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

Archive for the ‘Baag/Bagiya song’ Category


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.

This is the 1300th Post by Sudhir ji.

Blog Day :

3913 Post No. : 14972 Movie Count :

4092

Missing Films of 1960s – 103
– – – – – – – – – – – – – – –

The film that we bring on board today is ‘Sati Sulochana’ from 1969. One more film that is rarely heard about, although the video of this film is available. And once again, lovely songs that have not been explored. The sound of this song seems like it was heard on the radio, but that was a long time back.

The music is by SN Tripathi, who incidentally has also directed this film. The film is produced under the banner of SA Films, Bombay. The star cast includes Prithviraj, Anita Dutt, Prem Nath, Raj Kumar, Bipin Gupta, Kanan Kaushal, Sundar, Ram Singh, and Ram Mohan etc.

The story of Sati Sulochana is part of the history of Ramayan.  Sulochana is the daughter of Sheshnaag, the king of serpents. She is married to Meghnaad, the son of Raavan. Meghnaad is also known as Indrajit, for he had once vanquished Lord Indra and captured many sophisticated weapons from him. In the narrative of Ramayan, Sulochana is described as a brave lady who is very supportive of her husband. Eventually, when her husband is killed in the battle with Lakshman, she makes a decision to immolate herself on his pyre.

This story has been made into films on many occasions. The first one on record is the silent film ‘Sati Sulochana’ in 1921. Then this film was produced in Kannada, in 1934, as the first talkie film in Kannada language. In 1935, a Hindi film was also released by this name, under the production banner of Godavari Cinetone. In 1961, this tale was also told in a Telegu film starring NT Ramarao. And then in 1969, we have this Hindi production again.

Geet Kosh lists 9 songs of this film. Music is from the mind of SN Tripathi. The songs have been written by Bharat Vyas and BD Mishra. This song is from the pen of Bharat Vyas.  The singing voice is that of Suman Kalyanpur. On screen, it appears as if the leading lady and one of two of her friends are lip syncing the same playback singing.

The song is picturized as a group dance song, in which the leading lady is being teased by her friends, asking her who is the one who comes into your dreams. The song is a lively exchange between the lady and her sahelis. On screen, I am not able to identify with certainty, the lady who leads the song. Is she Kanan Kaushal? I request our more knowledgeable readers and friends to please help identify her.

Enjoy this lovely lilting melody, one of those songs that should have been more popular.

 

Song – Kaun Tere Sapnon Mein Aata  (Sati Sulochana) (1969) Singer – Suman Kalyanpur, Lyrics – Bharat Vyas, MD – SN Tripathi
Chorus

Lyrics

aaa aaaaaaa
aaaa aaaa aaaaa
aaa aaaaaaa
aaaa aaaa aaaaa

kaun tere sapnon mein aata
kaun tere sapnon mein aata
aa ke nainon mein muskaata
bataao na bataao
hum ko ye bataao
jud gaya kis se ye naata
kaun tere sapnon mein aata

hato ri sapne ki na boloon
bhed yeh mann ka na kholoon
jaao ri sakhi jaao
mujhe na yun sataao
khel ye mann ko na bhaata
kaun tere sapnon mein aata

main to soi thi
neend mein khoi thi
chup ke se koi aa gaya
main to soi thi
neend mein khoi thi
chup ke se koi aa gaya
megh varan tha
kanak rang tha
mere jeevan mein samaa gaya
chhup ke kaanon mein kuchh bola
haule se ghunghat pat khola
akhiaan ghabraai
main to sharmaai
aage ab kuchh na kaha jaata
koi tere sapnon mein aata

veer purush tha
kandhe dhanush tha
mukh pe tej samaaya
veer purush tha
kandhe dhanush tha
mukh pe tej samaaya
jaan nahin
pehchaan nahin koi
phir bhi wo mann ko bhaaya
preet meri muskaai hai
pooja meri rang laai hai
chhudaaye se na chhoote
tode to nahin toote
janm janmaantar ka naata
kaun tere sapnon mein aata

kaun tere sapnon mein aata
aa ke nainon mein muskaata
bataao na bataao
hum ko ye bataao
jud gaya kis se ye naata
kaun tere sapnon mein aata

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

आss आssssss
आsss आsss आssss
आss आssssss
आsss आsss आssss

कौन तेरे सपनों में आता
कौन तेरे सपनों में आता
आ के नैनों में मुस्काता
बताओ ना बताओ
हम को ये बताओ
जुड़ गया किस से ये नाता
कौन तेरे सपनों में आता

