Archive for the ‘“baadal” song’ Category
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Blog Day : |
4474 | Post No. : | 15976 |
“Aakhir Kyon”(1985) was produced and directed by J Omprakash. Now I realise why this movie title starts with the letter “A”. 🙂
The movie had Rajesh Khanna, Smita Patil, Rakesh Roshan, Tina Munim, Asrani, Sujit Kumar, Shubha Khote, Beena Bannerjee etc in it.
THe movie was a archtypical South Indian “social” movie. Peevesie’s mom, while discussing one earlier song from the movie had provided this summary of the story of the movie
That movie had a very topical theme of a wife (Smita Patil) being abandoned by her whimsical husband (Rakesh Roshan) for another girl (Tina Munim). The story goes on to show Smita becoming a TV anchor (she was one prior to coming into movies) and then graduating to a Novelist. Then it turns out that when her husband’s business falls in bad times he approaches her; requests her to write for him; so that he can get their daughter (whom had forcibly kept with himself at the time of separation) married decently. That is the gist of the movie. We also had a partly bald Rajesh Khanna playing a TV (DoorDarshan) cameraman who admires Smita for her rebounding power and is a support to her throughout.
This movie came at a time when DD was the only channel available and people used to have one TV in their drawing rooms. And whole families used to sit and watch whatever was dished out to them. Otherwise I cannot imagine an entire family sitting and watching this kind of a musical show on TV these days. Also those were the days when people used to quote Rani Jhansi in all their speeches. Also Indira Gandhi and Margaret Thatcher were sources of inspiration.
The movie had five songs in it. Four songs have been covered so far, with the movie making its debut in the blog in 2008, the first year for the blog !
Here are the details of the song covered in the blog :-
| Blog post number | Song | Date posted |
|---|---|---|
| 422 | Dushman na kare dost ne wo kaam kiya hai | 21 December 2008 |
| 5603 | Saat rang mein khel rahi hai | 8 March 2012 |
| 9544 | Komal hai kamzor nahin tu | 8 March 2014 |
| 15696 | Ek andhera laakh sitaare | 2 July 2020 |
We can see from the table that second and third song from the movie were discussed on 8th march (2012 and 2014) on the occasion of Women’s day. It shows that the movie had some sort of “Women’s empowerment” message in the movie.
Today (17 october 2020) happens to be the birthday anniversary of Smita Patil (17 October 1955- 13 December 1986). On this occasion, here is the fifth and final song from “Aakhir Kyon”(1985) to appear in the blog.
This song is sung by Lata. Indeewar is the lyricist. Music is composed by Rajesh Roshan.
The song is picturised as a get together song where Smita Patil lip syncs this semi classocal song while others, including Tina Munim, Rakesh Roshan and others look on. Tina Munim also uses this opportunity to fantasise about Rakesh Roshan.
Lyrics of this song were sent to me by Avinash Scrapwala.
With this song, all the five songs of “Aakhir Kyon”(1985) are covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog. This movie took nearly 12 years (3753 days to be precise) to get YIPPEED.
This song is the 3600th song of Lata Mangeshkar as a playback singer in the blog.
Video
Audio
Song-Shaam huyi chadhh aayi re badariya (Aakhir Kyon)(1985) Singer-Lata, Lyrics-Indeewar, MD-Rajesh Roshan
Lyrics (Provided by Avinash Scrapwala)
Aa aa aa aa aa
aa aa aa
Hoon hoon hoon
Hoon hoon
Shaam Huyee
Chadh Aayee Re Badariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
Abahoon Naa Aaye
More Shyaama Sanwaariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
Abahoon Naa Aaye
More Shyaama Sanwaariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
O o o
Aa aa aa
Anchhuye Honth Mere
Khoye Khoye Nain Mere
Goonjatey Hai Praanon Mein
Madhur Madhur Bol Tere
Mere Saath Bain Kare ae Ho o
Mere Saath Bain Kare
Moree Atariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
Solah Baras Beete
Gin Gein Ratiyaan
Pee Se Milan Chalee
Sang Kee Sakhiyaan
Ab to Le Lo Piyaa aa Ho o
Ab to Le Lo Piyaa
Aake khabariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
Paa ni saa re
Ni saa re
Ni saa re
Ni dha paa
Aa aa aa
Aa aa aa
Shaam Huyee
Chadh Aayee Re Badariyaa
Abahoon Naa Aaye
More Shyaama Sanwaariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
- In: "baadal" song | Blog ten year challenge (2010-2020) | Devnagri script lyrics by Avinash Scrapwala | expression of love | Feelings of heart | Lata solo | Lata song | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Songs of 1950s (1951 to 1960) | Songs of 1952 | Yearwise breakup of songs
- 3 Comments
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day: |
4452 | Post No. : | 15914 |
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Blog 10-Year Challenge (2010-2020) – Song No. 86
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This day ten years ago (viz on date 25 september 2020), six songs from six movies were covered in the blog. The first article was published at 6:50 AM whereas it was 8:59 when the sixth post of the day appeared in the blog.
Here are the details of these songs :-
| Song | Movie title-Year | Remarks |
|---|---|---|
| Banaane waale kyaa toone yahi duniyaa banaayi hai | Jalpari-1952 | 06 songs posted |
| Aa jaa ab to aa jaa | Anarkali-1953 | All Songs covered |
| Ye rang bhare baadal | Tu Nahin Aur Sahi-1960 | All Songs covered |
| Jaani tum dole dagaa dai ke | Dr Vidya-1962 | All Songs covered |
| Chal mere dil lehraa ke chal | Ishaaraa-1964 | All Songs covered |
| Angrezi mein kahte hain ki I love you | Khuddar-1982 | 03 songs posted |
Four movies whose songs were discussed on 2 September 2020 have been YIPPEED by now. That leaves us with only two movies whose songs are eligible for todays blog Ten yaer challaenge.
“Jalpari”(19552) is one of the eligible movie for BTYC today. Six songs from this movie have been covered in the blog so far. Here are the details of these songs :
| Song | Posted On |
|---|---|
| Suno suno gagan ke taaron | 22.07.2009 |
| Banaane waale kyaa toone yahi duniyaa banaayi hai | 25.09.2010 |
| Barbaad huyi dil ki duniyaa | 29.10.2010 |
| Himmat se koi kaam le | 21.12.2015 |
| Tum nahin aaye mora jiya ghabraaye | 23.12.2015 |
| Khushi ke phool liye aa gaye bahaar ke din | 21.01.2018 |
Here is the seventh song from the movie. This so9ng is sung by Lata and it is picturised on Nalini Jaiwant. Lyricist is not known. Music is composed by Pt Govindram.
Lyrics of this song were sent to me by Avinash Scrapwala.
