All this clearly indicated what was eating the minds of young people.

Fortunately, 70s was the period when the Hippie culture was on decline worldwide. As such, this type of philosophy and such cult did not fit into the Indian mind set in any case. Therefore, this culture did not grow much here and had a natural end – like everywhere else in the world.

Two interesting anecdotes about this film. One, Dev Anand in his autobiography -“Romancing With Life “, published in 2007, had confessed that during this film, he had fallen in love with Zeenat. He was to make a confession to her, when he learnt that she had gone very close to Raj Kapoor. In one party, he also saw Raj kapoor hugging Zeenat and she was responding to him. Dev was disillusioned. He knew that Zeenat was keen to work in RK’s film ‘Satyam Shivam Sundaram’, and that all this was due to that only. He simply removed her thought from his mind.

Second is about the Burmans. In the program ‘Phool Khile Hain Gulshan Gulshan’, Pancham narrated that – “Papa used to go for morning walk everyday in Juhu. People recognised him and would say, look, SD Burman is going. One day he came back very excited. He told me, today people recognised me and said, Look RD Burman’s father is going. Papa was proud of me that my music in HRHK was famous and popular.”

Nandu Chawathe- a leading fiddler and violinist was associated with Pancham in those days. This person – Nandu Chawathe, was a guest in one of our get togethers of Atulites in Mumbai, thanks to one of our members Nitin ji Shah. He had played some songs on his violin in that meeting,  Chawathe says that Dev Anand was very much upset, when Asha replaced Lata and Pancham took time to compose the new tune for Asha Bhosle. The final product, however, pleased Dev Anand.

The story of the film, as given in wiki, is –

In the background of the rise of the International Hare Krishna movement in the 1970s, is a Montreal-based family of the Jaiswals, consisting of mom, dad, son, Prashant, and daughter, Jasbir. Due to differences, Mr and Mrs Jaiswal separate, leaving Jasbir with dad, and Prashant with his mom. Eventually Prashant and his mom travel to India, leaving father and daughter behind in Montreal. Mr. Jaiswal remarries, and brings his new wife to live in his home. Jasbir is told by her nanny that her mother & brother are dead. Back in India Prashant is sent to a boarding school and his father makes sure that none of Prashant’s letters reach Jasbir, so that it would be easy on her part to get over emotional trauma. Jasbir is upset with her inconsiderate step-mother and ignorant father who is deeply immersed in his business.

Years later, Prashant has grown up to be a pilot. He has received a letter from his dad that Jasbir, who had rebelled and left home, is now located in Kathmandu, Nepal, with a group of hippies. Prashant decides to find his sister and hopefully get her back to the family. When Prashant lands in Kathmandu he does not find Jasbir, but instead finds Janice, who is indeed his sister with a new name. Janice has no recollection of her childhood, and is always in the company of hippies spending most of her time consuming alcohol & drugs with them.

Janice lives with the hippies in the property rented out by local landlord Drona. Drona’s real business is stealing ancient artifacts from Kathmandu and selling it to foreign nationals. Michael, one of the hippies, is the one who does all the dirty work for him. Janice’s boyfriend Deepak misunderstands that Prashant is trying to woo Janice, hence they exchange a few blows every time they meet. Meanwhile, Drona has an eye on Shanti, a local salesgirl working in one of the shops owned by him. Shanti has feelings for Prashant which creates one more enemy for him. Later Prashant and Shanti elope and get married. At the same time a precious idol is stolen from local temple by Michael, which he hides in Janice’s house. Prashant secretly observes all this. Drona tries to frame Shanti for theft by secretly planting another stolen artifact in her house. Later he spreads the word that since the day Prashant has arrived idols are being stolen and he is stalking local girls.

The police commissioner is a friend of Prashant’s father, and has already received a letter stating the purpose of Prashant’s visit to Kathmandu. He suspects that Drona is trying to frame Prashant because he has married Shanti. He gets a search warrant for the entire property of Drona and recovers a diary which has contact details of his friends abroad who help him sell the stolen artifacts. The police also recover the stolen artifact from Shanti’s home, squarely blaming Prashant for it. Shanti is deeply hurt by this and looks around for Prashant. Prashant meanwhile is with Janice, trying to convince her that he is her brother, who she had been told dead long back. Michael overhears the conversation & conspires to put the blame on the brother-sister duo. Taking advantage of the situation Drona and Michael instigate the locals against Prashant by framing him for the theft and duping Shanti under pretext of marriage. The hippies and the locals are now ready to bash Prashant the moment they come across him.

When Prashant again tries to meet Janice, the hippies give him a solid thrashing. The police commissioner intervenes and Prashant is saved. At the same time the true face of Drona is uncovered and he meets his end trying to run away from police. Janice sees that both her parents have arrived to meet her and realizes that Prashant is indeed her brother. Janice is deeply hurt that her parents had to see her in this state. She runs away from them and commits suicide. In her suicide note she tells Prashant how deeply she loved him and she never intended him to find her in this state and suicide was the only way out for her.

‘Hare Rama Hare Krishna’ (released on 9-12-1971) was a Landmark film for Navketan – a film production company, which could boast of a world record (yet unbeaten) that the company was run for 62 years by the same person who established it in 1949 ! The cult song “Dum Maaro Dum” became so popular that no function was complete without this song for the next 10 years! Enjoy this song here today…..

[Author’s Note: The article uses information from books ‘Gaata Rahe Mera Dil’ and ‘Music Beyond Boundaries’, Wiki, The Hindu and my notes].

Video (Partial)

Audio (Complete)

Song – Dum Maro Dum, Mit Jaayen Gham  (Hare Rama Hare Krishna) (1971) Singer – Asha Bhosle, Lyrics – Anand Bakshi, Music – RD Burman
Female Chorus
Male Chorus

Lyrics (Provided by Sudhir)

hush..shh..shh..shh

dum maaro dum..mm..mmaaaa
mit jaaye gham..mm..mmaaaa
bolo subah shaa..aam
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram

dum maaro dum..mm..mmaaaa
mit jaaye gham..mm..mmaaaa
bolo subah shaa..aam
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram

pa..aa pa ra pa pa tu tu tu
aa..aa ee..ee
ta raa ta raa ta raa ta raa raa..aa

duniya ne hum ko diya kya
duniya se hum ne liya kya
hum sab ki parvah karen kyon
sab ne hamaara kiya kya
duniya ne hum ko diya kya
duniya se hum ne liya kya
hum sab ki parvah karen kyon
sab ne hamaara kiya kya

aaaa aaaa aaaa aaaa

dum maaro dum..mm..mmaaaa
mit jaayen gham..mm..mmaaaa
bolo subah shaa..aam
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram

hush..shh..shh..shh

dum maaro dum..mm..mmaaaa
mit jaaye gham..mm..mmaaaa
bolo subah shaa..aam
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram

chaahe jiyenge marenge
hum na kisi se darenge
hum ko na roke zamaana
jo chaahenge hum karenge

aaaa aaaa aaaa aaaa

dum maaro dum..mm..mmaaaa
mit jaayen gham..mm..mmaaaa
bolo subah shaa..aam
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
हश॰॰शश॰॰शश॰॰शश

दम मारो दम॰॰मम्म॰॰मम्मआ॰॰आ
मिट जाएँ ग़म॰॰मम्म॰॰मम्मआ॰॰आ
बोलो सुबह शा॰॰आम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम

दम मारो दम॰॰मम्म॰॰मम्मआ॰॰आ
मिट जाएँ ग़म॰॰मम्म॰॰मम्मआ॰॰आ
बोलो सुबह शा॰॰आम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम

पा॰॰आ प र पा पा तु तु तु
आ॰॰आ ई॰॰ई
त रा त रा त रा त रा रा॰॰आ

दुनिया ने हमको दिया क्या
दुनिया से हमने लिया क्या
हम सबकी परवाह करें क्यों
सब ने हमारा किया क्या

आ॰॰ आ॰॰ आ॰॰ आ॰॰

दम मारो दम॰॰मम्म॰॰मम्मआ॰॰आ
मिट जाएँ ग़म॰॰मम्म॰॰मम्मआ॰॰आ
बोलो सुबह शा॰॰आम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम

हश॰॰शश॰॰शश॰॰शश

दम मारो दम॰॰मम्म॰॰मम्मआ॰॰आ
मिट जाएँ ग़म॰॰मम्म॰॰मम्मआ॰॰आ
बोलो सुबह शा॰॰आम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम

चाहे जिएंगे मरेंगे
हम ना किसी से डरेंगे
हमको ना रोके ज़माना
जो चाहेंगे हम करेंगे

आ॰॰ आ॰॰ आ॰॰ आ॰॰

दम मारो दम॰॰मम्म॰॰मम्मआ॰॰आ
मिट जाएँ ग़म॰॰मम्म॰॰मम्मआ॰॰आ
बोलो सुबह शा॰॰आम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम


This article is written by Avinash Scrapwala, 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 : 3825 Post No. : 14828

#the Decade of Seventies – 1971 – 1980 #
———————————————————–
# Bhoole-Bisre Geet # 77 # Reena Roy’s Birth Anniversary #
———————————————————————————————————-

In my growing years, in the seventies, Hema Malini was the leading name among the actresses in the Hindi movies and she ruled the ‘screen’ in those years 1971-1980 and extended thereafter till 1986 if we can consider it.