हटो री सपने की ना बोलूँ
भेद ये मन का ना खोलूँ
जाओ री सखी जाओ
मुझे ना यूं सताओ
खेल ये मन को ना भाता’
कौन तेरे सपनों में आता

मैं तो सोई थी
नींद में खोई थी
चुपके से कोई आ गया
मैं तो सोई थी
नींद में खोई थी
चुपके से कोई आ गया
मेघ वरण था
कनक रंग था
मेरे जीवन में समा गया
छुप के कानों में कुछ बोला
हौले से घूँघट पट खोला
अखियाँ घबराईं
मैं तो शरमाई
आगे अब कुछ ना कहा जाता
कोई तेरे सपनों में आता

वीर पुरुष था
कांधे धनुष था
मुख पे तेज समाया
वीर पुरुष था
कांधे धनुष था
मुख पे तेज समाया
जान नहीं
पहचान नहीं कोई
फिर भी वो मन को भाया
प्रीत मेरी मुसकाई है
पूजा मेरी रंग लाई है
छुड़ाए से ना छूटे
तोड़े तो नहीं टूटे
जन्म जन्मांतर का नाता
कौन तेरे सपनों में आता

कौन तेरे सपनों में आता
आ के नैनों में मुस्काता
बताओ ना बताओ
हम को ये बताओ
जुड़ गया किस से ये नाता
कौन तेरे सपनों में आता

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

Blog Day :

3905 Post No. : 14959 Movie Count :

4088

Missing Films of 1960s – 100
– – – – – – – – – – – – – – –

Ah, finally, we get to a new type of century today. This series of bringing on board the missing films of 1960s becomes the series that has clocked 100 posts – a first one for our blog. This series got initiated three and half years ago on 30th September, 2015, and we arrive at the century station for it, at the rate of about 2 to 3 songs per month on average. The pace could have been faster, yes, but well, we have what we have. 🙂

As you must be aware, this series got kicked off by the efforts of Khyati Ben. She got into the exercise to check how many films of the 1960s (period from 1961 to 1970) have been brought on board our blog, and which ones are still waiting to be included. She came up with a list of some 190+ films, still waiting in the wings. The analysis resulted in this exercise, to bring on board as many of these 190+ films are traceable / available. And it got assigned to yours truly. 🙂

I will wait to present the final analysis of numbers, as there is still about seven of eight more films that are traceable and will be represented here. So bear with me for a little more time for that.

The film that we bring on board today is an obscure and lesser known film by the name ‘Ek Masoom’ from 1969. The interesting thing about this film is that although the gramophone records of this film have been available, the film itself was not available for a very long time. Finally, the film surfaced about a year ago, and I acquired a copy of it through a collector friend. Video clips of some of the songs are now available on the YouTube.

The film is produced under the banner of GNS Films Bombay, and is directed by Akhtar Khalid. The cast of actors listed for this film is Tanuja, Saleem Durrani, Prem Chopra, Surendra, Abhi Bhattacharya, Uma, Azra, Sulochana, Helen, Jagdeep, Murad, Mohan Choti, and Baby Masoom. I have a concern about this list. The name of Saleem Durrani is included. However, I have seen the film, and the Saleem Durrani (the cricketer) that we are familiar with, is not visible in this film. The lead actor opposite to Tanuja is a different person. One possibility is that this actor also has the name Saleem Durrani, or has used this name in this film. I request our more knowledgeable readers to please help to identify the male actor in this song. The face is completely new and unfamiliar.

The film itself is a cops and robbers tale and Mohan Choti plays the role of a gangster boss. The lead person, whom we are trying to identify, plays a triple role in this film. He appears in different situations with different names, causing a lot of confusion to the people around him. And then finally, there is court room drama where all the three appear one by one, and the mystery of the correct identity is solved.

The film does not have much to write home about. The direction and editing is below par and leaves a lot to be desired. The storyline moves with fits and starts. But the songs – now that is a different story, as usual. Seven songs are listed for this film. The music is by N Dutta. The lyricist’s name is just very, very unfamiliar – Fareed Tonki. As I checked some more, I find his name in just one more film – ‘Zaalim Tera Jawab Nahin’ (1960), and one unreleased film ‘Aqidat Ke Phool’. Checking on our blog, I find that one creation by him is posted here. This is a famous non-film qawwaali – “Raste Alag Alag Hain Thikaana To Ek Hai”. So the gentleman is represented already on our blog, although no other information is traceable so far about him. His name, Fareed Tonki, suggest that he may be from the town named Tonk, in Rajasthan.