Video
Audio
Song-Kaari kaari andhiyaari raat mein (Jalpari)(1952) Singer-Lata, MD-Pt Govindram
Lyrics (Provided by avinash Scrapwala)
kaari kaari andhiyaari ee raat mein
kaare kaare baadarwaa chhaaye
aise mein kahin meraa chaand nikal aaye
to mazaa aaye ae
kaari kaari andhiyaari raat mein
kaare kaare baadarwaa chhaaye
aise mein kahin meraa chaand nikal aaye
to mazaa aaye ae
mere man mein chhaayi udaasi re
main piyaa milan ki pyaasi re ae
mere man mein chhaayi udaasi re
main piyaa milan ki pyaasi re
main kab se khadi hoon raah mein
nainon ke deep jalaaye
aise mein kahin meraa chaand nikal aaye
to mazaa aaye
kaari kaari andhiyaari raat mein
kaare kaare baadarwaa chhaaye
aise mein kahin meraa chaand nikal aaye
to mazaa aaye ae
bhar aayi ankhiyaan mori re
chandaa se door chakori re ae ae ae
bhar aayi ankhiyaan mori re
chandaa se door chakori re
main birhan baat takoon palchhin
hriday mein aas lagaaye
aise mein kahin meraa chaand nikal aaye
to mazaa aaye
kaari kaari andhiyaari raat mein
kaare kaare baadarwaa chhaaye
aise mein kahin meraa chaand nikal aaye
to mazaa aaye
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Devnagri Script lyrics (Provided by Avinash Scrapwala)
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कारी कारी अंधियारी ई रात में
कारे कारे बादरवा छाए
ऐसे में कहीं मेरा चाँद निकल आये तो
मज़ा आए ए
कारी कारी अंधियारी ई रात में
कारे कारे बादरवा छाए ए
ऐसे में कहीं मेरा चाँद निकल आये तो
मज़ा आए ए
मेरे मन में छायी उदासी रे
मैं पिया मिलन की प्यासी रे ए
मेरे मन में छायी उदासी रे
मैं पिया मिलन की प्यासी रे
मैं कब से कड़ी हूँ राह में
नैनों के दीप जलाए
ऐसे में कहीं मेरा चाँद निकल आये तो
मज़ा आए ए
कारी कारी अंधियारी ई रात में
कारे कारे बादरवा छाए ए
ऐसे में कहीं मेरा चाँद निकल आये तो
मज़ा आए ए
भर आई अँखियाँ मोरी रे
चन्दा से दूर चकोरी रे ए ए ए
भर आई अँखियाँ मोरी रे
चन्दा से दूर चकोरी रे
मैं बिरहन बाँट टाकून पलछिन
ह्रदय में आस लगाए
ऐसे में कहीं मेरा चाँद निकल आये तो
मज़ा आए ए
कारी कारी अंधियारी ई रात में
कारे कारे बादरवा छाए
ऐसे में कहीं मेरा चाँद निकल आये तो
मज़ा आए
Megh tu hi nahin jal barsaaye
Posted on: August 16, 2020
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.
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Blog Day : |
4412 | Post No. : | 15811 | Movie Count : |
4358 |
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#the Special Voices of the Decade (1971-1980) – 7 # Hemlata #
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The movie ‘Ankhiyon Ke Jharokhon Se’ was released in 1978 but I got to watch it much later, in the early eighties, and that too on Doordarshan when I had gone to Nagpur to my Uncle’s place.
Later on, I watched it when I had ‘colour TV’ at home.
I had never forgotten its title song sung by a ‘female singer’. That was despite the fact that kids of my age (around ten years old) normally did not give much thought to the singer while listening to songs.
When I think about it now, it was in 1976 that the song ‘sun ke teri pukaar’ from ‘Fakira-1976’ had caught my imagination, ( I have shared this in the blog earlier).
It is my guess that the aalaap of this voice in the song ‘kaun dishaa mein leke chalaa re batohiyaa’ must have left a magical effect on many music lovers, not all of them of an impressionable age unlike me. Another song from the same singer from another movie , namely ‘le to aaye hon hamen sapnon ke gaaon mein’ leaves the same effect on listeners. There are several other songs like this, some of them being:-
Tu jo mere sur mein sur milaa le , Suman samaan tum apna , Khushiyaan hi khushiyaan ho daaman mein jiske, Sona kare jhilmil jhilmil , Wafaa jo na ki to , Bachpan mohe picche bulaaye or duniya se door nayi ek duniya from the same movie…
And then the following songs from the movie ‘Ankhiyon Ke Jharokhe Se’;
ankhiyon ke jharokhon se or bade badaai na karen …
or this one from ‘Sunaynaa’
kaisi hoon main goongaa darpan kuchh bhi naa boley.
there are many, and many of them are still to come on this blog too.
And all of them had that special voice and they bring back many memories of that era of Hindi movies …
Also who can forget this duet song ‘teesta nadi si tu chanchalaa’ on TV in those years and yet again if we listen the beginning ‘alaap’ by the same female singer it is captivating…
This is voice of – Hemlata.
She was born on 16th August 1954.
Today on this blog we wish her a very happy birthday and a healthy and peaceful life ahead and today we celebrate this special voice under the series ‘special voices of the seventies.
There may not be many of her songs that she sung in those years of seventies or considering an extension up to 1983, the year when I completed my matriculation. But I have fond memories of many of her songs which, as I grow, I came to know are sung by her.
This is the first ‘female voice’, appearing in this series.
Hemlata Jaychand Bhatt or more popularly known to us as Hemlata was born on 16th August, 1954 in a Rajasthani Brahmin family who were settled in Kolkata (Calcutta then).
Her Father was a great classical vocalist and sole representative of the ‘Kirana Gharana’ (in India, after partition) and so music was already there in their family, and she was attracted towards film music from an early age.
However, daughters/girls in the family were not expected to become a singer and take on singing. And, so from the early childhood itself Hemlata’s struggle to become a Singer started having obstacles within family itself.
Her father, who was the only son among eight siblings, and coming from an orthodox Rajasthani Brahmin family where nobody was concerned with music had to struggle and he learn from Ustad Wahid Khan of Lahore – ‘Kirana Gharana’, and with his ‘dedication’ and ‘hard work’ he learned from him and dedicated his life to keep the legacy of the gharana.
But he was against the singing of Hemlata as it was against the traditions of the family.
Hemlata used to sing in School functions, ‘Durga Pooja’ festival – cultural programmes’, however this was without the knowledge of her father. Though her mother and guru bhai were supporting her singing looking into her passion for singing. So, Gopal Mullick, her guru bhai, motivated her to perform on stage.
It was when she was only seven-eight years old that she got an opportunity to sing on stage in public during the ‘Durga Pooja festival’ in Kolkata (program arranged in Ranjeet Stadium) where Gopal Mullick one of her father’s disciple was among the organising member of the programme. And the crowd that witnessed her first stage performance was a huge crowd because of big names like Hemant Kumar, Mohd Rafi, Lata Mangeshkar, and Kishore Kumar were attending to perform in this programme.
Gopal Mullick had also specially invited Hemlata’s father Shri Jaychand Bhatt to attend this programme which little Hemlata was not aware of.
