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Bhara Baadar Maah Bhadara, Shunya Mandir Mor

Posted by: on: June 30, 2020


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

Blog Day :

 4365 Post No. : 15693 Movie Count :

4325

During my visits to Jorasanko Thakur Bari (Tagore family residence) in Kolkata and thereafter a full day visit to Shanti Niketan in 2012, I had often come across the name of Kadambari Devi who was supposed to have inspired Gurudev Rabindranath Tagore in his literary, musical and artistic pursuits. But at that time, it never occurred to me to know more about Kadambari Devi.

Last Sunday, while browsing one of the OTT platforms, I found a Bangla film ‘Kadambari’ (2015) where I read a two-liner summary of the film that connected me with Kadambari Devi. The film is a biopic on Kadambari Devi who was the wife of Jyotirindranath Tagore, the elder brother of Gurudev Rabindranath Tagore. The story of Kadambari Devi is a tragic one which is, in my view, is not less than Shakespearean tragedies. Let me first briefly discuss her biography before I set out her story as depicted in the film.

Kadambari Devi (1859-1884) was a daughter of an employee of Jorasanko Thakur Bari who was married to 21-year old Jyotindranath Tagore on July 5, 1868 when she was 9. In Thakur Bari, 7-year old Rabindranath Tagore, the youngest son of Debendranath Tagore, became Kadambari’s playmate as no other family members in the Tagore family were of their age group. Her husband was a multi-talented person interested in literature, music, theatre, painting, publications besides the family business. He made arrangements for home education of Kadambari Devi as also  for training in horse riding etc.

After the death of Rabindranath’s mother, Kadambari Devi’s childhood relationship with him was turned from playmate to that of a surrogate mother. The next relationship between Kadambari Devi and Rabindranath in their adulthood became more like platonic love. Everyday, Rabindranath would write poems which he would first recite to Kadambari Devi who would give her critical assessments. Gradually, an intellectual relationship developed between Rabindranath and Kadambari Devi.

The close relationship between Rabindranath and Kadambari Devi during their adulthoods were not liked by the elder family members. So, at the age of 17, Rabindranath was sent to England for further studies. During his short stay in England, he used to write letters to Kadambari Devi discussing about poems and literature and how he was missing her in his literary pursuit. He returned to India without completing his studies and once again their literary companionship started. Rabindranath got his letters to Kadambari Devi published in one of the Bengali magazines. Though these letters were high in their literary contents, the elders in the family read in-between the lines as to whom the emotions expressed in the letters were meant. Elders in the family were afraid that scandal could break out tarnishing the image of the family. So, they decided to get Rabindranath married at the age of 21 with a bride of 11 years who was named as Mrinalini Devi.

After the marriage of Rabindranath, the distance between Kadambari Devi and him widened. On the other hand, Jyotirindranath’s busy schedule with his businesses and other activities made her lonely. After about 4 months of Rabindranath marriage, Kadambari Devi committed suicide by taking an overdose of opium on April 21, 1884 at a young age of 25 years. There was no clue left as to why Kadambari Devi committed suicide.

The story of Kadambari Devi has all the ingredients of making a social drama film. The first Bengali film on this story was made by Satyajit Ray titled ‘Charulata’ (1971) which was based on Rabindranath Tagore’s Bengali novella ‘Nashtanirh’ (Broken Nest). Scholars believe that this novella may have been based on the relationship between Jyotirindranath Tagore, Kadambari Devi and Rabindranath Tagore himself which was published in 1901. The second film, ‘Chhelebela’ (2002) was made which was based on the Rabindranath Tagore’s novella of the same name which meant ‘My Boyhood Days’. Thereafter, two more films – ‘Chirosakhe He’ (2007) and ‘Jeewan Smriti’ (2011) were made in Bengali.

‘Kadambari’ (2015) is the latest Bangla film which is more like a biopic of Kadambari Devi.  The film is directed by Suman Ghosh. The film is based on the Bengali novel ‘Prothomo Alo’ by Sunil Gangopadhyay, ‘Kobir Bouthan’ by Mullika Sengupta and various writings of Rabindranath Tagore. The cast includes Konkana Sen Sharma (Kadambari Devi), Parambrata Chattopadhyay (Rabindranath Tagore), Kaushik Sen (Jyotirindranath Tagore), Sanjoy Nag (Debendranath Tagore), Titas Bhowmik, Srikanto Acharya, Srilekha Mitra etc.