The song that I present today is an exquisite duet of Rafi Sb and Asha Bhosle – such a lovely lost gem this one is. The composition is easy paced and and light, and the rendition is very soft and soothing. A very pleasing song to hear to. (Of course, the song is much better heard than viewed.) On screen, it is Tanuja, and this gentleman that I am not able to identify.

Song – Poochh Le Dil Se Mere Ho Na Agar Mera Yakeen  (Ek Masoom) (1969) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Fareed Tonki, MD – N Dutta
Mohammed Rafi + Asha Bhosle

Lyrics

hmmmmm mmmmmm mmmm
hmmmmm mmmmmm mmmm
hmmmm hmmmm hmmmm hmmm

pooch le
dil se mere
ho na agar mera yakeen
pooch le dil se mere
ho na agar mera yakeen
pooch le dil se mere
ho na agar mera yakeen
main mohabbat hoon
mohabbat ke siwa kuchh bhi nahin
ae sanam
teri kasam
mujhko to hai tujh pe yakeen
par zamaane ka ye kehna
hai ke tu mera nahin
pooch le dil se mere
ho na agar mera yakeen

har taraf phaili hain ye
rangeeniaan rukhsaar ki
har taraf phaili hain ye
rangeeniaan rukhsaar ki
tere hi dum se to hai
shadaabiaan gulzar ki
tu jahaan rakhe kadam
phool khilen laakhon wahin
pooch le dil se mere
ho na agar mera yakeen

saamne tu hai mere
aur main tujhe dekha karoon
saamne tu hai mere
aur main tujhe dekha karoon
tere jalwon mein ab
shaam o sehar khoi rahoon
chhod ke daaman tera
jaaun na main aur kahin
ae sanam
teri kasam
mujhko to hai tujh pe yakeen

dil mera hai aaina
gar hai nazar pehchaan le
pehle hi pehchaan ke
dil hai diya ye jaan le
hum se kyon duniya jaley
ulfat koi jurm nahin
pooch le dil se mere
ho na agar mera yakeen
main mohabbat hoon
mohabbat ke siwa kuchh bhi nahin
pooch le dil se mere
ho na agar mera yakeen

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

हम्मममम म्मममम म्मम
हम्मममम म्मममम म्मम
हम्ममम हम्ममम हम्ममम हम्म

पूछ ले
दिल से मेरे
हो ना अगर मेरा यकीं
पूछ ले दिल से मेरे
हो ना अगर मेरा यकीं
पूछ ले दिल से मेरे
हो ना अगर मेरा यकीं
मैं मोहब्बत हूँ
मोहब्बत के सिवा कुछ भी नहीं
ए सनम
तेरी कसम
मुझको तो है तुझ पे यकीं
पर ज़माने का ये कहना
है के तू मेरा नहीं
पूछ ले दिल से मेरे
हो ना अगर मेरा यकीं

हर तरफ फैली हैं ये
रंगीनियाँ रुखसार की
हर तरफ फैली हैं ये
रंगीनियाँ रुखसार की
तेरे ही दम से तो है
शादाबियाँ गुलज़ार की
तू जहां रखे कदम
फूल खिलें लाखों वहीं
पूछ ले दिल से मेरे
हो ना अगर मेरा यकीं

सामने तू है मेरे
और मैं तुझे देखा करूँ
सामने तू है मेरे
और मैं तुझे देखा करूँ
तेरे जलवों में अब
शाम ओ सहर खोई राहून
छोड़ के दामन तेरा
जाऊँ ना मैं और कहीं
ए सनम
तेरी कसम
मुझको तो है तुझ पे यकीं

दिल मेरा है आईना
गर है नज़र पहचान ले
पहले ही पहचान के
दिल है दिया ये जान ले
हम से क्यों दुनिया जले
उलफत कोई जुर्म नहीं
पूछ ले दिल से मेरे
हो ना अगर मेरा यकीं
मैं मोहब्बत हूँ
मोहब्बत के सिवा कुछ भी नहीं
पूछ ले दिल से मेरे
हो ना अगर मेरा यकीं


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

Blog Day :

3903 Post No. : 14956 Movie Count :

4087

Missing Films of 1960s – 99
– – – – – – – – – – – – – – –

OK wow, we are at 99 for this series today. 🙂

The surprising thing is that this film is not yet on the blog. It is not obscure, it is not unfamiliar, it is not starring unfamiliar faces, it does not contain unfamiliar or unheard songs, and the songs are good to be heard. So then, how come?