And this was not disclosed to her so that she didn’t fear and shiver on stage.
Her father was also not aware that his own daughter is going to perform on stage that day. He was told that one ‘child prodigy’ would be introduced on stage and he has to observe him/her.
As the three main singers performed and Lata Mangeshkar was to arrive late, Gopal Mullick had this opportunity to introduce little Hema on stage and as she sings her first song the response from the audience was so tremendous, they keep demanding ‘once more’ for this song.
The song was ‘jaago mohan pyaare’ from ‘Jaagte Raho’ and audience didn’t stop until she had already sung it four times and other twelve Bengali songs.
She was awarded a gold medal by Dr Bidhan Chandra Rai the then chief minister of Bengal for her performance that day.
However, her father was not in favour of her singing and instead he advised her that she should focus and complete her studies, then take on to help at home and get married as normally happens in our culture and tradition. Though he agreed for her to take training in classical singing from Gyan Prakash Ghosh a renowned name then in Calcutta and also allowed ‘riyaaz’ at home.
Around the same time, it so happened that the whole family had to visit to meet their relatives in Bombay (around 1966) for her brother’s ‘tablaa’ training and also to meet the relatives who were already staying there in Bombay. They meet Ustad Bade Ghulam Ali Khan, Amir Khan and sister of her father Kamla Pandit.
During their visit to Bombay they meet Ustad Rais Khan, Ustad Allah Rakha where Hemlata was asked to sing few compositions.
Then she was taken to Aziz Nazaan and also a meeting with Naushad Saab was arranged where the great K. Asif was also present. This was all without her knowledge. She was asked to sing few compositions and all of them were so impressed that great Composer Naushad Saab straightway offer her a contract of five years, however during these five years she was supposed to get trained so that this time period would have given a better maturity in her age and in turn in voice also.
However, as the news of Naushad Saab’s offer to a ‘new upcoming singer’ spread, big music directors viz. Roshan, C. Ramchandra, Salil Chaudhary, Usha Khanna, Chitragupta, Laxmikant-Pyarelal, Kalyanji-Anandji visited them in Bombay and demanding that Hemlata sang for them.
As told to RSTV by Hemlata ‘they were too small to say them ‘NO’…
Laxmikant of music duo Laxmikant-Pyarelal told her father that ‘now she is being offered her career on a platter’, after five years nobody knows how things would be in this ever-changing industry’’
Obviously, the contract of five years by Naushad Saab got nowhere.
She sang her first song for Usha Khanna in the movie ‘Roop Rupaiyya-1968’ (this song is yet to appear on the blog 🙂 ). (However, her first released song, also a Usha Khanna composition, from ‘Ek Phool Ek Bhool-1968’ was the first released song).
On the same day of the recording of her first song for a movie she recorded her second song- for none other than Kalyanji-Anandji for the movie ‘Vishwas-1969’ – ‘le chal le chal mere jeewan saathi’. Both songs she recorded on her first day were songs for the ‘heroine’ of the respective movies.
This was the ‘right’ beginning though for an upcoming new singer in those years when no one could have imagined that at such a younger age a singer will get an opportunity to sing in movies and that too when all the great names were already there ruling the field.
In the beginning of her career she used to get to sing for junior artists or few lines and though the very second song she sung was for lead artist/heroine of the movie i.e. Aparna Sen for ‘Vishwas-1969’ she had to wait till 1976 to shot to fame and the song was ‘Sun ke teri pukaar’ from ‘Fakira-1976’.
Before that her voice appears in the so many songs which she sang for child artists then;
‘dus paise mein Raam le lo’ (Ek Phool Ek Bhool-1968) (first song released)
‘chandaa ko dhoondhne sabhi tare nikal pade’ (Jeene Ki Raah-1969)
‘aisa banoonga actor main yaaron’ (Ghar Ghar Ki Kahaani-1970)
‘Fakira-1976’ was followed by ‘Chitchor-1976’ where the song with Yesudas ‘tu jo mere sur mein’ fetch her, her first ‘filmfare’ award for singing.
Thereafter she got to sing many songs and particularly for ‘Rajshri films’ and under music director Ravindra Jain.
Her association with Ravindra Jain has given Hindi Cinema some of the most beautiful compositions and unforgettable songs for people like me who grow in that ear of seventies.
Who can ever forget the title song from the movie ‘ankhiyon ke jharokhon se’, or the songs from ‘Nadiyaa Ke Paar-1982’, there are many such songs and the list will be much longer to present here.
Here I would also like to add her songs, from a lesser known movie ‘Jhoom Utthaa Aakash-1973’, which I got to listen during 2014-2015 and which I like very much. This movie had some nice songs which didn’t get attention may be because of the movie itself was an obscure movie.
Moreover there are many of her songs from lesser known movies (or which I have yet to listen) and need to bring here on the blog. (We are going to listen to one such lesser known number today).
Unfortunately for Hemlata or for us, as she kept getting offers for singing and she was continuing with them. Forces beyond her control were at work as well.Gradually she was getting side-lined and not getting much offers of singing… many bitter things were to happen in due course of time.
Hemlata left Bollywood in 1999 and settled in Mexico where she is running a ‘music academy’ for teaching music and singing. She has sung nearly five thousand songs in ‘forty’ languages around the world . This information that I came up wiuth while preparing this post left me ‘awe-struck’. She also keeps singing in Non-Film albums later and many accomplishments came to her later …
Today, as we wish her a very ‘happy birthday’ here on the blog. We thank her for the beautiful songs she has given to us and many memories associated with those melodies from the ‘decade of seventies – 1971 to 1980’
Here I will stop mentioning the lines of a song sung by her ‘tu is tarah se meri zindagi mein shaamil hai …’
***
For this post I am presenting a song from the 1979 movie ‘Zakhmon Ke Nishaan’. I came across this song more than two years ago when I was looking for a Ravindra Jain-Hemlata song.
I guess this movie ‘Zakhmon Ke Nishaan’ must be an ‘obscure movie’ of its time and it may have been flopped miserably. Neither the movie nor the video of its songs (except couple of songs and few video clips) are available on YT.
“Zakhmon Ke Nishaan-1979” was directed by Diljeet Bagge for ‘V. United, Bombay’. It was produced by M.T. Boxwala. M.K. Baria was his associate. It had Vinod Mehra, Tamanna, Vijay Arora, Ranjeet, Aruna Irani, Padma Khanna, Manmohan Krishna, Purnima, Dhumal, Rajendra Nath, Madan Joshi and Krishan Dhawan, supported by Makhan Singh, Jagdish Raj, Amrit Pal, Rana, Chandu, Pritam Beli, G.S. Assie, Narbadashankar, Dharam Veer Singh, Gopal Bhatnagar, Pratap Desai, Anand, Srivastava, Chowdhary, Aditya Sharma, Raj Anand, Ashok Nimbalkar, Master Dharmendra, Master Sanjay, Master Santosh, Master Jitoo.