Though the film is a biopic of Kadambari Devi, the director has taken some cinematic liberties in dramatizing some events in the life of the three main characters in the film. The story of Kadambari Devi in the film is as under:

The film starts with the suicide of Kadambari Devi in her bedroom with an overdose of opium. The patriarch of the Tagore family, Debendranath Tagore instructs all in the house not to leak the news of the suicide to outsiders as it is the question of reputation of the family. All the subsequent scenes in the film are shown as flashbacks of Kadambari Devi until her death like  her marriage to Jyotirendranath, Rabindranath as her childhood playmate etc. She feels lonely in the big house as she is the child and the other members of the household are adults. Same is true of Rabindranath as he is the youngest of the Tagore family (7 years). So naturally, both the loners find their relationship as  playmates rewarding.

After the death of Rabindranath’s mother, Kadambari Devi is assigned the duty of looking after him. She would supervise his meals after his return from school. She has become an expert cook and prepares delicious dishes for Rabindranath who, for the first time, feels that the food tastes better than those churned out by the cooks at Thakur Bari.

During the adulthood, Kadambari Devi becomes his literary companion. Rabindranath would recite his new poems first to her to get her feedback which, most of the time, would be adverse. At one point, she says to him that Banckhim Chandra Chattopadhyay writes better than him just to prop him up. There are literary soirees on the terrace of Thakur Bari in the night when there would be poetry recitations, music and singing when all the members of Tagore family would participate. Both of them bond well in all the stages of their relationship in which Rabindranath always addresses Kadambari Devi as ‘bouthan’ (sister-in-law). She is Rabindranath’s total support system all through her life.

The close relationships between Kadambari Devi and Rabindranath in their adulthood is resented by the elder women of the Tagore family. They instigate Debendranath (his father) to send him for study in England. He goes but returns quickly as he develops some illness. Then there are back-biting from the elder women of the family for Kadambari being issueless. She has ‘adopted’ her sister-in-law’s daughter, Urmila who dies in a freak accident in the house and the blame for her death falls on Kadambari Devi for her momentary neglect.

The elder women get upset when they come to know that Rabindranath has published his poems in a magazine which indirectly hint at his admiration for Kadambari Devi. So, the elders decide to get Rabindranath married to Mrilanali Devi. With this, Kadambari Devi has become once again a lonely lady already neglected by her elders in the family and her husband who, as usual, is busy with his businesses and theatre. There is also a hint in the film that Jyotirindranath is having affairs with an actress of one of his plays. With the death of Urmila, Kadambari Devi has gone into depression.

The triggering point for Kadambari Devi’s suicide is when her husband failed to turn up to pick her up from the Thakur Bari for the launching of his new ship at the port.  Even though, her husband has sent a horse cart to pick her up, she refuses to go as she has accidentally found a letter addressed to him by one of the actresses of his play informing him of his child taking shape in her womb. The film ends with Kadambari Devi drinking a liquid from a bottle and goes to sleep never to wake up.

‘Kadambari’ (2015) is the director’s film. He has full control over the main actors and also the fast-paced story telling. All the three main actors – Konkana Sen Sharma, Parambrata Chattopadhyay and Kaushik Sen have given the excellent performances of their roles. Despite a serious subject, there is not a single dull moment in the film. The film has been mostly shot in the houses of the Tagore family and estate lending the authentic period atmosphere.

It sounds strange as to why Debendranath Tagore who is regarded as a social and religious reformer and also an advocate of the girls’ education, got his sons, Jyotirindranath and Rabindranath married to child girls with wide age differences. Also, there is a hint in the film of the patriarchal family system where women have no voice in decision making in the Tagore family. There are dialogues in the film to that effect.

There are speculations in the literary circles as to what kind of relationship Rabindranath Tagore had with Kadambari Devi. Whether their love which was of an innocent and affectionate nature in their childhood had turned into an amorous one in their adulthood. It is difficult to get an answer. It is said that soon after the death of Kadambari Devi, the letters exchanged between Kadamabari Devi and Rabindranath Tagore were destroyed except those which were already published in a magazine. Probably, their relationship was  for companionship and the emotional solace. So, let their love remain as love without assigning any qualifier to it. That’s what Gulzar has said in one of his film songs – “Pyaar Ko Pyaar Hi Rehne Do Koi Naam Na Do“.