Well, we come to it today. The film we are bringing on today is ‘Shart’ from 1969. Of course, its namesake from 1954 has legendary music and songs. The 1969 ‘Shart’ does not compare to the quality of music of the earlier one. But still, given the era we were in during late 1960s, we are still talking of primary rated artists who came together for this song. In their own right, these artists had already established themselves in the industry.

Music is by Laxmikant Pyaarelal. The lyrics are written by Anand Bakshi. And the singer of this song is Asha Bhosle. The lead pair in this film is Mumtaz and Sanjay (later known by the name Sanjay Khan). By 1969, both had made their presence felt on the box office. Mumtaz, having struggled thru from being a junior artist and then playing many a C grade films, had by this time graduated to A and B class cinema. Sanjay, being the younger brother of Feroze Khan already had a head start – appearing in big banner films opposite to top line leading ladies already.

The film was produced under the banner of Shankar Movies, Bombay, and was directed by Kewal Mishra. The star cast of this film, in addition to the lead pair mentioned above, is listed as Kumud Chhugani, Rajendra Nath, KN Singh, Ramesh Dev, Rajan Haksar, Heeralal, Shammi, Meena Rai, Murad, Ravikant, Tuntun, Ravi Khanna, and Hercules.

I do not readily recall the storyline. The song is group dance song, with Mumtaz as the lead dancer and a group of sahelis supporting her. We catch a glimpse of Ramesh Deo in the beginning of the clip. And Sanjay is seen watching this dance performance. The peculiar thing about this song is that in between we see that the lead dancer is switched, and we see another lady leading the dance, wearing exactly the same attire as Mumtaz. I request our circle of knowledgeable readers to please help identify this other lady.

It seems that the leading man, Sanjay, is equally perplexed. There is a look of baffled curiosity on his face, as he tries to figure out how the lady is being switched, as the song progresses. From a distance, it cannot be clearly made out, but in closer shots, there definitely is a switching of lead performer happening. Again, request is for those who may have seen this film, to please add information to explain this situation.

The song itself is a lovely Asha rendition, and the performance by Mumtaz is simply too good. Very energetic and very involved with the scene, she is of course the star attraction in this clip.

And after this post – we have the century post of this series coming up. Watch this space for more. 🙂 🙂

Song – Chori Se Sainyyaan Ne Mohe Pukaara  (Shart) (1969) Singer – Asha Bhosle, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

oo oo oo ooo
oo oo oo ooo
oo oo
oo oooo

oo oo oo ooo
oo oo oo ooo
oo oo
oo oooo

chori se sainyyaan ne mohe pukaara
re chupke se maine bhi kiya ishaara
re kali kali jaan gayi
gali gali mach gaya shor
kali kali jaan gayi
gali gali mach gaya shor
chori se sainyyaan ne mohe pukaara
re chupke se maine bhi kiya ishaara
re kali kali jaan gayi
gali gali mach gaya shor
kali kali jaan gayi
oy gali gali mach gaya shor

pehle thi champa
phir bani gori
pad gaya ab mera naam chakori
ae suno
ae dekho
o logo
ud gayi bairan nindiya mori
pakdi gayi mere mann ki chori
bhed naa ye kaam aaya
dosh mere naam aaya
kali kali jaan gayi
gali gali mach gaya shor
chori se sainyyaan ne mohe pukaara
re chupke se maine bhi kiya ishaara
re kali kali jaan gayi
gali gali mach gaya sho..or
kali kali jaan gayi
oy gali gali mach gaya shor

main kya jaanoon
chhup ke sakhiyaan
sunti hain mere prem ki batiyaan
ae suno
ae dekho
o logo
main kya jaanoon
karte hain batiyaan
padh ke log mere naam ki patiyaan
dheere dheere baaten huin
chori mulaqaaten huin
kali kali jaan gayi
gali gali mach gaya shor
chori se sainyyaan ne mohe pukaara
re chupke se maine bhi kiya ishaara
re kali kali jaan gayi
gali gali mach gaya shor
kali kali jaan gayi
gali gali mach gaya sho..or
kali kali jaan gayi
gali gali mach gaya sho..or