During those years there were many other heroines on the Hindi Movie scene who lit up the screen with their presence and performances.

One of these names is ‘Reena Roy’, whose growth in her career coincided with the growth of people like me (those born in early seventies) in our lives. She made her debut in the 1972 movie ‘Zaroorat’. A year or more later in 1973 came her sizzling dance number ‘ab ke saawan mein jee darey’ in ‘Jaise Ko Taisa’ with actor Jeetendra’.

In 1975 one of her song from ‘Zakhmee’ ‘jalta hai jiya mera bheegi bheegi raaton mein’ with Rakesh Roshan also got some popularity.

Till 1976 she had acted in about twelve movies (as per her ‘filmography’ on ‘wiki’).

In 1976 there were six movies of her released viz. ‘Sangram’, ‘Gumraah’,’Barood’, ‘Naagin’, ‘Kaalicharan’ and ‘Udhar Ka Sindoor’.

With her role in ‘Naagin-1976’ she rose to the top and with the success of ‘Kaalicharan’ her pairing with Shatrughan Sinha became popular and both of them acted in many films thereafter.
She was nominated in the ‘best actress’ category for her role in ‘Naagin-1976’ which she lost to Rakhee in ‘Tapasya’. After ‘Nagin-1976’ she was nominated in the ‘best actress’ category for her role in the ‘1980 movie – Aasha’ which she lost again, this time to Rekha for her role in ‘Khoobsurat’.

In between she was declared winner of the ‘Filmfare’ award in the ‘best supporting actress’ category for her role in ‘Apnaapan -1977’ which she did not accepted citing the reason that the role in ‘Apnaapan’ was not a supporting role but was like a ‘lead role’.

For me, I would say that I liked her performances in all the movies that I have watched of her so far. I remember ‘Naagin-1976’, ‘Badalte Rishtey-1978’, ‘Jaani Dushman-1979’,’Yaari Dushmani-1979’,’Be-reham-1980’, then ‘Naseeb’, ‘Rocky’, ‘Dhanwan’, ‘Pyaasa Saawan’ – all of 1981.

After that as a grown-up boy I watched her in ‘Main Intaqaam Loonga’, ‘Dard Ka Rishta’, ‘Sanam Teri Kasam’ in 1982, and ‘Andhaa Kaanoon’. (In 1982 as many as fourteen of her movies were released (as per wikipedia)).

Then I watched her ‘Naukar Biwi Ka’ in 1983, ‘Raaj Tilak’, ‘Asha Jyoti’, in 1984 (I vaguely remember to have watched her ‘Intehaa-1984’ with Raj Babbar).
I watched ‘Baghaawat’ in 1985-86 and ‘Karmyogi-1978’ on video cassette around 1990 but do not remember it now.

‘Aasha-1980’ I watched on TV sometime around 1990-91 I think and ‘Kaalicharan-1976’ around 1999 on TV.
Well, I still have to watch many of her famous movies like ‘Arpan’, ‘Ghulami’, ‘Gautam Govinda’, ‘Jwaalamukhi’, ‘Vishwanath’ (I think I watched it in parts on some tv channel) and many others.

Today let us watch a song from the 1978 movie ‘Vishwanaath’ performed by Reena Roy on screen. I didn’t get to watch this movie and vaguely remember of watching some of its parts on ‘TV’, as mentioned above, may be some years back. (However, I sincerely wish to watch it now as and when possible.)

So far two songs of this movie have been posted on the blog and one ‘jab jab jo jo hona hai’ with a ‘passionate’ and ‘interesting’ post by our Santosh Ojha ji and other one ‘hawa se halki hoon aaj’ by Atul ji with the contribution coming from Prakash ji.

I would request readers to go through this post ‘jab jab jo jo hona hai’ too to get a ‘feel’ of this wonderful movie of the ‘seventies’.

“Vishwanaath-1978” was directed by Subhash Ghai for ‘Ramayan Chitra’, Bombay’.

It had Shatrughan Sinha, Reena Roy, Premnath, Pran, Rita Bhaduri, Madan Puri, Sulochana, Iftikhar, Jagdish Raj, Randhir, Sapru, Yusuf Khan, Viju Khote, Sudhir, Madhu Chauhan, Keshav Rana, Suresh Desai, and Ashok Khanna.

Parikshit Sahni, Rakesh Pande, Lalita Pawar, Mukri, Bharat Bhushan, Satyen Kappu and Ranjeet make a special appearance in this movie.

This movie had total six songs penned by Vitthalbhai Patel- two songs, M.G. Hashmat – one song, Rajkavi Tulsi – one song and Anjan – two songs.

Music for this movie was composed by Rajesh Roshan.

Asha Bhonsle, Kishore Kumar, Lata Mangeshkar and Manna Dey gave their voices to the songs in this movie.

This movie was passed by Censor Board on 13.01.1978.

Today’s song is sung by Asha Bhonsle and written by Anjaan. Music is composed by Rajesh Roshan.

Let us now enjoy this wonderful racy composition by Rajesh Roshan which Reena Roy performs on screen in a ‘villain’s den’. And going by its songs available on YT I think this movie has more than one song in the ‘villain’s den’ song category. Also, I must admit here that I was not aware of this song, few years back, till this post and I came across it while searching for other songs. I don’t even remember if I have heard it earlier somewhere.

As I listened to it many times for the preparation of this post it grew upon me. The composition is something special, I think. And since the preparation of this post I have listened to it many many times now.

Asha Bhonsle’s singing and the tune set to it by Rajesh Roshan no doubt is magical.

The heroine is performing this song in the villain’s den ‘straight way’ challenging him and its music is very much supporting the ‘revengeful’ feelings of the heroine, of course, supported by Shatrughan Sinha and Pran (in disguise). Reena Roy has performed with full zeal and energy on this song.

Today 7th January 2019 is the sixty-second birth anniversary of actress Reena Roy (born on 07.01.1957). Wishing her here a very happy birthday today and a healthy and peaceful life in future, let us now enjoy this wonderful song composed by Rajesh Roshan and written by Anjaan.

Video

Audio

Song-Bibasha aaj karegi manmaani (Vishwanath)(1978) Singer-Asha Bhonsle, Lyrics-Anjaan, MD-Rajesh Roshan
Chorus

Lyrics

Bibasha aa aa
Aaj karegi manmaani ee
Bibasha aa
Laa laa laa laa laa laa
Laa laa laa laa laa laa
Aaj karegi manmaani ee

Ho o
Hoga tamaasha betahaasha
Chhedegi aisi kahaani
Haa aa
Bibasha aa
Laa laa laa laa laa laa
Laa laa laa laa laa laa
Aaj karegi manmaani
Bibasha aa
Aaj karegi manmaani

Aa aa aa aa aa
O o o
Kaise beimaani sahe preet deewaani
Meri ho
Kisi ki na maane jab baaghi ho jawaani
Meri ho o
Ghunghroo bajaaun
Aa
Dil ko rijhaaun
Aa
Sab ko nachaaun
Aa
Bas mein na aaun
Mere pass tu na aa mujhe haath na lagaa re ae
Bibasha aa
Laa laa laa laa laa laa
Laa laa laa laa laa laa
Aaj karegi manmaani
Bibasha aa
Aaj karegi manmaani

Allaah hi laa laa
Laa laa laa aa
Aiyee aiyee yaa
Allaah hi laa laa
Laa laa laa aa
Aiyee aiyee yaa

Haa aa
Bibaashaa aa

Ho o bhanware hi bhanware
Pade hain mere pichhe yahaan ho o
Pyaar mein jal jaaye
Jo wo parwaana kahaan
Aankh milaa
Aa
Dil mein samaa
Aa
Parde utthhaa
Aa
Raaz bataa aa
Jo ye pardaa utthhaa
Phir tera hoga kya re ae
Bibasha aa
Laa laa laa laa laa laa
Laa laa laa laa laa laa
Aaj karegi manmaani
Bibasha aa aa
Aaj karegi manmaani

Aaj karegi manmaani ee
Aaj karegi manmaani ee

———————————–
Devnagri script lyrics (Provided by Avinash Scrapwala)
———————————–

बिबाषा आ
आज करेगी मनमानी ई
बिबाषा आ
ला ला ला ला ला ला
ला ला ला ला ला ला
आज करेगी मनमानी ई

हो ओ
होगा तमाशा बेतहाशा
छेड़ेगी ऐसी कहानी
हां आ
बिबाषा आ
ला ला ला ला ला ला
ला ला ला ला ला ला
आज करेगी मनमानी ई
बिबाषा आ
आज करेगी मनमानी ई

आ आ आ आ आ
ओ ओ ओ
कैसे बेईमानी सहे प्रीत दीवानी
मेरी हो
किसी की न माने जब बाग़ी हो जवानी
मेरी हो ओ
घुँघरू बजाऊं