Story and Screenplay of this movie was written by Shashi Bhushan, whereas the dialogues were written by Madan Joshi. Nand Kumar was the editor for this movie and Sunder Shetty was the associate editor.
This movie had six songs written by Ravindra Jain (four songs) and Hasrat Jaipuri (two songs). Music was composed by Ravindra Jain.
Asha Bhonsle, Manna Dey, Hemlata, Jaspal Singh, Dilraj Kaur, Suresh Wadkar and Chandrani Mukherjee had given their voices to the songs in this movie.
This movie was passed by censor board on 28.11.1979.
I would request knowledgeable readers to throw more light on this movie and its songs …
The movie makes its debut on the blog today.
Let us now enjoy today’s song thanking Hemlata ji for the wonderful songs and the nostalgia forever …
(Sources – RSTV- ‘Guftagoo with Hemlata’ by Anchor Irfan Part-1 &2, Wikipedia and other articles available on Internet).
Song-Megh tu hi nahin jal barsaaye (Zakhmon Ke Nishaan)(1979) Singer-Hemlata, Lyrics-Ravindra Jain, MD-Ravindra Jain
Lyrics
megh tu hi nahin
jal barsaaye ae
mere bhi man par baadal chhaaye
garaj garaj tu boley ae
main gumsum rahoon
megh tu hi nahin
jal barsaaye ae
mere bhi man par baadal chhaaye
garaj garaj tu boley ae
main gumsum rahoon
tujhko milaa saagar se neer
mujhko mili saajan se peer
tujhko milaa saagar se neer
mujhko mili saajan se peer
tu duniyaa se kehtaa phirey
hans kar sah loon main har teer r r
tu duniyaa se ae kehtaa aa phirey
hans kar sah loon main har teer
bhed tu apne kholey
main gehri bahoon
megh tu hi nahin
jal barsaaye ae
mere bhi man par baadal chhaaye
garaj garaj tu boley ae
main gumsum rahoon
meraa ronaa kaam naa aaye
teraa ronaa saawan laaye ae
meraa ronaa kaam naa aaye
teraa ronaa saawan laaye
isiliye aansoo peeti hoon main
jag roton ki hansi udaaye
isiliye aansoo peeti hoon main
jag roton ki hansi udaaye
mere bhi man mein hai sholey
main kaase kahoon
megh tu hi nahin
jal barsaaye
mere bhi man par baadal chhaaye
garaj garaj tu oo boley ae
main gumsum rahoon
main gumsum rahoon
ho o o
main gumsum rahoon
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Devnagri Script lyrics (Provided by Avinash Scrapwala)
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मेघ तू ही नहीं
जल बरसाए ए
मेरे भी मन पर बादल छाए
गरज गरज तू बोले ए
मैं गुमसुम रहूँ
मेघ तू ही नहीं
जल बरसाए ए
मेरे भी मन पर बादल छाए
गरज गरज तू बोले ए
मैं गुमसुम रहूँ
तुझको मिला सागर से नीर
मुझको मिली साजन से पीर
तुझको मिला सागर से नीर
मुझको मिली साजन से पीर
तू दुनिया से कहता फिरे
हंसकर सह लूं मैं हर तीर ‘र ‘र
तू दुनिया से ए कहता आ फिरे
हंसकर सह लूं मैं हर तीर
भेद तू अपने खोले
मैं गहरी बहूँ
मेघ तू ही नहीं
जल बरसाए ए
मेरे भी मन पर बादल छाए
गरज गरज तू बोले ए
मैं गुमसुम रहूँ
मेरा रोना काम ना आये
तेरा रोना सावन लाये ए
मेरा रोना काम ना आये
तेरा रोना सावन लाये ए
इसलिए आँसू पीती हूँ मैं
जग रोतों की हंसी उड़ायें
मेरे भी मन में है शोले
मैं का से कहूं
मेघ तू ही नहीं
जल बरसाए
मेरे भी मन पर बादल छाए
गरज गरज तू ऊ बोले ए
मैं गुमसुम रहूँ
मैं गुमसुम रहूँ
हो ओ ओ
मैं गुमसुम रहूँ
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.
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Blog Day : |
4382 | Post No. : | 15731 | Movie Count : |
4337 |
Zarina Wahab, born this day in 1959, turns 61 today.
My first introduction to this actress of pronounced and natural underplay, was ‘Chit Chor’ of 1976. Yes, for a brief time, the phrase used for her was ‘Chit Chor Girl’. The debut was impressive and the performance in ‘Chit Chor’ was followed up in 1977 with another superb performance in the film ‘Gharonda’.
In both films, she plays the role of the typical girl next door, who wins your heart with an understatement of her performance as the young coming of age heroine, and her first encounter with love. These two assays, the Geeta of ‘Chit Chor’ and Chhaaya of ‘Gharonda’, quite adequately define for me, the accomplished actress she is.
This song is from the 1995 film ‘Mera Damaad’, almost two decades into her career. The film had a good successful run at the box office, as a comedy of mixed up intents and identities of young hearts seeking their first love.
The film is directed by Partho Ghosh. The lead pair in the film is Zarina Wahab and Farooque Sheikh and the rest of the cast includes Utpal Dutt, Ashok Kumar, Rakesh Bedi, Rakesh Bedi, Prema Narayan, Jankidas, Bhagwan Dada, Tarique, Priyadarshini, Parvin Paul, Abha Mukherjee, Khokha Mukherjee, Brahmachari, Kukku Saigal, Jagannath Prabhu, Balraj, Master Romel Kaul, and Baby Nivedita.
The music director for the film is Salil Chaudhry, and this song is penned by Yogesh.
Wishing Zarina a very happy birthday, with greetings for good healty, peace and many more such celebrations in the coming years.
The lyrics of this song have been sent in by our dear Prakash ji.