lallaa lallaa lallaa lallaa
lallaa

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

ओ ओ ओ ओss
ओ ओ ओ ओss
ओ ओ
ओ ओsss

ओ ओ ओ ओss
ओ ओ ओ ओss
ओ ओ
ओ ओsss

चोरी से सैयां ने मोहे पुकारा
रे चुपके से मैंने भी किया इशारा
रे कली कली जान गई
गली गली मच गया शोर
कली कली जान गई
गली गली मच गया शोर
चोरी से सैयां ने मोहे पुकारा
रे चुपके से मैंने भी किया इशारा
रे कली कली जान गई
गली गली मच गया शोर
कली कली जान गई
ओय गली गली मच गया शोर

पहले थी चम्पा
फिर बनी गोरी
पड़ गया अब मेरा नाम चकोरी
ए सुनो
ए देखो
ओ लोगो
उड़ गई बैरन नींदिया मोरी
पकड़ी गई मेरे मन की चोरी
भेद ना ये काम आया
दोष मेरे नाम आया
कली कली जान गई
गली गली मच गया शोर
चोरी से सैयां ने मोहे पुकारा
रे चुपके से मैंने भी किया इशारा
रे कली कली जान गई
गली गली मच गया शोर
कली कली जान गई
ओय गली गली मच गया शोर

मैं क्या जानूँ
छुपके सखियाँ
सुनीत हैं मेरे प्रेम की बतियाँ
ए सुनो
ए देखो
ओ लोगो
मैं क्या जानूँ
करते हैं बतियाँ
पढ़ के लोग मेरे नाम की पतियाँ
धीरे धीरे बातें हुईं
चोरी मुलाकातें हुईं
कली कली जान गई
गली गली मच गया शोर
चोरी से सैयां ने मोहे पुकारा
रे चुपके से मैंने भी किया इशारा
रे कली कली जान गई
गली गली मच गया शोर
कली कली जान गई
गली गली मच गया शो॰॰ओर
कली कली जान गई
गली गली मच गया शो॰॰ओर

लल्ला लल्ला लल्ला लल्ला
लल्ला


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

Blog Day :

3895 Post No. : 14935 Movie Count :

4077

Hullo to all in Atuldom

So, there is this thing called the 10-year challenge going-on on Facebook, at least I saw a few of my friend’s post “Then and Now” pictures. Atulji also has started something similar on the blog with this post “Inteha Ho Gai Intezaar Ki“. I found this more inspiring to participate in and I was thinking of how my association with this blog began exactly 10 years ago when my daughter stumbled on to this blog (I know I have mentioned this a number of times, sorry for repeating). Then she saw that Atulji is kind enough to post songs requested by readers (followers) – there is a dedicated ‘farmaishes’ page on the blog.

As I sat to write on my 10-year journey with the blog I thought of the first date I landed on this treasure house of lyrics and videos. I don’t remember the exact date, it must be either the 13th or 14th March as it was on 15-3-2019 Peevesie’s first farmaish got posted; a song from the Dev Anand-Nutan starrer ‘Manzil’ (1960).

From then on whenever my daughter browsed the site, I would be sitting next to her. That was the period when we had only one computer in the family and each one was allotted a fixed time slot on the internet and if there was some incoming call, we used to lose net-connectivity as ours was still the dial-up connection. It was a few years later that we switched to broadband. And the switch to broadband also was needed when the kids (who were students then) needed their own lap-tops. Times have changed and I am the only broadband user and everyone has data connect on their mobiles to which they hook their laptops most often.

Oh, I am deviating from my 10-year story.

Then on 19th March I was with Peevesie when she posted a comment to this song “Jaaneman Tum Kamaal Karti Ho” . This was followed by a comment for “Dil Aaj Shaayar Hai. . .“. Oh, we have been ustaads at commenting because the next day I visited the blog and commented on “Logon Ka Dil Agar Jeetna Tumko Hai To“. And Peevesie’s Mom was born.

From then on, I learnt how to navigate the blog, comment on it and post farmaishes. And took on Atulji’s encouragement “Nice to have your say on this song. Please offer your comments regularly as they help me to come up with songs that I may not otherwise be aware of.” And have stayed on since then.