दिल को रिझाऊं

सब को नचाऊँ

बस में न आऊँ
मेरे पास तू न आ
मुझे हाथ न लगा रे ए
बिबाषा आ
ला ला ला ला ला ला
ला ला ला ला ला ला
आज करेगी मनमानी ई

अल्लाह ही ला ला
ला ला ला आ
ऐई ऐई या
अल्लाह ही ला ला
ला ला ला आ
ऐई ऐई या

हां आ
बिबाषा आ

हो ओ भंवरे ही भंवरे
पड़े है मेरे पीछे यहाँ हो ओ
प्यारे में जल जाए
जो वो परवाना कहाँ
आँख मिला

दिल में समा

परदे उठा

राज़ बता आ
जो ये पर्दा उठा
फिर तेरा होगा क्या रे ए
बिबाषा आ
ला ला ला ला ला ला
ला ला ला ला ला ला
आज करेगी मनमानी ई
बिबाषा आ आ
आज करेगी मनमानी
आज करेगी मनमानी ई
आज करेगी मनमानी ई


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3822 Post No. : 14824 Movie Count :

4053

Missing Films of 1960s – 89
– – – – – – – – – – – – – – –

The year that we are currently exploring is 1970. And I am surprised to be coming across so many films that at least I have not been familiar with. It would have been the period that listening to the radio would have already started. However, this film does not ring a bell at all.

The film that I introduce today is ‘Sau Saal Beet Gaye’. The obscurity of this film can also be estimated by the fact that even HFGK does not contain many details about this film. It contains a partial list of songs, and very little other information about the film itself. The banner name is identified as Natraj Productions. The lyricist name is listed as Indeewar, and the music director is identified as Usha Khanna.

Now, however, the film is available online. I reviewed the credits and gathered the following additional information. The star cast of the film is Ashok Kumar, Helen, Raj Mehra, Sajjan, Iftekhar, Pratima Devi, Chaman Puri and Mukri. The screenplay and dialogues are written by Ashok Kumar himself. The producer is Madan Chopra and the director is given as two names, indicating a duo – Ved-Madan. Possibly Madan is the same as the person identified as the producer.

I did not view the film in detail, only did a quick fast forward scan. Very interestingly, the lead romantic pair in this film is Ashok Kumar and Helen. The story is about two lovers meeting across the boundaries of life and death – in two different births. Quite familiar you might say. Yes, more than a handful of films come to mind that are based on this story outline.

Anyway, details in another post, maybe. Today’s song is a stage dance song performed by Helen. The male companion in this clip is not identified – most likely an unfamiliar junior artist who just appears in this song in the film. Helen works for a theater company owned by Iftekhar, who is the cousin brother of Ashok Kumar in the film. At the end of this song, Ashok Kumar and Helen are introduced, ostensibly for the first time, but there appears the first glimmer of a familiarity. And onward, the story unfolds.

The lyrics are from the pen of Indeewar and the music is by Usha Khanna. The singing voice is Asha Bhosle. A peppy and fast paced fun number that introduces Helen in this storyline. A Helen song is always a treat, and this one is no less. Listen and enjoy.

 

Song – Brahmchari Ji, O Brahmchari Ji  (Sau Saal Beet Gaye) (1970) Singer – Asha Bhosle, Lyrics – Indeewar, MD – Usha Khanna

Lyrics

brahmchaari ji
o brahmchaari ji
brahmchaari ji
o brahmchaari ji
aao kareeb aao
aise na sharmaao
aao kareeb aao
aise na sharmaao
hum hain tumhare pujaari..
brahmchaari ji
o brahmchaari ji
brahmchaari ji
o brahmchaari ji

ye dikhaawa hai ye bhes utaaro ji
reh ke duniya mein duniya sanwaaro ji
aa ritra..rom-ritra..rom-ritra..ramanna
aa ritra..rom-ritra..rom-ritra..ramanna
ye dikhaawa hai ye bhes utaaro ji
reh ke duniya mein duniya sanwaaro ji
bhatko na ban mein tum
thehro ji mann mein tun
preet meri deewaani tumhaari..
brahmchaari ji
o brahmchaari ji
brahmchaari ji
o brahmchaari ji

insaan marte hain marti nahin aasha
yahaan har dil hai bas pyaar ka pyaasa
aa ritra..rom-ritra..rom-ritra..ramanna
aa ritra..rom-ritra..rom-ritra..ramanna
insaan marte hain marti nahin aasha
yahaan har dil hai bas pyaar ka pyaasa
duniya na thukraao
khud ko na tadpaao
mujhko dekho khushi hoon tumhaari..
brahmchaari ji
o brahmchaari ji
brahmchaari ji
o brahmchaari ji

har kisi ko
kisi ki zaroorat hai
ye hi duniya mein jeene ki surat hai
aa ritra..rom-ritra..rom-ritra..ramanna
aa ritra..rom-ritra..rom-ritra..ramanna
har kisi ko
kisi ki zaroorat hai
ye hi duniya mein jeene ki surat hai
palken to kholo ji
kuchh hum se bolo ji
aarzoo ho tumhen to hamaari
brahmchaari ji
o brahmchaari ji
brahmchaari ji
o brahmchaari ji
aao kareeb aao
aise na sharmaao
aao kareeb aao
aise na sharmaao
hum hain tumhare pujaari..
brahmchaari ji
o brahmchaari ji
brahmchaari ji
o brahmchaari ji

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

ब्रह्मचारी जी
ओ ब्रह्मचारी जी
ब्रह्मचारी जी
ओ ब्रह्मचारी जी
आओ करीब आओ
ऐसे ना शर्माओ
आओ करीब आओ
ऐसे ना शर्माओ
हम हैं तुम्हारे पुजारी॰॰
ब्रह्मचारी जी
ओ ब्रह्मचारी जी
ब्रह्मचारी जी
ओ ब्रह्मचारी जी

ये दिखावा है ये भेस उतारो जी
रह के  दुनिया में दुनिया सँवारो जी
आ रित्रा॰॰रोम-रित्रा॰॰रोम-रित्रा॰॰रामन्ना
आ रित्रा॰॰रोम-रित्रा॰॰रोम-रित्रा॰॰रामन्ना
ये दिखावा है ये भेस उतारो जी
रह के  दुनिया में दुनिया सँवारो जी
भटको ना बन में तुम
ठहरो जी मन में तुम
प्रीत मेरी दीवानी तुम्हारी॰॰
ब्रह्मचारी जी
ओ ब्रह्मचारी जी
ब्रह्मचारी जी
ओ ब्रह्मचारी जी

इन्साँ मरते हैं मरती नहीं आशा
यहाँ हर दिल है बस प्यार का प्यासा
आ रित्रा॰॰रोम-रित्रा॰॰रोम-रित्रा॰॰रामन्ना
आ रित्रा॰॰रोम-रित्रा॰॰रोम-रित्रा॰॰रामन्ना
इन्साँ मरते हैं मरती नहीं आशा
यहाँ हर दिल है बस प्यार का प्यासा
दुनिया ना ठुकराओ
खुद को ना तड़पाओ
मुझको देखो खुशी हूँ तुम्हारी॰॰
ब्रह्मचारी जी
ओ ब्रह्मचारी जी
ब्रह्मचारी जी
ओ ब्रह्मचारी जी

हर किसी को किसी की ज़रूरत है
ये ही दुनिया में जीने की सूरत है
आ रित्रा॰॰रोम-रित्रा॰॰रोम-रित्रा॰॰रामन्ना
आ रित्रा॰॰रोम-रित्रा॰॰रोम-रित्रा॰॰रामन्ना
हर किसी को किसी की ज़रूरत है
ये ही दुनिया में जीने की सूरत है
पलकें तो खोलो जी
कुछ हमसे बोलो जी
आरज़ू हो तुम्हें तो हमारी
ब्रह्मचारी जी
ओ ब्रह्मचारी जी
ब्रह्मचारी जी
ओ ब्रह्मचारी जी
आओ करीब आओ
ऐसे ना शर्माओ
आओ करीब आओ
ऐसे ना शर्माओ
हम हैं तुम्हारे पुजारी॰॰
ब्रह्मचारी जी
ओ ब्रह्मचारी जी
ब्रह्मचारी जी
ओ ब्रह्मचारी जी


This article is written by Avinash Scrapwala, 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 :

3822 Post No. : 14823

‘PANCHAM-RAFI’ Jodi’s Variety Songs – 4
– – – – – – – – – – – – – – – – – – – – –

Today 4th January is the twenty fifth ‘Remembrance Day’ (27th June’1939- 04th January’1994) of the ‘versatile genius’ RD Burman or our beloved Pancham Da. One cannot believe that it is twenty five years now since Pancham Da left us. His songs are a daily routine for me and maybe many like me, and so it never appears that he is not there. He is always there with us – the music lovers.