Since ‘Kadambari’ (2015) is the story on the relationship between Rabindranath Tagore and Kadambari Devi, it is not surprising that almost all of the songs are based on Rabindra Sangeet. There is one song which was written by Maithili poet, Vidyapati which finds place in the film. It is said that Rabindranath Tagore liked this song so much that he set the song to the tune while reciting it in the company of Kadambari Devi. The song is “Bhara Baadar Maah Bhaadar, Shunya Mandir Mor’ – In the month of Bhadra, clouds are full of rains. but my mind is an empty shrine.

In the film, the situation is that after return from Tripura, Rabindranath meets Kadambari Devi in the garden of their estate on the banks of River Ganga. It has started raining and Rabindranath recites these verses of Vidyapati with impromptu tune composed by him.

The song is rendered by Ustad Rashid Khan on the tune set by Rabindranath Tagore. The orchestration of the song is conducted by Bickram Ghosh.

By the way, Aparna Sen also used these Vidyapati’s verses in her Bangla film, ‘Ghawre Bairey Alo’ (2019) in a different situation in the film.

Video

Audio

Song – Bhara Baadar Maah Bhadara, Shunya Mandir Mor (Kadambari) (2015) Singer – Ustad Rashid Khan, Lyrics – Vidyapati, MD – Rabindranath Tagore (Orchestration by Bickram Ghosh)

Lyrics

bhara baadar maah bhaadar
shunya mandir mo…r
bhara baadar
he ae ae ae aa
he ae ae ae ae
sa re  ae ae ae
ra ra ra ru ru
aa aa aaa
aaa aa aaa aaa aaa
ra ma…
bhara baadar maah bhaadar
shunya mandir mo…r
bhara baadar
bhara baadar maah bhaadar
shunya mandir mo…r
bhara baadar
 
jharjha ghan garjanti santati
bhuwan bhari barikhintiyaa
kaant paahun birah daarun
saghane khar shar hantiaa
kulisha shat shat paat modit
mayur naachat maatiaa aa
mayur naachat
mayur naachat
mayur naachat maatiyaa aa
matta daaduri daake daahuki
phaati yaawat chhatiyaa
 
timir dig bhari ghor yaamini
akhir bijurika paanthiyaa
Vidyapati kah kaiche gonaaibi
Hari vine din raatiaan aa
bhara baadar maah bhaadar
shunya mandir mo….r
bhara baadar

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Ae ghanan ghanan ghan garje

Posted by: 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.

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

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Baa..dal Ghumadh Badh Aaye

Posted by: on: June 5, 2020


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.

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

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Barse Badariya Saawan Ki

Posted by: on: April 6, 2020


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.

Blog Day :

 4280 Post No. : 15522 Movie Count :

4278

———————————————–
Hindi Songs in Bangla Films – 23
———————————————–

Today morning, I saw a message in my mail box from Sudhir ji in which he gave me a link of a Hindi song from a Bangla film which I have not covered so far in the series ‘Hindi songs from Bangla Films’. I took the note of the song and told him that I will write an article covering the song in the coming days. In the afternoon, I got another message from Sudhir ji on whatsapp with an urgent note that today is the birth anniversary of Suchitra Sen and I should write an article on the occasion covering the song referred to by him which is picturised on Suchitra Sen.

Suchitra Sen has been one of my favourite actresses since I saw her performance in ‘Aandhi’ (1975). After watching her performances in many Bangla films in the recent period, my admiration for her as a performing artist has grown. So, it is an opportunity for me to write  a tribute to her on behalf of our blog on the  occasion of  her 89th birth anniversary today, April 6th.

Most of the Hindi film audience may not be much familiar with Suchitra Sen as she had acted in only 7 Hindi films.  Her Hindi films were ‘Devdas’ (1955) in the role of Paro with Dilip Kumar, ‘Musafir’ (1957) with Shekhar, ‘Champakali’ (1957) with Bharat Bhushan,  ‘Sarhad’ (1960) and ‘Bambai Ka Babu’ (1960) with Dev Anand, ‘Mamta’ (1966) with Ashok Kumar / Dharmendra and ‘Aandhi’ (1975) with Sanjeev Kumar. It was the latter two films which made her well-known amongst Hindi film audiences of that time. Unfortunately, there was no occasion for further opportunity to work in Hindi films as she took voluntary retirement 1978 from the film industry.