First time I commented from my own id was for the song “Phir Tumhaari Yaad Aai Hai Sanam“. For this song Atulji’s write-up was short and crisp, his only objective being sharing his priceless discovery, that song is indeed a gem. This post also has our Rajaji in a different avatar, don’t know why he didn’t continue. (Rajaji please answer)

My first song as a contributor – first with lyrics and then with posts- came much later. I don’t remember when I started using this “Hullo to all Atulites” but I somehow liked the idea of addressing the followers of the blog. I also don’t remember which was the first song I sent to celebrate a celebrity’s birthday. But continuing that habit here is one more.
[Editor’s Note: It was “Mere Yaar Ko Mere Allah, De Ek Chaand Sa Pyaara Lalla“, on 25th September, 2012.]

But as is the norm set by Atulji in his first post of this series on ’10-year challenge’ here is a list of songs that were posted on 18th March 2009.

Na Jaane Kahaan Tum The
Rehte The Kabhi Jinke Dil Me
Phul Gendwa Na Maaro
Jaa Jaa Jaa Mere Bachpan
Aati Rahengi Bahaarein
Jalta Hai Jiya Mera
Jee Chaahe Jee Chaahe

As I revisited these posts, I see that all the posts were short and crisp with a punchline that brought a smile to the lips. These punchlines were termed ATULISM by Rajaji.

Sample this from the simple post that accompanied the song “Aati Rahengi Bahaarein” from ‘Kasme Vaade’-

Here Amitabh Bachchan, a college professor lives in a palatial residence in such opulence that would give the Nizam of Hyderabad a complex. And only three people live in this palace and one cannot see a single domestic help anywhere. 🙂

Coming back to the purpose of this post – to remember Shashi Kapoor on his 81st birthday. Its already more than a full calendar year since he passed away; time has really flown. I had written down the story synopsis for the accompanying song a long time ago. I had wanted to send this post in 2013 when Shashi would have turned 76.

‘Atithee’ is a 1978 Shashi Kapoor- Shabana Azmi- Shatrughan Sinha- Vidya Sinha movie which I suppose didn’t do very well at the box office. Not much is there on the net other than the synopsis which IMDB.com gives. And I quote

Navendhu Kumar lives a poor lifestyle with his handicapped father, Mohan, housewife mom, two unmarried sisters, Leela and Rajni, a younger brother, Kundan, and a sweetheart in Meena. He works for Avinash Gupta, however, when differences occur, he is framed by Gupta for breaking and entering, arrested by the police, tried in court, and exiled from the town for a period of 12 months. After he leaves, the family is almost destitute and is exploited by Gupta. Then some months later, a young man, Anand, comes to visit them, informing them that Navendhu has sent him. He gives them some money for day to day expenses, gets some clothes for everyone, and a wheelchair for Mohan. He arranges the marriage of Rajni with her boyfriend, Ajay, despite strong opposition from Gupta, and falls in love with Leela. What the Kumar family does not know is that Anand is a fugitive on the run from the police in Bombay, and he harbors a dark secret that will change their lives forever.

To this, I had added,

Actually, what put me on this movie is the song which was posted on ASAD on 15th May 2013. In comments to that song from ‘Manoranjan’ (1974) I had mentioned about a Shashi Kapoor song that uses ‘Goya’ ‘Chunke’ ‘Kintu’ ‘Parantu’ etc and Harveypam(ji) said he only faintly remembered it. Then I sat and searched for the song and decided that it is going to be posted on March 18th that is Shashi Kapoor’s birthday. Today is his 76th birthday.

The song is written by Verma Malik, music is by Kalyanji Anandji and the singing voice is Kishore Kumar. In the song we see Shashi Kapoor playing a kind of love guru to Gayatri and her boyfriend (cannot identify him) a nice fun song so lets enjoy.

And be reminded of the cute charming smile of Shashi Kapoor. 🙂

Video


Audio

Song – Kya Karoon Mujhko Time Nahin (Atithee) (1978) Singer – Kishore Kumar, Lyrics – Verma Malik, MD – Kalyanji Anandji