I wish to send an article with other song composed by Pancham for this occasion, however could not finish that article hence I for today’s occasion I am sharing herewith one of my already pending article under the series ‘Pancham-Rafi Jodi’s variety songs. We already have the following songs earlier in this series posted on the blog;

Jaag devta naag devta

Raqqaasa mare naam

Maine kab chaaha ke doolha banoonga

So coming back after a long gap in this series, today we have song composed by RD Burman from the movie ‘Takkar’ (1980). Today’s song of ‘Pancham – Rafi Jodi Songs’ is a melodious devotional song.

‘Takkar’ is a Padmalaya Films Production. produced by GA Sheshagiri Rao and directed by K Bapaiyaa. The movie had Sanjeev Kumar, Zeenat Aman, Jeetendra, Jayaprada, Vinod Mehra (double role), Bindiya Goswami, Ranjeet, Mac Mohan, Ashok Kumar, Kamini Kaushal, Sujit Kumar, Jeevan, Mukri, Asrani, Shivaraj, Leela Chitnis, Komila Virk, Jalal Agha, Mohan Choti, Master Bittoo, A. Abdul Hameed, Mac Mohan, Umesh Sharma, Swaraj Gupta, Anand Mohan, Umesh Khanna, K N Reddy, Pawan Babu, Asha Sachdev, Prema Narayan etc. in it.

As per HFGK this movie was passed by Censor Board on 07.04.1980. It had total seven songs in it wherein Asha Bhonsle, Kishore Kumar, Lata Mangeshkar, Mahendra Kapoor, and Mohd Rafi gave their voices to the songs in this movie. Lyrics for this movie were written by Anand Bakshi and Music was composed by R.D. Burman.

I do not remember to have heard this song till this post. Also from the list of other songs of this movie they don’t seem familiar to me. Though I am aware that there was this movie in those days, but have not watched it then and even till date. This is the second song from this film to appear on the blog.

Here is the brief about this film that Atul ji mentioned while posting the first song from this film (on 09.09.2013) – Moorty Ganesh Ki Andar Daulat Desh Ki.

In today’s song Sanjeev Kumar and Zeenat Aman are lip syncing in Mohd Rafi and Asha Bhonsle’s voice respectively on the screen. Ashok Kumar, Kamini Kaushal, Jeevan, Bindiya Goswami and others are seen in the song.

From the video of the song one can assume that Zeenat Aman looks for her ‘Shyam’ in Sanjeev Kumar and Ashok Kumar seems to find the spiritual one, few seem to be interested in Kanhaiyya’s moorty itself and Sanjeev Kumar preparing to take on the evils or he too wants to get this ‘moorty’. Only those who have watched this movie can help us.

But the song is a nice hummable one. As mentioned above lyrics of this song are by Anand Bakshi and it is composed by RD Burman.

Let us now enjoy this interesting song.

Song – Maakhan Chor Nandkishore Manmohan Ghanshyam Re (Takkar) (1980) Singer – Mohammed Rafi, Asha Bhonsle, Lyrics – Anand Bakshi, MD – RD Burman
Mohammed Rafi + Asha Bhonsle

Lyrics

maakhanchor nandkishore
manmohan ghanshyam re
kitne tere roop re
kitne tere naam re

arey maakhanchor nandkishore
manmohan ghanshyam re
kitne tere roop re
kitne tere naam re

devki maa ne janam diya aur
maiyya yashoda ne paala aa aa aa
devki maa ne janam diya aur
maiyya yashoda ne paala aa
tu gokul ka gwaala
bindraban ka bansari waala aa

ho aaj teri bansi phir baaji
mere mann ke dhaam re
kitne tere roop re
kitne tere naam re

ho maakhanchor nandkishore
manmohan ghanshyam re
kitne tere roop re
kitne tere naam re

kaali naag ke saath ladaa tu
zaalim kans ko maara aa aa aa
kaali naag ke saath ladaa tu
zaalim kans ko maara aa aa
baal awasthaa mein hi tune
khela khel ye saara

tera bachpan
tera jeewan
jaise ek sangraam re
kitne tere roop re
kitne tere naam re

o maakhanchor nandkishore
manmohan ghanshyam re
kitne tere roop re ae
kitne tere naam re ae

tu ne sabka chain churaaya
o chitchor kanhaiyya aa aa aa
tu ne sabka chain churaaya
o chitchor kanhaiyya
o o o
o jaane kab ghar aaye dekhe
raah yashoda maiyya
arey vyaakul radha dhoondhe shyam
na aaya ho gayi shaam re
kitne tere roop re
kitne tere naam re

o maakhanchor nandkishore
manmohan ghanshyam re
kitne tere roop re
kitne tere naam re ae …


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

माखनचोर नंदकिशोर
मनमोहन घनश्याम रे
कितने तेरे रूप रे
कितने तेरे नाम रे

अरे माखनचोर नंदकिशोर
मनमोहन घनश्याम रे
कितने तेरे रूप रे
कितने तेरे नाम रे

देवकी माँ ने जनम दिया और
मैय्या यशोदा ने पाला आ आ आ
देवकी माँ ने जनम दिया और
मैय्या यशोदा ने पाला आ
तू गोकुल का ग्वाला
बिंद्राबन का बंसरी वाला आ

हो आज तेरी बंसी फिर बाजी
मेरे मन के धाम रे
कितने तेरे रूप रे
कितने तेरे नाम रे

हो माखनचोर नंदकिशोर
मनमोहन घनश्याम रे
कितने तेरे रूप रे
कितने तेरे नाम रे

काली नाग के साथ लड़ा तू
ज़ालिम कंस कों मारा आ आ आ
काली नाग के साथ लड़ा तू
ज़ालिम कंस कों मारा आ आ
बाल अवस्था में ही तुने
खेला खेल ये सारा

तेरा बचपन
तेरा जीवन
जैसे एक संग्राम रे
कितने तेरे रूप रे
कितने तेरे नाम रे

ओ माखनचोर नंदकिशोर
मनमोहन घनश्याम रे
कितने तेरे रूप रे ए
कितने तेरे नाम रे ए

तुने सबका चैन चुराया
ओ चितचोर कन्हैय्या आ आ आ
तुने सबका चैन चुराया
ओ चितचोर कन्हैय्या
ओ ओ ओ
जाने कब घर आये देखे
राह यशोदा मैय्या
अरे व्याकुल राधा ढूंढें श्याम
न आया हो गयी शाम रे
कितने तेरे रूप रे
कितने तेरे नाम रे


ओ माखनचोर नंदकिशोर
मनमोहन घनश्याम रे
कितने तेरे रूप रे ए
कितने तेरे नाम रे ए …


This article is written by Avinash Scrapwala, 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 :

3819 Post No. : 14818 Movie Count :

4052

#the Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 76# Memories of the Seventies – Composer Rajesh Roshan #
————————————————————————————————–———————-

Welcome all and wishing all a very Happy New Year 2019!!!

May this New Year bring us all peace, prosperity, good health, and growth of our country in all areas which are concerned with the ‘common man’ and which helps to improve the ‘quality of life’ and ‘quality of living’ for the people of this country.

Within few months general elections for the parliament will also be held and people will get a chance to vote for their ‘fate’ and ‘fate’ of the country.

Let ‘positivity’ prevails and let the ‘truth’ triumphs over ‘misleading negativity’ and ‘social evils’ that are still a ‘threat’ for the ‘unity’ and ‘overall development’ of this country.

***

On the beginning of every year I always think that I should share a song which has celebration, a message in it and it should be motivational and/or inspirational too. And the better if it is a group song or having ‘chorus singing’ in it, to give it a sense of ‘collective spirit’ and ‘team spirit’ 🙂

I think the song I am presenting today serves this purpose I am looking for and it also motivates for ‘hard work’ (mehnat) to fulfil the dreams of individual and for the betterment of the society overall.

And the other reason for this article once again is ‘nostalgia’ and ‘songs that brings back memories’ …

It was not suddenly that the song came to my mind. It so happened that one day while I was travelling from my Camp place to work place and just give a look at the Sun which was shining brightly in the morning.

(Normally when I do that, giving a look at the Sun or staring it a while, the first thing coming to my mind is Kapil Dev 🙂 )

But that day when I try to stare at the Sun more, I break into singing these lines … ‘sooraj se aankhen milaa’ … yes there is song which I had heard in my childhood, but another moment I confused it with ‘oonchi oonchi baaton se kisi ka pet bharta nahin’, but corrected myself that that the two were different songs.

Somewhere the tune of both of these songs appear to be connected because both songs are composed by the same music director Rajesh Roshan.
However, I had forgotten the name of the movie of this song ‘sooraj se aankhen milaa’.

So, I checked about the song and also checked on the blog if it was already covered.
Luckily it was not and thus this opportunity for me to present it here on the blog.

This song is from the 1978 movie ‘Muqqaddar’!!!

Earlier I had planned to send this article during the festival of Diwali, however I could not send it then …

***
When I was still finishing this article, I got to listen the last episode of ‘2018’ of our Primer Minister’s ‘Man Ki Baat’ and also became aware of the recent happenings of the All India DGP/IGP Conference and the awards for ‘National Unity’. Then the PM also highlighted about the many achievements in Sports by India and I when he narrated about a twenty-year-old cyclist and the feat she achieved I real felt very proud about it and was stunned to know that she cycled almost 300 kms every day to complete world tour in 159 days (and to become the ‘first Asian’ to do so) …

At the same time, I was very sad to read a news about a ‘fact check’ for PM’s waiving a train – whether he was ‘waiving an empty train’, which was on its first journey from the newly inaugurated of ‘Bogibeel Bridge’.