Suchitra Sen (06/04/1931 – 17/01/2014) whose real name was Roma Dasgupta. She was born in Sen Bangabaari village in Pabna district in East Bengal (now Bangla Desh). The family migrated to Calcutta (now Kolkata) during the partition in 1947. At the age of 16, she got married to Dibanath Sen, a marine engineer and a son of an industrialist. She joined Bangla film industry in 1952 with the support from her father-in-law and her husband who financed her initial films.

Suchitra Sen’s first film was ‘Shesh Kothay’ (1952) which was never released. Her first officially released film was ‘Saat Number Kayedi’ (1953) in which her lead actor was Uttam Kumar who had been then labelled as a ‘flop hero’ due to films in which he worked in 1948-52 flopped at the box office. It was a coincidence that his first film with Suchitra Sen became a box office hit. Since then, the Suchitra Sen-Uttam Kumar pair worked in about 30 films. Almost all of which became box office hits.

During her filmy career (1952-78), Suchitra Sen worked in about 60 films (including 7 Hindi films). I have seen some of her Bangla films which gives me an impression that she was selective, especially from 1960 onwards, in choosing the films with good story line in which she as a heroine got more or less equal footages with the hero of her films. A few of films of her during this period were with woman-oriented stories.

Among the Bangla films I watched, Suchitra Sen gave excellent performances in ‘Saat Pake Bandha’, ‘Uttar Phalguni’ and ‘Deep Jwele Jai’. I feel that she reserved her best for these three films. These films were critically acclaimed and were remade in Hindi like ‘Mamta’ (1966) from ’Uttar Phalguni’ (1963), ‘Kora Kaagaz’ (1974) from ‘Saat Paake Bandha’ (1963), ‘Khamoshi’ (1966) from ‘Deep Jwele Jaai’ (1959) etc

Apart from her good performances and box office success records as an actor, Suchitra Sen’s professional approach to her career must have made the film producers to give her preference while choosing  the heroine. For instance, she refused the role in one of Satyajit Ray’s film because he wanted her to give bulk dates for shooting which would have affected the producers of her other films.

Sometime in 1970, Suchitra Sen lost her husband while on a visit to the USA. One of her close confidants was of the view that though she did not cancel any schedule of shooting at that time, her husband’s death was the beginning of her moving towards a secluded life. The failure of her film ‘Pranay Pasha’ (1978), made her to retire from the film industry at the age of 47. However, over a period of time, it became evident that with retirement from the films, she had also shunned public life. She spent her last 35 years in her house as recluse, confining herself within a close circle of family and a few friends. During this period, she did not attend any public functions. She refused Dada Saheb Phalke Award in 2005 just to avoid going to Delhi and the public glare.

Suchitra Sen suffered from lung infections for which she was admitted in a Kolkata hospital sometime in December 2013. She had almost recovered from her ailment but on January 17, 2014, she got a cardiac arrest which took her life.

[Note: Some of the information on Suchitra Sen is based on a number of articles available on-line including some from Gopal Krishna Roy, a film journalist with United News of India who remained one of a very few  close confidants of  Suchitra Sen until her death].

On the occasion of Suchitra Sen’s  birth anniversary, here is a very popular Meera bhajan “Barse Badariya Saawan Ki’ which is sung by Geeta Dutt for the Bangla film ‘Grihaprabesh’ (1954). The song is picturised on Suchitra Sen and a girl whom I am not able to recognise.  The song is intercepted after the mukhda with Bangla dialogues between Suchitra Sen and  Uttam Kumar who joins them. After the end of the dialogue, the song is resumed with Uttam Kumar playing tabla.

As per www.geetadutt.com , the other voice in the bhajan in the mukhda part is that of Krishna Banerjee who lip sync for the girl. Mukul Roy is the music director.

In the audio version of the song uploaded by SAREGAMA, the song starts after the dialogues in the sound track version of the song. The lyrics are based on the video version of the song.

This popular Meera bhajan has been rendered by many singers including Lata Mangeshkar, Suman Kalyanpur, Sudha Malhotra and other Hindustani classical singers. Geeta Dutt adds one more variation to this bhajan and I like it. Suchitra Sen lends serenity to the bhajan.