Lyrics

arre bhai ek baat yaad aayi hai
aate aate
haalan ke
lekin
magar
goya
choon ke
chunanche
kintu
parantu
socha hai ke
keh doon jaate jaate
kya
ek baat aayi hai aate aate
ek baat aayi hai aate aate
ke socha kehdoon..oo..oo..oo
jaate jaate
ke socha kehdoon..oo..oo॰॰oo
jaate jaate
aur chaahta bhi hoon keh doon yahin
keh doon
bolo
haalan ke lekin magar goya choon ke chunache kintu parantu
kya karoon time nahi
haalan ke lekin magar goya choon ke chunache kintu parantu
kya karoon time nahin
kya karoon mujhko time nahin

dekho pyar karo tum aisa
aa aa aa aaa aaa
dekho pyar karo tum aisa
duniya karti hai jaisa
mera matlab hai ki aisa
tum samajh gaye na kaisa
ek duje ko lo tum jaanch
pyar pe dekho dekho aaye na aanch

arey
arey char bajne me paanch
mar gaye

arey aur bhi main samjhata yahin
arey aur bhi main samjhata yahin
kuch aur bhi main batlata yahin
haalan ke lekin magar goya choon ke chunache kintu parantu
kya karoon time nahin
kya karoon mujhko time nahin

arey bhai ek aur kahani yaad aa gayi
ha ha ha ha haa
ek aur kahani yaad aayi
da da daan
da da daan da
da dada daan da daada
ek choti si kahani thi
hmm mmm
ek raja ek rani thi
hmm mmm
ek choti si kahani thi
ek raja ek rani thi
rani ki jo naani thi 
aankh se woh kaani thi
aankh se jo kaani thi
rani ki wo naani thi
kaani thi naani thi
rani ki wo naani thi
naani naani naani
kaani kaani kaani
naani kaani naani kaani thi
arrey kuch bhi thi to kya hua
magar din raat yahi kehti thi
kehti thi wo ek hi baat
pyar me rahkna
haathon me haath
haan haan haathon me haath

arey mari paanch bajne me saat
mar gaya mera baap

arey aur bhi main samjhaata yahin
arey aur bhi main samjhaata yahin
kuch aur bhi main batlaata yahin
haalan ke lekin magar goya choon ke chunache kintu parantu
parantu
parantu
kya karoon time nahin
kya karoon mujhko time nahin

arey
arey ye dono premi kahaan chale gaye

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

अरे भई एक बात याद आई है
आते आते
हालांकि
लेकिन
मगर
गोया
चूंकि
चुनाञ्चे
किन्तु
परंतु
सोचा है के
कह दूँ जाते जाते
क्या
एक बात आई है आते आते
एक बात आई है आते आते
के सोचा कह दूँ॰॰ऊं॰॰ऊं॰॰ऊं
जाते जाते
के सोचा कह दूँ॰॰ऊं॰॰ऊं॰॰ऊं
जाते जाते
और चाहता भी हूँ कह दूँ यहीं
कह दूँ
बोलो
हालांकि लेकिन मगर गोया चूँकि चुनांचे किन्तु परंतु
क्या करूँ टाइम नहीं
क्या करूँ मुझको टाइम नहीं

देखो प्यार करो तुम ऐसा
अ अ आ
अ अ आ
अ अ आ आ
देखो प्यार करो तुम ऐसा
दुनिया करती है जैसा
मेरा मतलब है कि ऐसा
तुम समझ गए ना कैसा’
एक दूजे को लो तुम जांच
प्यार पे देखो देखो आए ना आंच

अरे
अरे चार बजने में पाँच
मर गए

अरे और भी मैं समझाता यहीं
अरे और भी मैं समझाता यहीं
कुछ और भी मैं बतलाता यहीं
हालांकि लेकिन मगर गोया चूँकि चुनांचे किन्तु परंतु
क्या करूँ टाइम नहीं
क्या करूँ मुझको टाइम नहीं

अरे भई एक और कहानी याद आ गई
ह ह ह ह हा
एक और कहानी याद आई
ड ड डां
ड ड डां डा
ड डाडा डां डा डाडा
एक छोटी सी कहानी थी
हम्म हम्म
एक राजा एक रानी थी
हम्म हम्म
एक छोटी सी कहानी थी
एक राजा एक रानी थी
रानी कि जो नानी थी
आँख से वो कानी थी
आँख से जो कानी थी
रानी कि वो नानी थी
कानी थी नानी थी
रानी कि वो नानी थी
नानी नानी नानी
कानी कानी कानी
नानी कानी नानी कानी थी
अरे कुछ भी थी तो क्या हुआ
मगर दिन रात यही कहती थी
कहती थी वो एक ही बात
प्यार में रखना
हाथों में हाथ
हाँ हाँ हाथों में हाथ