This news proves how low we have fallen down in our ‘socio-political’ ‘ethics and morality’. And I am not taking side of any parties involved in this. Even this thought of raising doubt at such an event at this level is very disappointing and it is a sad comment on our day to day affairs where other serious issues are being mocked by peoples having their ‘own selfish motives’.

Let us wish that ‘false propaganda’ and ‘false allegations’ not take over the real concerning issues of our country and let people use the social media with maturity.

Well ‘neki aur badi ki ladaayi jabse duniya bani hai tabse se chali aa rahi hain, agar buraayi na ho to koi achchaayi ko na poochhe, oonchaai ko samajhne ke liye hamehsa nichhayi ko samajhna chaahiye’

And between this ‘neki and badi’ is our Police force who safeguards us and safeguards our Nation in turn from the various ‘crimes’ in our society … I salute to them all and hope they keep up the good work rising above ‘caste, creed, religion, and beliefs’, in the interest of ‘National Unity’ forever …

Our today’s movie – ‘Muqaddar-1978’ is ‘DEDICATED TO, THE TWENTY-FOUR-HOUR SOLDIERS! THE UNSUNG HEROES! THE POLICE!!

And the dialogues mentioned above are not mine … Abdul Bhai (Yunus Parvez) is saying this to Inspector Vijay Saxena (Sanjeev Kumar) in our today’s movie …

Abdul Bhai runs a ‘road side dhaba’ and Inspector Vijay is his daily customer, and when Abdul Bhai suggests Vijay that he should get married so that he doesn’t have to worry about his food …

‘meri shaadi to us din ho gayi thhi jis din main police mein bharti huaa thha’
‘Chori dakaiti murder ye sab ek wafaadaar biwi ki tarah hamesha mere saath lage rehte hai…
‘Aisaa lagta hai Abdul Bhai is duniya se achchhe aadmi uthh gaye hain’

(Sanjeev Kumar at his best and the dialogues of this movie also, I think, very nice, I thought it was Kader Khan, but no, they are by Dr. Balkrishna Mauj)

Meanwhile as Inspector is taking his dinner a ‘bhikhari budhhiya’ comes and ask for ‘kuchh khilaa do’, Vijay asks Abdul Bhai’s assistant to give her food and he will pay for it …
‘main gareeb ki madad karne ke khilaaf nahin hoon Vijay Bhai, lekin kisika haath paaon salaamat ho to use bheekh dena use kaamchor banaana hai’ … (Abdul Bhai’s sincere thoughts …)

‘Abdul Bhai aadmi ka sabse badaa dushman uska pet hai, agar wo bhara rahe to thhik hai, agar khali ho jaaye to dimaag se jhagdaa karta, aur phir kuchh karta hai jise ham pasand nahin karte’ (Inspector Vijay’s statement on reality (fact check? 😊 )

As the Bhikhari Buddhiya is crossing the road a car hits her and run away … Inspector Vijay follows the car, and as usual taking ‘Kaanoon’ in his hands ‘beats the ‘badmaash(s)’ … but then he has to face his senior – played by Jairaj – and his ‘quintessential’ questions (which are valid even today?)

‘jis buddhiya ki khaatir tumne ye sab kuchh kiya hai wo ab bhi maje se bheekh maang rahi hai, aur jinhe jail mein hona chaahiye thha wo asptaal mein pade hain’
‘Police force ko tumne apne haathon ki taaqat aajmaane ka jariyaa samjha hai’(Jairaj)

Sir un logon ne mujhe rishwat dene ki koshish ki hai, samajhte thhe Police ko kharida ja saktaa hai, is tauheen se mera khoon khaul utthaa’

Tumne unhe wahin sazaa dene ki koshish …, Ye dekho aaj ke akhbaar, ‘police maarpit ke liye hai ya rokne ke liye’, Governer, Mayor na jaane kitne phone aa chuke hain,
‘wo sab chaahte hai ke tumhaare khilaaf action liyaa jaaye’

Lekin Sir mujhe unse koi jaati dushmani nahin thhi

Jaati dushmani mujhe bhi tumse nahin hai …

Main tumhe dhaaravi ke ilaake mein transfer karta hoon, Jahaan kuchh sakht kisam ke mujrim active hai … tumhe apni taaqat aazmaane ka poora poora mauqa milega’ Ya to tumhaari sakhti se sudhar jaayenge, ya to wo log tumhe apne aap par kaabu rakhna sikha denge

So, our Inspector is now in Dharavi, and he already has a sincere and dedicated assistant there – Patil (Bharat Kapoor) … who eventually sacrifices his life since he has been asked that ‘is mujrim pe goli mat chalana’ … but mujrim fires on him …

In Dharavi we have Parishit Sahni as a ‘labour leader’ working in a ‘kapada mill’ of Amjad Khan who is also interested in ‘smuggling’ and to become the ‘wealthiest smuggler’ …
Amjad Khan has a sister – played by Rekha – who is interested in social work and has a soft corner towards labors in the ‘basti’ and Ramu Dada is there in the form of Shashi Kapoor who is a ‘spoiled’ younger brother of Parishit Sahni.
Vidya Sinha plays wife of Parishit Sahni, Shashi’s Bhabhi and Rekha’s friend. Paintal is Shashi’s lieutenant and accompanies him whenever he is driving truck and enjoying ‘mujaras’ after the day’s hard work …

Sanjeev Kumar after reaching Dharavi destroys many ‘daaru and matke ka addaas’ and declares to the goons …
“Aaj se jurm ki wo tehniyaa kat gayin hain, jinpe baithhke tum manmaani kiya karte thhe”

Ramu Dada is still not co-operating Inspector Vijay until he realises the real game of the Smugglers …
Vijay is hopeful of rehabilitating Ramu Dada and reform him to the ‘regular stream’ of ‘good people’ …

But how does it happen finally is after the today’s song and I would like the readers interest intact to watch this movie so not going in further details of this movie here … 🙂

Since the beginning of the movie many are waiting for ‘Dushehra’ festival, like Amjad Khan declares bonus to workers as he wants them to work on ‘Dushehre ki Chhutti’ and he can in hide of it arrange ‘smugglers meet’ so that no one doubts …

***
A beggar (Chandu) – deaf and dumb – always asking for money from Amar Babu (Parikshit Sahni), on his advice has given up begging and from the money given by Amar Babu is now making pictures of ‘Ganesh, Sai Baba’, and ‘Shri Ram’ made by Rangoli on the road side …

***

Peoples are celebrating ‘Dushehra’ now and that is where the today’s song happens …

‘The evil -Raavana’s effigy is set with its ten faces of ‘evils’ and Parikshit Sahni, Rekha, Vidya Sinha with the labors in the basti starts celebrating with this song and Shashi Kapoor joins in between ( coming back from his tour to Goa) , and at the end of the celebrations as the Ravana’s effigy is set to fire by the arrows of Parikshit and Shashi Kapoor, enters our Inspector Vijay Saxena – Sanjeev Kumar – for checking of the ‘truck’ driven by Shashi from Goa with smuggled items 😊

***

‘Muqaddar-1978’ was directed by Ravi Tandon for ‘Sneh Films, Bombay’.
It was produced by Ravi Anand.
It had Shashi Kapoor, Sanjeev Kumar, Parikshit Sahni, Rekha, Vidya Sinha, Paintal and Amjad Khan.
Other star cast includes Mac Mohan, Yunus Parvez, Jankidas, Rajesh Behl, Bharat Kapoor, Nandita Thakur, Vikas Anand, Praveen Pal, Ranveer Raj, Chandu, Master Shaka, Master Rajeev, Baby Rani, Uma Dhawan, Sudhir, O.P. Goyal and Jayshree T.

Aruna Irani makes a guest appearance in this movie.

Editing of this movie was done by S.R. Kabre. Dialogues of this movie were written by Dr. Balkrishna Mauj.
Story and Screenplay was written by Mukul Anand.

This movie had four songs (as per HFGK Vol V 1971-1980) written by Anjaan and composed by Rajesh Roshan. Asha Bhonsle, Kishore Kumar, Mohd Rafi, Usha Mangeshkar had given their voices to the songs in this movie.

This movie was passed by Censor Board on 31.05.1978.

(This also serves my purpose of introducing the movies having ‘same title’ and one movie with the same title ‘Muqaddar-1950’ is already on the blog.