Song – Jhir Jhir Barse Aaj Gagan Se Ye Kaise Baadal (Mera Damaad) (1995) Singer – Amit Kumar, Anuradha Paudhwal, Shailendra Singh, Sabita Chowdhury, Lyrics – Yogesh, MD – Salil Chaudhry
Lyrics (Provided by Prakashchandra)
jhir jhir barse
aaj gagan se
yeh kaisse baadal
jhir jhir barse
aaj gagan se
yeh kaisse baadal
aaye matwaale
matwaale
pyaar ke yeh pal
likh di kyaa tumne
iss dil mein pyaar ki gazal
aaye matwaale
matwaale
pyaar ke yeh pal
likh di kyaa tumne
iss dil mein pyaar ki gazal
jhir jhir barse
aaj gagan se
yeh kaisse baadal
dekho
madhosh mausam gaa rahaa hai ae
chhalkaa huaa rang hai
naye
albele raaston par
tera meraa sang hai
dekho
madhosh mausam gaa rahaa hai ae
chhalkaa huaa rang hai
naye
albele raaston par
tera meraa sang hai
thaamey
rehnaa meraa aanchal
jhir jhir barse
aaj gagan se
yeh kaisse baadal
bheegey
bheegey badan mein bhi aaj kaissi
jalne lagi hai aggan
jaane abke baras kaissi
chalne lagi hai pawan
bheegey
bheegey badan mein bhi aaj kaissi
jalne lagi hai aggan
jaane abke baras kaissi
chalne lagi hai pawan
mere armaan huye paagal
jhir jhir barse
aaj gagan se
yeh kaisse baadal
aaye matwaale
matwaale
pyaar ke yeh pal
likh di kyaa tumne
iss dil mein pyaar ki gazal
aaye matwaale
matwaale
pyaar ke yeh pal
likh di kyaa tumne
iss dil mein pyaar ki gazal
jhir jhir barse
aaj gagan se
yeh kaisse baadal
yeh kaisse baadal
yeh kaisse baadal
yeh kaisse baadal
Ae ghanan ghanan ghan garje
Posted on: June 21, 2020
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day: |
4356 | Post No. : | 15677 |
“Sapna” (1952) was directed by Kidar Sharma for Hindustan production company. The movie had Kishore Sahu, Bina Rai, Cuckoo, Shakuntala, Moni C, Hiralal, Rani Chanda, Narbada Shanker, Paul Sharma etc in it.
The movie had seven songs in it. Three songs from the movie have been covered in the blog.
Here is the fourth song from “Sapna”(1952) to appear in the blog. This song is sung by Rafi, Shamshad Begam along with male and female chorus. Bharat Vyas is the lyricist. Music is composed by Shyambabu Pathak.
Only the audio of the song is available. It sounds like a community dance song. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Ae ghanan ghanan ghan garje (Sapna) (1952) Singers-Rafi, Shamshad Begam, Lyrics-Bharat Vyas, MD-Shyambabu Pathak
Male Chorus
Female Chorus
Lyrics
babadik babadik
babadik baabdik
babadik babadik baabdik
hoy hoy
hoy hoy
hoy hoy
hoy hoy
ho rara ho
aa aa aa
aa aa aa
raa raa ho
ho ho ho
raa raa ho
ho ho ho
raa raa ho
ho ho ho
raa raa ho
ho ho ho
raa raa ho
ho ho ho
raa raa ho
ho ho ho
Ae ghanan ghanan ghan ghanananan ghanan garje
ba ba ba baadarwa
baadal ke dil mein khinch gayi
khinch gayi bilji ki rekha
?? bijli ki rekha
arre gori ki aankhen
mit gayi mit gayi
ye kisne dekha
kahoji bhai ye kisne dekha
baat ye sau baaton ki baat
raat ye sau raaton ki raat
baat ye sau baaton ki baat
raat ye sau raaton ki raat
Hoy
laar lilla
laar lilla
naar naweli aayi re
laar lilla
laar lilla
naar naweli aayi re
chamak chamak kar chale chaal ye
bijli si lugaai re
chamak chamak kar chale chaal ye
bijli si lugaai re
laar lilla
laar lilla
naar naweli aayi re
jyun jungle ki ee ee ee laakdi
gaanthh gathheelee hoye
baalaapan ki ee ee preetdi
bahot hathheelee ho o o o o ye
phulwa chunte kaanto lago ree
phulwa chunte kaanto lago ree
teekho teekho kaanto
meethho meethho kaanto
bagiya mein hamko nindiya jo aayee
nindiya
jo aayee
main to kaliyon ki godi mein so gayee re
ho main to
ho main to
ho main to kaliyon ki godi mein so gayee re
chupke se ungli ko kaante ne kaat liya
kaante ne kaat liya
daiyya re ghaayal main ho gayee re
haay daiyya re ghaayal main
ho gayee re
ho gayee
phulwa chunte kaanto lago ree
phulwa chunte kaanto lago ree
teekho teekho kaanto
meethho meethho kaanto
bhanwron ke bhole bhaale jigar par
nainon ka teer mera
chal gaya re chal gaya
phoolon ke sang muskaate yoon dekhoon main
phoolon ke sang muskaate yoon dekhoon main
kaanta nigoda kyun jal gaya re
haaye kaanta nigoda kyun jal gaya re jal gaya
phulwa chunte kaanto lago ree
phulwa chunte kaanto lago ree
teekho teekho kaanto
meethho meethho kaanto
phulwa phulwa phulwa phulwa
aa aa aa aa
phulwa phulwa phulwa phulwa
aa aa aa aa
kisne chheda kaanon mein mere
zaalim jawaani ka raag re
raag re
raag re
raag re
tadpan lagi more man ki machhariyaa
tadpan lagi more man ki machhariyaa
paani mein laagi hai aag re
aag re
aag re
aag re
aa aa aa aa aa
aa aa aa aa aa
phulwa phulwa phulwa phulwaa
aa aa aa aa aa aa
phulwa phulwa phulwa phulwaa
aa aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa aa
phulwa phulwa phulwa phulwaa
aa aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
Baa..dal Ghumadh Badh Aaye
Posted on: June 5, 2020
- In: "baadal" song | "saawan" song | Guest posts | Kavitha Krishnamurthy Solo Songs | Kavitha Krishnamurthy Songs | Multi Version Song | Post by Sadanand Kamath | Rain song | Semi Classical song | Songs of 1990s (1991 to 2000) | Songs of 1997 | Stage song | Suresh Wadkar solo | Suresh Wadkar songs | Yearwise breakup of songs
- 5 Comments
This article is written by Sadanand Kamath, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4340 | Post No. : | 15641 |
Sai Paranjpye has so far directed 8 feature films in Hindi. She has written story and script for all these films. Each of these films has some interesting background as to what prompted her to make those films. In this article, I am covering her film ‘Saaz’ (1997) which was produced by Amit Khanna under the banner ‘Pulse Films’ of the Plus Channel of which he was the managing director during 1989-2000.
Sometime in 1995-96, Plus Channel decided to produce some ‘middle-of-the-road’ films. Directors like Shyam Bengal, Basu Chatterjee, Sudhir Mishra, Aruna Raje, Gautam Ghosh and Sai Paranjpye were enlisted to direct such genre of films which resulted in the release of films, ‘Sardari Begum’ (1996), ‘Gudgudee’ (1997), ‘Is Raat Ki Subah Nahi’ (1996), ‘Bhairavi’ (1996), ‘Gudia’ (1997) and ‘Saaz’ (1997), respectively.
Shabana Azmi had worked with Sai Paranjpye in ‘Sparsh’ (1980) and ‘Disha’ (1990). As per Sai Paranjpye’s Marathi book, ‘Sai – Maaza Kalapravaas’ (2016), one day Shabana came to her with a proposal on behalf of Plus Channel to direct a film with a woman-oriented story in which she would like to work. Sai Paranjpye accepted the proposal. The subject of sibling rivalry in the professional fields had attracted Sai Paranjpye but she had not thought of making a film on the subject. With this proposal, she thought as to why not make a film on sibling rivalry.