Video

Audio

Song – Barse Badariya Saawan Ki (Grihaprabesh) (1954) Singer – Geeta Dutt, Krishna Bannerjee, Lyrics – Meerabai, MD – Mukul Roy

Lyrics

barse badariya saawan ki

barse badariya saawan ki
saawan ki man bhaavan ki
saawan ki man bhaavan ki
barse badariya saawan ki
barse badariya saawan ki
barse badariya saawan ki

saawan ki man bhaavan ki
saawan ki man bhaavan ki

[dialogues]

saawan mein umagyo mero manwa
saawan mein umagyo mere manwa
bhanak suni hari aawan ki
bhanak suni hari aawan ki

umad ghumad chahun disi se aayo
umad ghumad chahun disi se aayo
damini damake jhar laawan ki
damini damake jhar laawan ki
barse badariya saawan ki
barse badariya saawan ki

nanhi nanhi boondan meha barse
nanhi nanhi boondan meha barse
sheetal pawan suhaavan ki
sheetal pawan suhaavan ki

meera ke prabhu girdhar naagar
meera ke prabhu girdhar naagar
aanand mangal gaawan ki
aanand mangal gaawan ki

barse badariya saawan ki
barse badariya saawan ki
saawan ki man bhaavan ki
saawan ki man bhaavan ki
barse badariya saawan ki
barse badariya saawan ki

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

बरसे बदरिया सावन की

बरसे बदरिया सावन की
सावन की मन भावन की
सावन की मन भावन की
बरसे बदरिया सावन की
बरसे बदरिया सावन की
बरसे बदरिया सावन की

सावन की मन भावन की
सावन की मन भावन की

[संवाद]

सावन में उमगयो मेरो मनवा
सावन में उमगयो मेरो मनवा
भनक सुनी हरी आवन की
भनक सुनी हरी आवन की

उमड़ घुमड़ चहुं दिश से आयो
उमड़ घुमड़ चहुं दिश से आयो
दामिनी दमके झर लावन की
दामिनी दमके झर लावन की
बरसे बदरिया सावन की
बरसे बदरिया सावन की

नन्ही नन्ही बूंदन मेहा बरसे
नन्ही नन्ही बूंदन मेहा बरसे
शीतल पवन सुहावन की
शीतल पवन सुहावन की

मीरा के प्रभु गिरिधर नागर
मीरा के प्रभु गिरिधर नागर
आनंद मंगल गावन की
आनंद मंगल गावन की

बरसे बदरिया सावन की
बरसे बदरिया सावन की
सावन की मन भावन की
सावन की मन भावन की
बरसे बदरिया सावन की
बरसे बदरिया सावन की

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Ghiri ghiri aayi kaari badariya

Posted by: 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.

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

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Ghir aayi badariya piyaa naahin aaye

Posted by: on: November 22, 2019


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

Blog Day :

 4144 Post No. : 15310 Movie Count :

4217

Hindi Songs in Bangla Films – 8
– – – – – – – – – – – – – – – – –

‘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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Kaali ghataayen aakaash mein jee ghir ghir aayen

Posted by: on: May 20, 2019


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 : 3958 Post No. : 15035

“Jai Ambe”(1957) was produced by Shanti Kumar and D N Shukla and directed by Shanti Kumar for Mahesh Chitra Bombay. This “pauraanik” movie had Sulochana, Manhar desai, Sapru, Ramesh Sinha, Sheela Kashmiri, Niranjan Sharma, Kesri, Indira Bansal, Mridula, Shree Bhagwan, Kanchanmala, Dubey, Shalini, Heera Sawant etc in it with Guest appearances by Jeewan and Rajkumar( of pauraanik movies fame, different from Jaani fame Rajkumar)

The movie had nine songs in it. One song from the movie has been covered in the past.

Here is the second song from “Jai Ambe”(1957) to appear in the blog. This song is sung by Lata and Manna Dey, alongwith male and female chorus. Bharat Vyas is the lyricist. Music is composed by Pt Shivtam.