Let us enjoy today’ song now and welcome this ‘new year’ on this ‘nostalgic note from the Seventies’ 🙂

Video

Audio

Song-Sooraj se aankhen milaa (Muqaddar)(1978) Singers-Kishore Kumar, Asha Bhonsle, Usha Mangeshkar, Rafi, Lyrics-Anjaan, MD-Rajesh Roshan
Chorus
Asha Bhonsle + Usha Mangeshkar

Lyrics

okey re faakeerey
okey re jaanoon re
okey re faakeerey aa
Bhai bhai
okey re faakeerey
okey re jaanu re
okey re faakeerey aa
Bhai …

Hey ae
Sooraj se aankhen milaa
Taaron ko o dharti pe laa aa
Sooraj se aankhen milaa
Taaron ko o dharti pe laa aa

Arey ye dharti teri hai
Ye sapne tere hain
Aur sab apne tere hain
Tu mehnat ki jalti mashaalen jalaa
Sadiyon se soyaa muqaddar jagaa

Hey ae
Sooraj se aankhen milaa
Taaron ko o dharti pe laa aa
Sooraj se aankhen milaa
Taaron ko o dharti pe laa aa

Arey ye dharti teri hai
Ye sapne tere hain
Aur sab apne tere hain
Tu mehnat ki jalti mashaalen jalaa
Sadiyon se soyaa muqaddar jagaa
He ha aa
ho ho o o

Aa aa aa
Ho ho o
Aa aa aa
Ho ho o
Aa aa aa
Ho ho o
Aa aa aa

Pyaar ki lau jagaa de re
Har andheraa jalaa de

Dooriyaan ye dilon ki ee
Dil milaa ke mitaa de ae
Hey rang udey kahin deep jaley
Aayi holi deewaali saath

Arey aaj to aake naa jaaye re saathi
Rangon bhari aisi raat
Hey rang udey kahin deep jaley
Aayi holi deewaali saath
Arey aaj to aake naa jaaye re saathi
Rangon bhari aisi raat

Kaanton mein kaliyaan khilaa aa
Phoolon se gulshan sajaa
Kaanton mein kaliyaan khilaa aa
Phoolon se gulshan sajaa aa

Arey do din ki hasti mein
Dil jhoome masti mein
Aur sapnon ki basti mein
Tu mehnat ki jalti mashaalen jalaa aa
Sadiyon se soyaa muqaddar jagaa aa

Hoye ae ae ae ae
Hoye hoye hoye ae

Raat din hon ye mele re
Dil na tarse akele
Dil tera jisko chaahe ae
Badhke baahon mein le le

Ae saanson se bandh le
Saanson ki dori
Haathon mein le ke haath

Jaati hai jaan to jaaye khushi se
Chhoote kabhi naa ye saath

Ae saanson se bandh le
Saanson ki dori
Haathon mein le ke haath
Jaati hai jaan to jaaye khushi se
Chhoote kabhi naa ye saath

Baahon ke saaye mein aa
Sharmaa ke aankhen milaa

Ae baahon ke saaye mein aa
Sharmaa ke aankhen milaa
Phir paayal chhankegi
Phir choodi khankegi
Aur phir bindiyaa chamkegi
Tu mehnat ki jalti mashaalen jalaa aa
Sadiyon se soyaa muqaddar jagaa aa

Ho o ho ho o o

Barse tan ka paseena re
Ban ke saawan maheenaa

Katraa ban jaaye moti ee
Zarraa zarraa nageena
Hey aaj jahaan teri raahon mein saathi
Udey ghamon ke ye dhool

Phool khilenge wahin kal
Jhoom ke mast bahaaron ke phool

Aaj jahaan teri raahon mein saathi
Udey ghamon ke ye dhool
Phool khilenge wahin kal
Jhoomke mast bahaaron ke phool

Hey ae
Sooraj se aankhen milaa
Taaron ko o dharti pe laa aa
Sooraj se aankhen milaa
Taaron ko o dharti pe laa aa

Ye dharti teri hai
Ye sapne tere hain
Aur sab apne tere hain
Tu mehnat ki jalti mashaalen jalaa
Sadiyon se soyaa muqaddar jagaa
He ae ae aa
Mehnat ki jalti mashaalen jalaa
Sadiyon se soyaa muqaddar jagaa
Bachke bachke bachke …
Mehnat ki jalti mashaalen jalaa
Sadiyon se soyaa muqaddar jagaa
Immaandaari se aha aa aa
Mehnat ki jalti mashaalen jalaa
Sadiyon se soyaa muqaddar jagaa

—————————————————-
Devnagri script Lyrics (Provided by Avinash Scrapwala)
—————————————————–
ओके रे फकीरे
ओके रे जानू रे
ओके रे फकीरे आ
ओके रे जानू रे
भाई भाई
ओके रे फकीरे
ओके रे जानू रे
ओके रे फकीरे आ
ओके रे जानू रे
भाई …
ओके रे फकीरे

हे ए
सूरज से आँखें मिला
तारों को ओ धरती पे ला आ
सूरज से आँखें मिला
तारों को ओ धरती पे ला आ

अरे ये धरती तेरी है
ये सपने तेरे है
और सब अपने तेरे हैं
तू मेहनत की जलती मशालें जला
सदियों से सोया मुक़द्दर जगा

हे ए
सूरज से आँखें मिला
तारों को ओ धरती पे ला आ
सूरज से आँखें मिला
तारों को ओ धरती पे ला

अरे ये धरती तेरी है
ये सपने तेरे है
और सब अपने तेरे हैं
तू मेहनत की जलती मशालें जला
सदियों से सोया मुक़द्दर जगा
हे हा आ हो हो ओ ओ

आ आ आ
हो हो ओ
आ आ आ
हो हो ओ
आ आ आ
हो हो ओ
आ आ आ

प्यार की लौ जगा दे रे ए
हर अन्धेरा जला दे

दूरियां ये दिलों की ई
दिल मिला के मिटा दे ए
हे रंग उड़े कहीं दीप जले
आई होली दीवाली साथ

अरे आज तो आके ना जाए रे साथी
रंगों भरी ऐसी रात
हे रंग उड़े कहीं दीप जले
आई होली दीवाली साथ
अरे आज तो आके ना जाए रे साथी
रंगों भरी ऐसी रात

काँटों में कलियाँ खिला
फूलों से गुलशन सजा
काँटों में कलियाँ खिला आ
फूलों से गुलशन सजा आ

अरे दो दिन की हस्ती में
दिल झूमे मस्ती में
और सपनों की बस्ती में
तू मेहनत की जलती मशालें जला
सदियों से सोया मुक़द्दर जगा

होए ए ए ए ए
होए होए होए ए

रात दिन हो ये मेले रे
दिल न तरसे अकेले
दिल तेरा जिसको चाहे
बढ़के बाहों में ले ले

ए साँसों से बाँध ले
साँसों की डोरी
हाथों में ले के हाथ

जाती है जान तो जाए ख़ुशी से
छूटे कभी ना ये साथ

ए साँसों से बाँध ले
साँसों की डोरी
हाथों में ले के हाथ
जाती है जान तो जाए ख़ुशी से
छूटे कभी ना ये साथ

बाहों के साए में आ
शर्मा के आँखें मिला

ए बाहों के साए में आ
शर्मा के आँखें मिला
फिर पायल छनकेगी
फिर चूड़ी खनकेगी
और फिर बिंदिया चमकेगी
तू मेहनत की जलती मशालें जला आ
सदियों से सोया मुक़द्दर जगा आ

हो ओ हो हो ओ ओ

बरसे तन का पसीना रे
बन के सावन महीना आ

कतरा बन जाए मोती
ज़र्र्रा ज़र्रा नगीना
हे आज जहां तेरी राहों में साथी
उड़े ग़मों की ये धूल

फूल खिलेंगे वहीँ कल
झूमके मस्त बहारों के फूल

आज जहां तेरी राहों में साथी
उड़े ग़मों की ये धूल
फूल खिलेंगे वहीँ कल
झूमके मस्त बहारों के फूल

हे ए
सूरज से आँखें मिला
तारों को ओ धरती पे ला आ
सूरज से आँखें मिला
तारों को ओ धरती पे ला आ

ये धरती तेरी है
ये सपने तेरे है
और सब अपने तेरे हैं
तू मेहनत की जलती मशालें जला
सदियों से सोया मुक़द्दर जगा
हे ए ए ए
मेहनत की जलती मशालें जला
सदियों से सोया मुक़द्दर जगा
बचके बचके बचके …
मेहनत की जलती मशालें जला
सदियों से सोया मुक़द्दर जगा
इमानदारी से अहा हा हा
मेहनत की जलती मशालें जला
सदियों से सोया मुक़द्दर जगा


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 : 3819 Post No. : 14817

Today’s song is from film ‘Ek Shola’ (1958). It is sung by Asha Bhosle and Geeta Dutt. The lyricist was Majrooh Sultanpuri and the music director was Madan Mohan. The film was produced by Deep and Pradeep Productions –  a joint venture of Deep Khosla and Pradeep Kumar. The film was directed by Chander Sehgal. Not much is known about Chander Sehgal, except that he directed only 2 films – ‘Ek Shola’ and ‘Mitti Mein Sona’ (1960). He died on 29-5-1960. The cast of the film is Pradeep Kumar, Mala Sinha, Jawahar Kaul, Leela Mishra, Nazir Hussain, Shubha Khote etc.