We are aware that there have been many instances of sibling rivalries – be in epics, history, business, media, industrial houses etc in India where there was thin line of difference between the professional and personal rivalries. According to Sai Paranjapye, sibling rivalry of Lata Mangeshkar and Asha Bhosle is unique in the sense that their personal relationship by and large has remained intact over the years in the midst of their professional rivalry. And Sai Paranjpye wanted to bring this uniqueness in the film.
When Sai Paranjpye worked on the script of the film, she realised that the film was leaning towards making of a biopic on Asha Bhosle. She felt uncomfortable to make a film on such a script involving the personal lives of the siblings. Furthermore, she has no acquaintance with both the sisters. The idea of making a film depicting Asha Bhosle was, therefore, dropped. However, in the revised script, the main theme of two playback singing sisters were kept in mind with some twists in the stories just to segregate her story from the real life story of Lata and Asha Bhosle. However, a couple of events which actually happened during the lives of Asha Bhosle and Lata Mangeshkar were incorporated as they were in the public domain, written by those who had witness those events.
The star cast of ‘Saaz’ (1997) included Shabana Azmi, Aruna Irani, Parikshit Sahani, Raghuveer Yadav, Ayesha Dharker, Zakir Hussain, Amar Talwar, Brijbhushan Sahani, Bhupen Hazarika etc. The story, script and dialogues were written by Sai Paranjpye who also directed the film. The film was mostly shot around Mumbai. Some last part of the film were shot in Seychelles.
The film was certified by the Censor Board on 31-12-1996. But film failed to get release in theaters. The reason is stated to be the ban put by the Theater Owners Association on the exhibition of films produced by Plus Films due to the non-payment of arrears of rent from Plus Channel to some theater owners. I am not aware whether the film was released in the theater after this ban. Probably, the film got released later on TV. It was only after reading some parts of the script of the film published verbatim in Sai Paranjpye’s Marathi book referred to above that made me to watch the film. I am pleasantly surprised to note that she has handled the theme of sibling rivalry of playback singing sisters very delicately and objectively. There are some poignant moments between the two sisters which are very heart-touching.
The film’s story has been told in a flash-back mode during Bansi’s (Shabana Azmi)’s sessions with a psychiatrist played by Parikshit Sahani. She needed this treatment as she has lost the will to sing after the death of Hemang Desai (Zakir Hussain) with whom she was in love and would have married him. In all her sessions, Bansi reveals events from her childhood to playback singing career as to how she was always played second fiddle to her elder sister. How she broke the relationship with her didi for 10 years due to snatching of her chance to sing on India’s Independence Day at Delhi. But after the sudden death of her elder sister, Bansi feels guilty of depriving her elder sister of spending time with her daughter. Towards the end of the film, Bansi gets a good news that her daughter has won the award as a promising playback singer. This pleasant news makes Bansi to sing live in front of the audience in Seychelles. The tape of her singing is sent to psychiatrist who comes at the airport to receive her and announces that she does not need any more treatment. So his relationship with Bansi as a doctor and a patient is over. Instead, he wants now to be her friend. The films end with both them walking together out of the airport.
In my view, this film is not one of the best among the films Sai Paranjpye has directed. Probably, in trying to make the film different from that of the sibling rivalry of Lata and Asha Bhosle, too many characters were introduced. As a result, about last one hour of film does appear some disconnect from the first part of the film which has some brilliant stamp of Sai Paranjpye. However, I feel that she has succeeded in creating sympathy of the audience for the younger sister without their malice towards the elder one.
In keeping with the subject of the story, ‘Saaz’ (1997) has as many as 11 songs (including a multiple version song). Songs are written by Javed Akhtar which have been set to music by 4 music directors – Ustad Zakir Hussain, Bhupen Hazarika, Raj Kamal and Yashwant Deo. The reason given by Sai Paranjpye for multiple music directors is that since sisters are playback singers working with different music directors, the songs in the film should reflect the different style of music direction. Two of the music directors, Ustad Zakir Hussain and Bhupen Hazarika also acted as music directors in the film.
Out of the 11 songs of the film, 3 songs have been covered in the Blog, all by Peevesie’s Mom. I am presenting the 4th song from the film which is a multiple version song. The song is “Baadal Ghumad Badh Aaye”. The male version of the song is sung by Suresh Wadkar and Kavita Krishnamurthy sings the female version. Both the versions of the song are set to music by Yashwant Deo in Raag Megh-Malhar. In the credit titles of the film, only Javed Akhtar’s name appears as a lyricist. But in reality, both the versions of the song have been written by Sai Paranjpye. There is an anecdote as to why Sai Paranjpye had to write the lyrics of the song as revealed by her in her Marathi book referred to above.
Javed Akhtar has written all the songs except the one under discussion which was last to be written. Despite repeated reminder, Javed Akhtar could not write the song. Yashwant Deo who was to set the song to music had booked the recording room and taken the dates of Suresh Wadkar and Kavita Krishnamurthy. All the musicians were also booked for the date of recording. Now only two days had left for the recording of the song but both the version of song’s lyrics was not yet ready. Just one day before the song recording date, it came to light that Javed Akhtar has gone to Khandala with a film producer. The cancellation of recording of the song would have entailed a huge loss and also the shooting schedules would have been affected entailing further loss.
Yashwant Deo mentioned to Sai Paranjpye that even if he gets the song in the morning of the song recording date, he can manage somehow to complete the rehearsals and record the song at the appointed time at noon. Sai Paranjpye came home at night and completed the lyrics of two versions of the song, foregoing her sleep. In the morning, she handed over the lyrics to Yashwant Deo and recording of the songs took place as schedule.
On return from Khandala on the next day, Javed Akhtar was shocked to learn that the songs have already been recorded. He got annoyed on Sai Paranjpye. After 3-4 days, an executive from Plus Films came to her asking for her lyrics which Javed Akhtar wanted to read. He took lyrics to Javed Akhtar. There was no further development which meant that Javed Akhtar had no issue with the lyrics. On this issue, Shabana Azmi remained neutral.
Javed Akhtar won the National Film Award for the best lyrics in ‘Saaz’ (1997).
It is not an easy task for a novice to write lyrics based on Hindustani classical raags. The choice of words shows that Sai Paranjpye has hold over Sanskritised Hindi. For the first time, I have heard the word kanakalankrit bhor (dawn of golden colour). While the male version of the song is reflective of the onset of the rains, the female version of the song signals the end of the rains and the sun is shining giving a dawn of hope. This is symbolic for the resurgence of playback singing career of Bansi (Shabana Azmi) after she lost her will to sing.
Suresh Wadkar version of the song is pictuirsed on Raghuveer Yadhav who has played the role of a father of singing sisters, Mansi and Bansi. The picturization of the song is based on a true story in the life of Dinanath Mangeshkar who had gone to the house of Vishram Bedekar (Marathi and Hindi film director) in the midnight, drenched under heavy rains to borrow money to quench his thirst for alcohol. Bedekar taunted him by saying that it did not behove well for such a great artist to beg for money. Dinanath Mangeshkar retorted by impromptu singing a bandish in Raag Megh-Malhar and after completing the bandish, he took money from Bedekar as a present for his rendering.