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


Song-Kaali ghataayen aakaash mein jee ghir ghir aayen (Jai Ambe)(1957) Singers-Lata, Manna Dey, Lyrics-Bharat Vyas, MD-Shivram
Female chorus
Male chorus
Lata + Manna Dey
All chorus
Manna Dey + Male chorus
Lata + Female chorus

Lyrics

dig dig dig dig naiyya chale
purwaiyya chale
chhak chhaiyya chhaiyya ho
haiyya
dig dig dig dig naiyya chale
purwaiyya chale
chhak chhaiyya chhaiyya ho
haiyya
dig dig dig dig naiyya chale
purwaiyya chale
chhak chhaiyya chhaiyya ho
haiyya

ho o o
Kaali ghataayen aakaash mein jee
ghir ghir aayin
ghir ghir aayin
naiyya mori dagmag ho ke dole jee
ho naiyya mori dagmag ho ke dole jee

gori main tere paas hoon to
darr kaahe ka
darr kaahe ka
jhoolo jhoolo
lahron ke
hindole jee
ho
jhoolo jhoolo
lahron ke
hindole jee
dig dig dig dig
naiyya chale re
purwaiyya chale
chhak haiyya haiyya ho
haiyya

gahri nadiya door kinaara
chhod hamen mat jaiyyo re maanjhi
chhod hamen mat jaiyyo re
din bhar lahron sang khel ke
saanjh pade ghar aiyo re maanjhi
saanjh pade ghar aiyo jee
ho o o o
naao puraani gahra paani
peechhe na rah jaiyyo machhariya
peechhe na rah jaiyo jee
aanchal ki patwaar banaa ke
naiyya paar lagaiyyo machhariya
naiyya paar lagaiyyo jee
batiyaan tihaari gori
preet ka ras ghole jee
ras ghole jee
meethhi meethhi baansuriya
si bole jee
ho naiyya mori dagmag ho ke dole jee
dig dig dig dig
naiyya chale re
purwaiyya chale
chhak chhaiya chhaiyya ho
haiyya

ankhiyaan phadke jiyara dhadke
bijli kadke ambar mein
haay
bijli kadke ambar mein
le chal maanjhi haath pakad ke
aag lagi hai samandar mein
hoy aag lagi hai samandar mein
ho o o o o
baahar baahar dekh rahi kya
tanik to jhaanko andar mein
hoy tanik to jhaanko andar mein
devi banke bathhi tu gori
mere man ke mandar mein
hoy mere man ke mandar mein
bachpan ki ye preet hai jee
kabhi toote na
sang chhoote na
nit nit pyaar chadhhe jhakole jee
ho naiyya mori dagmag ho ke dole jee
dig dig dig dig naiyya chale
purwaiyya chale

Tags: , , , , ,

Aao Baadal Chain Se Royen

Posted by: on: April 19, 2019


This article is written by Mahesh Mamadapur, 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 :

 3927 Post No. : 14996

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Atul Song-A-Day 15K Song Milestone Celebrations – 6
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Carl Sagan, in his book, ‘Pale Blue Dot’ talks about the picture taken by Voyager I before it left the solar system. Planet Earth, the only home we have known so far appears less than a fraction of a pixel in the picture. It’s on this speck of dust like object in the vast cosmos lived every human, plant and animal we ever know and every civilization.

On this planet the greatest men in a wide variety of fields have left behind their legacies both good and bad. Their lives however great or condemnable have been spent here.  In the vastness of time and space, a few years spent by great men may mean nothing. However, the legacy left behind by such men are recognized and appreciated for generations.

Theatre and entertainment arenas have also seen many a great men and women contribute their art and expertise to mankind. Quite a few are well known and many others are often not credited to the extent to which they should be.

Narrowing down to a movie and further restricting ourselves to Hindi film and non-film songs, the essence of this blog, we are now at the doorsteps of 15 thousand representations.

By these 15k representations, we all have tried to contribute our little efforts in bringing to the fore, the works of film artists – popular, less known and unknown. Amongst the main contributors, the nearly impossible tasks are taken up more experienced and knowledgeable such as Arunkumar ji, Sudhir ji, Sadanand ji etc.  The painstaking efforts in collecting accurate information from various sources and contacts and posting in a concise manner is definitely not an easy task.

Then, there are specialists such as Nalini ji for reminding us of the artist’s anniversaries and Prakash ji for identifying lesser known actors on the screen. Raja ji, whose marathon posts never bore us and we have Avinash ji who pours his heart out in the posts. We have Bharat ji with his expertise and first-hand experience.

There have many others who were more contended with sending only lyrics and a few who keep giving home-works to others. 🙂 A few are more than happy to suggest corrections to the posts and lyrics etc. in the comments section. Then, there are also contributors who vanish for a while and re-appear for special occasions (pun about self intended). 🙂

And, finally we have Atul ji, the fulcrum of our activities and the force that binds us together. Atul ji marches along from one milestone to another. And when he reaches the next milestone, we are all automatically teleported there. 🙂

I never planned for any special song for this occasion. (That again, the leaders will have a plan). But seeing that a great gem of an even greater singer is yet to be posted, I decided to go for his solo.