In Hindi films, there have been three actors who were very handsome and very lucky but zero in acting – Karan Dewan, Pradeep Kumar and Bharat Bhushan. They all appeared in leading roles opposite all leading actresses of their times. They had the best films, best songs and best roles. Karan Dewan had about 25 Silver Jubilees to his credit and was considered a lucky star. Bharat Bhushan had the most musical films to his credit like ‘Baiju Bawra’ (1952), ‘Shabaab’ (1954) and ‘Mirza Ghalib’ (1954) etc. Pradeep Kumar had ‘Anarkali’ (1953) and ‘Taj Mahal’ (1963).

All three had their brothers producing films for them. Gemini Dewan made films for Karan Dewan, R. Chandra made films for Bharat Bhushan and Kalidas for Pradeep Kumar. Unfortunately, in later years, all three lost everything and died in poverty and neglectful anonymity. Karan Dewan was a manager with BR Chopra’s production company. When he died no one came for his funeral except for Chandrashekhar and Manmohan Krishan from the Cine Artist’s Association. Bharat Bhushan even worked as a watchman in a film studio, in his last days. He too died unsung and only the men from the Association were present at the cremation.

Pradeep Kumar’s case is the saddest. He lay seriously ill in the ICU of a Calcutta nursing home, abandoned by his relatives. The hospital was not discharging him, unless the bills were paid. Luckily one Mr. Pradeep Kondaliya, an estate agent, recognised him, despite his grown beard. He paid the huge outstanding bill of the hospital and took Pradeep Kumar to his home, where he passed away after a few days. He was cremated by his fan. Such is the film industry – cruel and ruthless, where the recognition lasts only till one is successful, and even close relatives desert you in bad times.

Pradeep Kumar aka Sital Batabyal was born on 4 January 1925. When he was 17 years old, he started as assistant cameraman. Later he decided to take up acting. He started his film career in Bengali films. His notable roles in Bengali films were in ‘Alaknanda‘ (1947), directed by renowned filmmaker Debaki Bose, and in ’42 (1951). It was Debki Bose, who gave him the filmy name Pradeep Kumar.

Pradeep Kumar  then shifted to Bombay and Filmistan studios, and had an important role in the film ‘Anand Math (1952). He played the lead role with Bina Rai in ‘Anarkali’ (1953) and with Vyjayanthimala in ‘Nagin’ (1954). Both films were very popular and had songs that added to the movies’ success. He had a spate of releases in the second half of the 1950s. He did not enjoy as much success in the 1960s, though ‘Ghoonghat’ (1960), ‘Aarti’ (1962) & ‘Taj Mahal’ (1963) were successful. He worked with Meena Kumari in seven films; ‘Adil-E-Jahangir’, ‘Bandhan’ (1956), ‘Chitralekha’, ‘Bahu Begum’, ‘Bheegi Raat’, ‘Aarti’ and ‘Noorjehan’; and with Mala Sinha in eight films; ‘Naya Zamana’, ‘Hamlet’, ‘Baadshah’, ‘Detective’ (1958 movie), ‘Fashion’ (1959 film), ‘Ek Shola’, ‘Duniya Na Maane’, and ‘Mitti Mein Sona’.

He did not get to act in lead roles with the newer heroines of the 1960s such as Sadhana, Saira Banu, Babita or Sharmila Tagore, though he did work with Asha Parekh in ‘Ghoonghat’ and ‘Meri Surat Teri Aankhen and with Waheeda Rehman in ‘Raakhi (1963). In 1969, he moved to character roles with ‘Sambandh’ and ‘Mehboob Ki Mehndi’, but did not have many visible roles till ‘Jaanwar’ and ‘Razia Sultan’ in 1983.

He won the Kalakar Award-Lifetime Achievement Award (1999).

Pradeep Kumar died in Calcutta on 27 October 2001, at the age of 76. He is survived by his daughters Reena, Meena and Beena Banerjee who plays character roles in movies and TV serials including ‘Uttaran’, son Debiprasad and granddaughters Tanisha, Suparna, Riya and Hrishita. Beena Banerjee’s son Siddharth Banerjee worked as assistant director in Sajid Khan’s ‘Housefull 2’ (2012) and ‘Himmatwala’ (2013).

Mala Sinha was an educated, hard working actress. Though she worked with leading banners and was heroine to well known heroes, she was never counted among the class I heroines of her times. She worked with many newcomers, like Dharmendra etc. Her career spanned a long time but she never got a single Filmfare Award, though nominated 4 times.

Mala Sinha was born in a Bengali Nepalese Christian family in Calcutta, on 11-11-1936. Mala Sinha claimed herself a Bengali descent Nepali many years ago in a TV interview Her parents named her Alda. Her friends at school used to tease her by calling her Dalda (a brand of vegetable oil), so she changed her name to Mala. In her childhood she learnt dancing and singing. Although she was an approved singer of All India Radio, she has never done playback singing in films. But as a singer she has done stage shows in many languages from 1947 to 1975.

Mala started her career as child artist in Bengali films ‘Jai Vaishno Devi’ followed by ‘Shri Krishan Leela’, ‘Jog Biyog’ and ‘Dhooli’. Noted Bengali director Ardhendu Bose saw her acting in a school play and took permission from her father to cast her as a heroine in his film ‘Roshanara’ (1952) – Bangla film, her cinematic debut.

After acting in a couple of films in Calcutta, Mala had to go to Bombay for a Bengali film. There she met Geeta Bali, a noted Bollywood actress, who was charmed by her and introduced her to film director Kidar Sharma. It was Sharma who cast her as a heroine in his ‘Rangeen Ratein‘ (1956). Her first Hindi film was ‘Baadshah’ (1954) opposite Pradeep Kumar. Then came ‘Ekadashi’ (1955), a mythological film. Both failed, but her lead role in Kishore Sahu’s ‘Hamlet’ (1954), paired opposite Pradeep Kumar, fetched her rave reviews in spite of it failing at the box office. Films like ‘Lai Batti’ (ac­tor Balraj Sahni’s only directorial venture), ‘Nausherwan-E-Adil’ where she starred as the fair maiden Marcia in Sohrab Modi’s romance about forbidden love and ‘Phir Subah Hogi’, which was direc­tor Ramesh Saigal’s adapta­tion of Dosteovsky’s novel Crime and Punishment, established Mala Sinha’s reputation as a versatile actress who took the maximum career risks by accepting unconventional roles.

Mala was a singer of some repute and used to sing for All India Radio; she was not allowed to sing playback (even for herself) in the movies with the lone exception being 1972’s ‘Lalkar’. In the 1950s, she had string of hits opposite Pradeep Kumar like ‘Fashion’ (1957), ‘Detective’ (1958), ‘Duniya Na Maane’ (1959) though their first two ventures had failed. The films she did with Pradeep Kumar were men-oriented. In 1957, noted Bollywood actor and film director Guru Dutt (the husband of Geeta Dutt) cast Mala in his film ‘Pyaasa‘ (1957) in a role originally intended for Madhubala. Mala gave a memorable performance as the relatively unsympa­thetic part of an ambitious woman who chooses to marry a rich man (played by actor Rehman) and have a loveless marriage rather than a poor, unsuccessful poet and her impoverished lover (played by Guru Dutt) whom she ditches. ‘Pyaasa‘ remains to this day a classic in the history of Indian cinema and a turning point for Mala Sinha.

After ‘Pyaasa’ her major success were ‘Phir Subah Hogi’ (1958) and Yash Chopra’s directorial debut ‘Dhool Ka Phool’ (1959) that elevated her into a major dramatic star. There was no looking back for Sinha then as she was part of many successful movies from 1958 to the early ’60s like ‘Parvarish’ (1958), ‘Ujaala’,’ Main Nashe Main Hoon’, ‘Duniya Na Maane’, ‘Love Marriage’ (1959), ‘Bewaqoof’ (1960), ‘Maya’ (1961), ‘Hariyali Aur Rasta’ and ‘Dil Tera Deewana’ (1962), ‘Anpadh’, ‘Bombay Ka Chor’ (1962). Critics believe her career best performance was in ‘Bahurani’ (1963), ‘Gumrah’, ‘Gehra Daag’, ‘Apne Huye Paraaye’ and ‘Jahan Ara’. Apart from pairing with Pradeep Kumar, her pairing opposite Raaj Kumar, Rajendra Kumar, Biswajit and Manoj Kumar in woman-oriented films were appreciated by audiences, with her films opposite Biswajit being the most popular.  She did 10 films with Biswajit. In 2007, they won the Star Screen Lifetime Achievement Award, calling them on stage together giving due respect to their popularity as a pair who have tasted box office success.

The most remarkable feature of career of Mala Sinha was that most of her 1960s and 1970s hits were fueled by her own star power as much as the heroes and most of the times her role was more powerful than the hero. Though she was pitted opposite her seniors like Raj Kapoor, Dev Anand, Kishore Kumar, Pradeep Kumar and when she acted opposite the emerging stars from late 1950s like Shammi Kapoor, Rajendra Kumar and Raaj Kumar, she made sure her role was as good as theirs.