Enjoy both the version of the songs in the backdrop of the approaching monsoon season.
Video (Suresh Wadkar Version)
Audio (Suresh Wadkar Version)
Video (Kavita Krishnamurthy Version)
Audio (Kavita Krishnamurthy Version)
Song – Baa..dal Ghumadh Badh Aaye (Saaz) (1997) Singer – Suresh Wadkar, Kavita Krishnamurthy, Lyrics – Sai Paranjpye, MD – Yashwant Deo
Lyrics
Suresh Wadkar Version
baa…dal ghumad baddh aaye
baa…dal ghumad baddh aaye..e
kaali ghata ghanghor gagan mein
kaali ghata ghanghor
baa…dal ghumad baddh aaye
baa…dal ghumad baddh aaye
kaali ghata ghanghor gagan mein
kaali ghata ghanghor gagan mein
andhiyaara chahun o..or
andhiyaara chahun o..or
ghan barsat utpaat pralay kaa
pyaasa kyon manmo..or
pyaasa kyon manmo..o..or
baa…dal ghumad baddh aaye
baa…dal ghumad baddh aaye..e
kaali ghata ghanghor gagan mein
kaali ghata ghanghor
ghanghor
ghanghor
ghanghor
kaali ghata ghanghor gagan mein
andhiyaara chahun o..or
ghan barsat utpaat pralay kaa
ghan barsat utpaa..aa..aa..t
aa aaa aa aaa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa
ghan barsat utpaat pralay kaa
pyaasa kyon manmo..or
pyaasa kyon manmo..or
baa…dal ghumad baddh aaye
baa…dal ghumad baddh
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
baa..dal ghumad
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
baa..dal ghumad
baa..dal ghumad
baa…dal ghumad baddh aa..aa..aa..ye
Kavita Krishnamurthy Version
baa..dal ghumad baddh aaye
baa..dal ghumad baddh aaye
kaali ghata ghanghor gagan mein
kaali ghata ghanghor gagan mein
andhiyaara chahun o..or
ghan barsat utpaat pralay ka
pyaasa kyon manmo..or
pyaasa kyon manmo..or
baadal baras ab maun bhaye
baadal baras ab maun bhaye
ravi ujjwal prajawalit gagan mein
prajawalit gagan mein
gagan mein
gagan mein
gagan mein
ravi ujjwal prajawalit gagan mein
kanakaalankrut bho..or
jai mangal jai ghosh gagan kaa
jai ghosh gagan kaa..aa..aa
aaaaaaaaaaaaaa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
jai mangal jai ghosh gagan kaa
shubh utsav chahun o..or
shubh utsav chahun o..or
baa..dal baras ab maun bhaye
baa..dal baras
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
baadal baras ab maun bhaye..ae
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
baadal baras
baadal baras
baadal baras ab maun bha..ye..ye
Ghiri ghiri aayi kaari badariya
Posted on: December 23, 2019
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4175 | Post No. : | 15349 | Movie Count : |
4231 |
Hindi Songs in Bangla Films – 14
– – – – – – – – – – – – – – – – – –
‘Antony Firingee’ (1967) was a Bengali film which has attained a classic status among the Bengali films. The film was directed by Sunil Banerjee. The main cast included Uttam Kumar, Tanuja, Lolita Chatterjee, Bhanu Bandopadhyay, Asit Baran, Ruma Guha Thakurta, Chhaya Devi etc. The film was based on a real-life story of Hensman Antony, a Portuguese national, who visited Chandannagar (near Kolkata) with his father, a trader, sometime in the 19th century. However, in the film, the story has some deviation from the real story probably to give a better cinematic depiction of the characters. Let me set out first the real story which I have gathered from the on-line sources.
Hensman Antony (1786-1836) arrived in Chandannager with his father, a trader sometime in the 19th century. He got so obsessed with the Bengali folk music and language that he decided to settle down in Chandannagar. During his stay, he started learning Bengali language and also the folk music. His life took a fresh turn when he saved a brahmin widow, Saudamini from self-immolation and took her to his place. He married her much to the annoyance of orthodox Bengalis. A widow re-marrying and that too a Firingee (foreigner from Europe) was nothing less than an act of blasphemy. The conservatives regularly harassed Antony and Saudamini by various means.
The influence of Saudamini on Antony was such that he started worshipping Maa Kali and Maa Durga that made him a spiritually inclined person. He also started learning Kavigaan (Bengali folk performances by poets of two groups who sing and perform in front of the villagers as a competition). He was also good in singing hymns in praise of Goddesses. His literary Bengali was so good that he became one of the popular poets of Kavigaan. These things did not go well with the orthodox upper caste Bengalis who felt that a Firingee is entering their domain. One day, a few villagers burnt their cottage which resulted in Soudamini getting burnt to death. At that point of time, Antony was away giving his winning performance in a Kavigaan.
There is an old Kali temple located in Bowbazar area of Kolkata known as ‘Firingee Kalibari’ to which Antony Firingee was associated with its renovation and also as a devotee.
The film, ‘Antony Firingee’ (1967) is available on-line for viewing in 7 parts. However, there is no English sub-titles. After knowing the real story of Hensman Antony, it was not difficult for me to relate the scenes in the film and also the context. Since the early life of Hensman Antony in Bengal was not known, the director has taken the cinematic liberty by showing that Antony’s mother was a Bengali. He spends most of his time singing Bengali songs with the workers of a riverbank. Antony’s behaviour is completely in odd with his brother and Marina (Lolita Chatterjee) who loves him. They would prefer him to mingle with their own (white) people.
The director has fictionalized the romantic link between Antony (Uttam Kumar) and Soudamini (Tanuja. In the film, her role was named as Nirupama) by making her a courtesan after she became a widow. Her singing as a courtesan attracts Antony. She reveals him her sad story as to how she ran away from home after the death of her husband to escape death on her husband’s funeral pyre. She was forced to become a courtesan by changing her name to Shakilabai. Both are now becoming closer to each other as both share the same interest – singing. Antony rescues her from the kothi and marries her. There is a complete transformation of Shakilabai from a courtesan to Nirupama as a housewife. Despite the constant harassment from the conservative society surrounding them for their rebellions, they lead a contended married life. Rest of the story in the film has been mostly kept as per the real-life story.
The dramatization by way of the irony of the situations in the film has been well conceived. For instance, because of Antony’s foreign origin, Bhola Moira (Asit Baran), the most popular kabiyal (a bard, akin to ‘kirtankar’ in Maharashtra and Karnataka) at that time, refuses to teach him to become the kabiyal. But in the end, at a Kavigaan, he defeats Bhola Moira who not only accepts his defeat graciously, he removes the flower garland from his neck and place it on Antony as a mark of his respect for Antony. And another irony of situation is that while Antony has won the duel with Bhola Moira, fanatics are burning his cottage in which his wife is being burnt alive. The film ends with Antony carrying the dead body of Nirupama out of the burnt house and takes to the river ghat.