The singer is Talat Mahmood, of whom quite a lot has already been written on the blog.

My father, an avid fan Talat saab often says that his voice is for royal people. By royal, he means to say people with special taste and I can’t agree with him more. Talat Saab’s melancholic songs sung in blue mood are a class apart, the likes of which one will never get to hear from any other singer.

There are several such songs of Talat Saab which one can hear multiple times and can only admire the grace and dignity in his voice for songs pertaining to even dejection.

The list seems to be endless, but it’s a fact that he sang quite fewer songs compared to his other well-known contemporaries. However, Talat Saab’s voice will always be the triumph of quality over quantity.

The present song which I had not heard in the recent past is also amongst my many favourites of Talat Mahmood. There are stars and the moon in the song in case people are wondering what Carl Sagan had to do with this song in the first place. 🙂 (Kya karein, some starting problems in writing this post)

I pray for the continued longevity on the blog, active participation of all the contributors and readers as well.

Hearty Congratulations to one and all on this great achievement.

Song – Aao Baadal Chain Se Royen (Aawaara Ladki) (1967) Singer – Talat Mehmood, Lyrics – Rajnikant, MD – Dhaniram

Lyrics (Provided by Sudhir)

baa..aadal aa..aaawo

baadal aawo

aawo baadal aawo. . .

aao baadal chain se royen
aao baadal chain se royen
jalti dhoop
jalti dhoop
jalti dhoop mein main hoon akela
aao baadal chain se royen
aao baadal chain se royen

khush rahen
khush rahen. . .
khush rahen ye duniya waale
khush rahen ye duniya waale
khatm hua mera mela
khatm hua mera mela
main hoon aaj akela
aao baadal chain se royen
aao baadal chain se royen

armaan the dil mein mere kitne
chanda ke
haaye chanda ke saathi taare jitne
haaye chanda ke saathi taare jitne
dooba dil armaan bhi doobe
dooba dil armaan bhi doobe
toofaan ka dekha rela
main hoon aaj akela
aao baadal chain se royen
aao baadal chain se royen

din the chaar jo beet gaye mere
din the chaar jo beet gaye mere
honge dukh ke ab derey
honge dukh ke ab derey
darr nahin par hanse bhi kaise
darr nahin par hanse bhi kaise
gham se ab tak khela
main hoon aaj akela
aao baadal chain se royen
aao baadal chain se royen

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

बा॰॰दल आ॰॰आवो

बादल आवो

आवो बादल आवो॰ ॰ ॰

आओ बादल चैन से रोएँ
आओ बादल चैन से रोएँ
जलती धूप
जलती धूप
जलती धूप में मैं हूँ अकेला
आओ बादल चैन से रोएँ
आओ बादल चैन से रोएँ

खुश रहें
खुश रहें॰ ॰ ॰
खुश रहें ये दुनिया वाले
खुश रहें ये दुनिया वाले
खत्म हुआ मेरा मेला
खत्म हुआ मेरा मेला
मैं हूँ आज अकेला
आओ बादल चैन से रोएँ
आओ बादल चैन से रोएँ

अरमान थे दिल में मेरे कितने
चंदा के
हाए चंदा के साथी तारे जितने
हाए चंदा के साथी तारे जितने
डूबा दिल अरमान भी डूबे
डूबा दिल अरमान भी डूबे
तूफाँ का देखा रेला
मैं हूँ आज अकेला
आओ बादल चैन से रोएँ
आओ बादल चैन से रोएँ

दिन थे चार जो बीत गए मेरे
दिन थे चार जो बीत गए मेरे
होंगे दुख के अब डेरे
होंगे दुख के अब डेरे
डर नहीं पर हँसे भी कैसे
डर नहीं पर हँसे भी कैसे
ग़म से अब तक खेला
मैं हूँ आज अकेला
आओ बादल चैन से रोएँ
आओ बादल चैन से रोएँ

Tags: , , , ,

Baadal roya naina roye

Posted by: on: February 16, 2019


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 : 3865 Post No. : 14882

“Mere Laal”(1966) was directed by Satyen Bose for S S Chitramandir, Bombay. This “social” movie had Dev Kumar, Indrani Mukherji, Jagdev, Shekhar Purohit, Lalit Kapoor, Prakash Mishra, Abhi Bhattacharya, Jamaal, Samson, Rajkumar, Siddiqui, Ghulam Sabir, Master Anwar, Master Satyajeet, Madhuraj, Juthika devi, Darshan, Moolchand, Meenakshi, Mahesh, Ratan etc in it.