In 1966, Sinha went to Nepal to act in a Nepali film called ‘Maitighar when the Nepali film industry was still in its infancy. This was the only Nepali film she did in her career. Her hero in the film was an estate owner called Chidambar Prasad Lohani. Soon after, Mala Sinha married CP Lohani with the blessings of her parents. From the beginning theirs was a long-distance marriage with Lohani based in Kathmandu to look after his business and Sinha living in Bombay with their daughter Pratibha. She continued acting after her marriage.

From 1974, she cut down on her assignments as the lead actresses. She accepted strong character roles in films like ’36 Ghante (1974), ‘Zindagi‘ (1976), ‘Karmayogi (1978), ‘Be-Reham’ (1980), ‘Harjaee’ (1981), ‘Yeh Rishta Na Tootay’, ‘Babu’ (film) and ‘Khel’, which were popular.

In the early ’90s Madhuri Dixit was promoted as new Mala Sinha in magazines. But, after 1994, she completely withdrew from industry and has given very few public appearances. In ‘Dhool Ka Phool’ and BR Chopra’s ‘Gumrah’, she played the first unwed mother and adulterous wife respectively in Hindi cinema. As she grew older, she gracefully moved on to doing character roles that befitted her age. She was last seen in ‘Zid’ (1994). Though Mala Sinha evinced as much interest in her daughter Pratibha’s career as her father did in her career, she was unable to achieve the same success for her daughter. (Adapted from wiki).

Mala Sinha came from Calcutta to make a career in Bombay films. In Calcutta she worked in a Bilingual film ‘Chitrangada’ (1954) in Bangla and Hindi. In 1954 again, she did her first film in Bombay, ‘Baadshah’ (1954), then came ‘Hamlet’ (1954), ‘Riyaasat’ (1955) and ‘Ekadashi’ (1955).

In all her interviews, Mala Sinha always quoted ‘Rangeen Raten’ (1956) with Shammi Kapoor as her first film in Bombay. She was ashamed of revealing that in film ‘Riyaasat’ (1955), her Hero was Mahipal and in film ‘Ekadashi’ it was Trilok Kapoor. She always hid this fact. There are many heroines who want to hide their struggling days. For example, in film ‘Professor’ (1962) Shammi Kapoor’s heroine was Kalpana. Though touted as her first film, her first film was ‘Pyar Ki Jeet-62’, opposite Mahipal – a fact which Kalpana always hid from everyone.

Similarly, A grade heroine Meena Kumari also had done several mythological and costume films before ‘Baiju Bawra’ took her high up and above other heroines. Films like ‘Veer Ghatotkach’ (1949), ‘Shri Ganesh Mahima’ (1950), ‘Laxmi Narayan’ (1951), ‘Hanuman Paataal Vijay’ (1951) and ‘Alladin aur Jadui Chirag’ (1953) had Mahipal as her Hero. In her later years, she always hid her earlier film Heroes.

Even comedian Johnny walker, who is supposed to have made a beginning with ‘Baazi’ (1951), had earlier worked in ‘The Last Message’ or ‘Aakhri Paigham’ (1949). However this fact is not told by anyone.

Not only actors, but even singers do this. They hesitate to tell that the first sang for C grade films. Take the case of Sudha Malhotra, who used to declare ‘Arzoo’ (1950) as her first film, under Anil Biswas. But she never told that earlier she had sung 3 songs in film ‘Aakhri Paigham’ (1949), under the baton of Abid Hussein Khan, composer.

It is very unfortunate that once the artiste becomes famous, he tends to forget his humble beginning with less known film or a composer. This is because they are ashamed of it. I feel the blame also goes to people who take their interview, because the interview takers do not do proper homework. Many times they do not know anything and simply note down whatever is told by the artiste.

There were 8 songs in the film ‘Ek Shola’. 3 songs are already discussed. This is the 4th song. It is a long song, recorded on one side each of 78 rpm record nos. N-52832 and 52833). We present here the full song covering both sides.

 


Song – Chanda Se Bhi Pyaara Hai, Akhion Ka Taara Hai  (Ek Shola) (1958) Singer – Asha Bhosle, Geeta Dutt, Lyrics – Majrooh Sultanpuri, Music – Madan Mohan

Lyrics (Provided by Sudhir)

mmmm mmmmm mmmm
mmm mmm mmm mmm mmm mmmmmmm

chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla
chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla

ghata ka saaya hai zindagi
idhar se aai udhar chali
rukey na jeevan ki baansuri
haaye.. apni dhun mein gaa

khushi se saagar jal chhalke
pakad chaley dil sambhal ke
kahen tarangen machal ke
zaraa mauj mein lehra haaye..
khushi se saagar jal chhalke
pakad chaley dil sambhal ke
kahen tarangen machal ke
zaraa mauj mein lehra haaye..
ghata ka saaya hai zindagi
idhar se aai udhar chali
rukey na jeevan ki baansuri
haaye.. apni dhun mein gaa

chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla..aa..aa

jab mera nannha chhaiyan chhaiyan
thummak thummak doley
tuk tuk taakey
jhuk jhuk jhaanke
gudiya ghunghat kholey
jab mera nannha chhaiyan chhaiyan
thummak thummak doley
tuk tuk taakey
jhuk jhuk jhaanke
gudiya ghunghat kholey
ho gudde sa dulaara
akhion ka taara hai
dil ka sahaara mera laadla..aa..aa

ghata ka saaya hai zindagi
idhar se aai udhar chali
rukey na jeevan ki baansuri..ee
apni dhun mein gaa

jo mastion mein jee’e hain
usey na ?? ?? ??
ye raaz tere liye hai magar
tu nahi samjha haaye..
jo mastion mein jee’e hain
usey na ?? ?? ??
ye raaz tere liye hai magar
tu nahi samjha haaye..
ghata ka saaya hai zindagi
idhar se aai udhar chali
rukey na jeevan ki baansuri..ee
apni dhun mein gaa

chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla..aa..aa
A B C D
aleef bay pay
ka kha ga gha..aa..aa
A B C D
aleef bay pay
aur bhai ka kha ga gha
ab padhne askool chala hai
ye mera shehzaada
ab padhne askool chala hai
ye mera shehzaada
ho parion ne sanwaara hai
akhion ka taara hai
dil ka sahaara mera laadla
aa..aa..aa
chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla

mmm mmm mmmmmm mmmm
mmm mmm mmmmmm mmmm
aaa aaa aaaa aaa aaa aaa

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
मम्मम मम्ममम मम्मम
मम्म मम्म मम्म मम्म मम्म मम्म मम्ममममम

चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला
चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला

घटा का साया है ज़िंदगी
इधर से आई उधर चली
रुके ना जीवन की बांसुरी
हाए॰॰ अपनी धुन में गा

खुशी से सागर जल छलके
पकड़ चले दिल संभाल के
कहें तरंगें मचल के
ज़रा मौज में लहरा हाए॰॰
खुशी से सागर जल छलके
पकड़ चले दिल संभाल के
कहें तरंगें मचल के
ज़रा मौज में लहरा हाए॰॰
घटा का साया है ज़िंदगी
इधर से आई उधर चली
रुके ना जीवन की बांसुरी
हाए॰॰ अपनी धुन में गा

चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला॰॰आ॰॰आ

जब मेरा नन्हा छइयाँ छइयाँ
ठुमक ठुमक डोले
टूक टूक ताके
झुक झुक झाँके
गुड़िया घूँघट खोले
जब मेरा नन्हा छइयाँ छइयाँ
ठुमक ठुमक डोले
टूक टूक ताके
झुक झुक झाँके
गुड़िया घूँघट खोले
हो गुड्डे सा दुलारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला॰॰आ॰॰आ

घटा का साया है ज़िंदगी
इधर से आई उधर चली
रुके ना जीवन की बांसुरी
हाए॰॰ अपनी धुन में गा

जो मस्तीओं में जीए हैं
उसे ना ?? ?? ??
ये राज़ तेरे लिए है मगर
तू नहीं समझा हाए॰॰
जो मस्तीओं में जीए हैं
उसे ना ?? ?? ??
ये राज़ तेरे लिए है मगर
तू नहीं समझा हाए॰॰
घटा का साया है ज़िंदगी
इधर से आई उधर चली
रुके ना जीवन की बांसुरी॰॰ई
हाए॰॰ अपनी धुन में गा

चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला॰॰आ॰॰आ

ए बी सी डी
अलीफ बे पे
क ख ग घ॰॰अ॰॰अ
ए बी सी डी
अलीफ बे पे
और भई क ख ग घ
अब पढ़ने अस्कूल चला है
ये मेरा शहज़ादा
अब पढ़ने अस्कूल चला है
ये मेरा शहज़ादा
ओ परियों ने संवारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला
आ॰॰आ॰॰आ
चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला

मम्म मम्म मम्मममम मम्मम
मम्म मम्म मम्मममम मम्मम
आ आ आ आ आ आ॰॰आ

 


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What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14800 song posts by now.

This blog is active and online for over 3800 days since its beginning on 19 july 2008.

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14847

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Movies with all their songs covered =1158
Total Number of movies covered =4060

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