The film won Uttam Kumar the National Award for the best actor in 1968. About 50 years later, ‘Antony Firingee’ (1967) was the opening film at Kolkata International Film Festival, 2018.
The film had 10 songs and a Tarana sung by Malbika Kanan, the wife of Pandit A T Kanan. All the songs are said to have become very popular. I am presenting the only Hindi song in the film, ‘ghir ghir aayi kaari badariya’ sung by Sandhya Mukherjee based on a popular traditional kajri. But in the film, it is sung for a mujra singer (Tanuja in the role of Shakinabai)) which is set to music by Anil Bagchi.
In the video version of the song, it is interspersed with western dances Antony’s community is indulging where Antony is being taken to participate. But he so immersed in mujra song heard in the background that he closes the door of the dance floor to hear the song uninterrupted. The audio clip has the full rendition.
Video Clip (Partial):
Audio Clip:
Song-Ghiri ghiri aayi kaari badariya (Anthony Firangi)(Bangla)(1967) Singer-Sandhya Mukherjee, MD-Anil Bagchi
Lyrics(based on audio clip)
aaa aaa aaa
aaa aaa aaa
aaa aaaa aaa aaa
ghiri ghiri aayi kaari badariya
piya nahin aaye
main kaa karoon guinyaan
ghiri ghiri aayi kaari badariya
piya nahin aaye
main kaa karoon guinyaan
kaa karoon guinyaan
piyaa nahin aaa…ye
piya nahin aaye
haaa aa aa
piya nahin aaye
piya nahin aaye
main kaa karoon guinyaan
daadur morey
daadur morey papeeha gaa…..ye
daadur morey papeeha boley
mujh birhan kaa jiyara…..aa doley
mujh birhan kaa jiyara…..aa doley
nis din unki yaa……d sataaye
piya nahin aaye
main kaa karoon guinyaan
piya nahin aaye mora
kaa karoon guinyaan
piya nahin aaye mora
kaa karoon guinyaan
piya nahin aaye
main kaa karoon guinyaa….n
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Hindi Songs in Bangla Films – 8
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‘Aalor Pipasa’ (Thirst for Light) was a Bangla film released in January 1965. The film was directed by Tarun Majumdar. The film is available on-line with English sub-titles. The story of the film is about a courtesan (Sandhya Roy) who sacrifices her life for the betterment of her son. The entire story is depicted in the film by way of flash back when a senior doctor (Pahadi Sanyal) tells the story of the courtesan to his junior doctor (Asit Baran). The junior doctor happens to be the courtesan’s son.
Obviously, the story of the film revolves around Sandhya Roy and I must say that she has given an outstanding performance in the film. Hitherto, my knowledge about Sandhya Roy was limited to her Hindi films like ‘Asli Naqli’ (1962), ‘Pooja Ke Phool’ (1964), ‘Jaane Anjaane’ (1971) etc. But in Hindi films she had only secondary roles like Dev Anand’s ‘munhboli bahen’ (adoptive sister) in ‘Asli Naqli’ (1962) where she displays her combative but soft at heart attitudes. The song from the film laakh chupaao chhup na sakega was picturised on her.
In Bangla films, Sandhya Roy has been one of the prominent actresses who has been active in Bangla film industry for over 5 decades starting with lead roles and switching over to character roles. She has worked in more than 100 films. She is also in politics having successfully contested parliamentary election from Mednipur in 2014 on Trinamul Congress ticket.
Sandhya Roy (born 11/04/1941) was born in Nabadwip (West Bengal). However, her family belonged to Khulna (now in Bangla Desh) where her grand father was a landlord. In her childhood, she lost her parents. She was brought up by her maternal uncle at Khulna where she had her early education.
In 1957, Sandhya Roy returned to Kolkata and stayed with her sister. This was the beginning of her unexpected journey to Bangla films. While watching the shooting of the film ‘Mamlar Fol’ (1957), the director saw her and offered her a role in the crowd. Her first full-fledged film was ‘Antariksha’ (1957). After the success of this film, she started getting offers of lead roles in many Bangla films. She remained one of the leading actresses in Bangla films during 1960-80. During this period, she was paired with Biswajeet in about 20 films.
Sandhya Roy had her stint in Hindi films with ‘Asli Naqli’ (1962) which was followed by ‘Pooja Ke Phool’ (1964), ‘Raahgir’ (1969), ‘Jaane Anjaane’ (1971), Bandagi’ (1972) etc. The last Hindi film she acted was ‘Ek Anaar Sau Bimaar’ (2008). However, despite her good acting, she could not actively pursue her career in Hindi films.
From 1980s onward, Sandhya Roy continues to work in Bangla films as a character actress beside pursuing her political career.
Sandhya Roy married Tarun Majumdar, one of the leading directors of Bangla films who had also directed Hindi films, ‘Balika Badhu’ (1967) and ‘Raahgir’ (1969).
‘Aalor Pipasa’ (1965) had nine songs of which as many as 5 songs were Hindi semi-classical songs. This was to be expected since the story of the film revolves around a courtesan who entertains her clients by singing and dancing. The film also has a Sanskrit strotra (hymns) which has been rendered by Hemant Kumar as a background song when credit titles roll in the film.
In the film, Lata Mangeshkar sings two solos for Sandhya Roy of which I have selected the song ‘ghir aayi badariya piya naahi aaye’. The song has been written by Kaifi Azmi which has been set to music by Hemant Kumar.
Song-Ghir aayi badariya piya naahin aaye (Aalor Pipaasa)(Bangla)(1965) Singer-Lata, Lyrics-Kaifi Azmi, MD-Hemant Kumar
Lyrics
ghir aayi badariya piya naahin aaye
ghir aayi badariya piya naahi aaye
tan man jale mora birha sataaye
tan man jale mora birha sataaye
ghir aayi badariya piya naahin aaye
jaa jaa re badra tu pi ko manaa laa
jaa jaa re badra……aa aa aa aa aa
jaa jaa re badra tu pi ko manaa laa
pi ke bina mohe kachhu hi na bhaaye
pi ke bina mohe
pi ke bina mohe kachhu hi na bhaaye
ghir aayi badariya piya naahin aaye
ghir aayi badariya piya naahin aaye
jeewan hai pyaasa ankhiyaan hain pyaasi
jeewan hai pyaasa ankhiyaan hain pyaasi
jeewan hai pyaasa ankhiyaan hain pyaasi
megha re kaahe ko jhariya lagaaye
megha re kaahe ko
megha re kaahe ko jhariya lagaaye
ghir aayi badariya piya naahin aaye
tan man jale mora birha sataaye
ghir aayi badariya piya naahin aaye
ghir aayi badariya piya naahin aaye….ye ye
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