The movie had eight songs in it. Four of these songs have been covered in the past.

Here is the fifth song from “Mere Laal”(1966) to appear in the blog. The song is sung by Lata. Majrooh Sultanpuri is the lyricist. Music is composed by Laxmikant Pyarelal.

The song is picturised on Indrani Mukherji.


Song-Baadal roya naina roye (Mere Laal)(1966) Singer-Lata, Lyrics-Majrooh Sultanpuri, MD-Laxmikant Pyarelal

Lyrics

hmm mm mm
hmm mm mm
hmm hm m hmm
hahaha

baadal roya naina roye
kaajal roya wo na mila haaye
baadal roya naina roye
kaajal roya wo na mila
tan ka ujaala rain laton ki
tan ka ujaala rain laton ki
sab kuchh khoya
wo na mila ha
baadal roya naina roye
kaajal roya wo na mila
haaye
baadal roya naina roye

dhoondhte usko o o
maine ganwaayi
kya jaane kitni hi nigaahen
uske nagar mein maine bichha di
raste raste pyaar ki baahen
saagar saagar roz kisi armaan ko duboya wo na mila aa
baadal roya naina roye
kaajal roya wo na mila
baadal roya naina roye

hmm hmm
honthon pe lekar r r
khoon ki laali
gaati rahi main dard ki maari
phool ke jaise ghaav badan par
leke phiri main ban phulwaari
des vides ka kaanta pag mein
maine chubhoyaa wo na mila
baadal roya naina roye
kaajal roye wo na mila
tan ka ujaala rain laton ki
sab kuchh khoya wo na mila
baadal roya naina roye
kaajal roya wo na mila aa
baadal roya naina roye

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Jab kaari badariya chhaayegi

Posted by: on: October 22, 2018


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.

Blog Day : 3748 Post No. : 14712

“Laajawaab”(1950) was produced by Ashalata Biswas and directed by J P Advani for Variety pictures, Bombay. The movie had Sohan, Rehana, Kuldip, David, Kavita, Pran, Iftikhar, Prem Dhavan, Randhir etc.in it.

The movie had eleven songs in it. Five songs have been covered in the past.

Here is the sixth song from “Laajawaab”(1950) to appear in the blog. The song is sung by Meena Kapoor. Prem Dhawan is the lyricist. Music is composed by Anil Biswas.

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


Song-Jab kaari badariya chhaayegi (Laajawaab)(1950) Singer-Meena Kapoor, Lyrics-Prem Dhawan, MD-Anil Biswas

Lyrics

jab kaari badariya chhaayegi
aur yaad teri tadpaayegi
jab kaari badariya chhaayegi
aur yaad teri tadpaayegi
main kiski raah takoon
sajanwa kiski raah takoon
jab kaari badariya chhaayegi
aur yaad teri tadpaayegi
jab kaari badariya chhaayegi
aur yaad teri tadpaayegi

jab chaand jhalak dikhlaayega
chaandi ke rath mein aayega aa aa
jab chaand jhalak dikhlayega
chaandi ke rath mein aayega aa
mohe bairan neend na aayegi
jab bairan neend na aayegi
main kiski raah takoon
main kiski raah takoon
sajanwa kiski raah takoon oon
jab kaari badariya chhaayegi
aur yaad teri tadpaayegi
jab kaari badariya chhaayegi
aur yaad teri tadpaayegi

saawan ki bhari barsaaton mein
in bheegi bheegi raaton mein aen aen
saawan ki bhari barsaaton mein
in bheegi bheegi raaton mein aen
jab rimjhim aag lagaayegi ee
jab rimjhim aag lagaayegi
main kiski raah takoon
main kiski raah takoon
sajanwa kiski raah takoon oon
jab kaari badariya chhaayegi
aur yaad teri tadpaayegi
jab kaari badariya chhaayegi
aur yaad teri tadpaayegi
main kiski raah takoon
sajanwa kiski raah takoon

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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 ELEVEN years. This blog has over 15700 song posts by now.

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