अरे मरी पाँच बजने में सात
मर गया मेरा बाप

अरे और भी मैं समझाता यहीं
अरे और भी मैं समझाता यहीं
कुछ और भी मैं बतलाता यहीं
हालांकि लेकिन मगर गोया चूँकि चुनांचे किन्तु परंतु
क्या करूँ टाइम नहीं
क्या करूँ मुझको टाइम नहीं

अरे
अरे ये दोनों प्रेमी कहाँ चले गए


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 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 : 3807 Post No. : 14803

Mukesh and his Composers – 18
—————————————–

Subsequent to the posting of debut song from the film Veer Ghatotkach (1970), Sudhir ji sent me an email on 16 October 2018, saying that the said film had a wonderful Mukesh song and sought to know if I would be interested to take up the same in this series of mine. He further wrote that that he alternately taken up a Suman Kalyanpur song for representing the film in his series.

Whilst I feel quite gratified with such gestures, there is also a huge sense of resentment within myself for not taking up the posts of Mukesh more frequently.

Anyway, coming to next part of this series, we take up the curious case of composer Dilip Dholakia. I say curious because he represented himself under various names such as Dilip Roy, D. Dilip, Dilip Rai and unfortunately ended up a lesser known composer.

Because of the various names that he took upon himself, it is difficult to attribute all his contributions on the same page without an element of omission or mistake. Thankfully, the wiki page on him does justice to his various contributions in Hindi, Gujarati and Bhojpuri films. He has composed for 8 films in Hindi and 11 in Gujarati apart from the many films in which he assisted composers like Chitragupt, SN Tripathi and Laxmikant-Pyarelal.

I came across two detailed post/articles on Dilip Dholakia. One is from AK ji’s blog wherein Ashok M Vaishnav ji has done a detailed post on the composer. This post also contains many informative comments and a few notably by our own Arunkumar ji. The other one is a news article published after the composer passed away on 02 January 2011. These two references give a fairly good idea about all his works.

Coming to the topic of this post, Mukesh has sung two songs for him in 1970 for ‘Veer Ghatotkach’ and ‘Dagaabaaz’. The one from ‘Dagabaaz’ has already been covered on the blog including the sad version. The song for this post was noticed by self in 2015 itself when Sudhir ji was doing his posts on the early songs of Mukesh from the forties.

Hearing the restrained rendition of Mukesh and the black and white print of the song, I had jumped the gun and reported to Atul ji and Sudhir ji that I had traced one more rare song from the 40’s. However my eureka moment did not last long and I was reminded that there are two films of the same name released in 1949 and 1970 respectively. Mukesh, apparently had no songs in the 1949 version of the same film title.

Shri Harish Raghuwanshi ji was more than helpful in giving me the details and confirming that only 2 songs were sung by Mukesh for the composer in Hindi. I was also given to understand that Mukesh has 2 more songs in Gujarati and one song in Magadhi language under Dilip Dholakia. Here is the short table of the collaboration between Mukesh and Dilip Dholakia.

S.No

Name of song Movie (Year of release)

Lyricist

1

Hum Manmauji Raahi Mastaane (Happy and Sad versions) ‘Daghaabaaz’ (1970) BD Mishra

2

Us Pratham Pratham

 

‘Veer Ghatotkach’ (1970) BD Mishra

The present song is featured on Raj Kumar and Laxmi Chhaaya. I found an interesting and detailed article on the actor Raj Kumar. This person is different from the more famous actor with the same name. The jewellery and make-up worn by Laxmi Chhaaya should have given me enough hints that this song cannot belong to 1949. Also, she was born only in 1948. But then, what am I trying to prove? Well, I want to convey that it is only the voice of Mukesh and his unrepresented songs on the blog that I concentrate and not much on the heroines. 🙂

Now, let us listen to this wonderful rendition by Mukesh.


Song – Us Pratham Pratham Parichay Mein Hi (Veer Ghatotkach) (1970) Singer – Mukesh, Lyrics – BD Mishra, MD – Dilip Dholakia

Lyrics

us partham partham parichay mein hi
maine khoya tha apnapan
us partham partham parichay mein hi
maine khoya tha apnapan
phir mila tumhari aankhon se
mere pranno ko nav jeevan
us partham partham parichay mein hi

soona soona jeevan tha mera tumhaare bina
soona soona jeevan tha mera tumhaare bina
ek akela mann tha mera tumhaare bina
tum ne aa kar mujhe wo geet diya
priye jhoom utha mera tan mann
phir mila tumhari aankhon se
mere pranon ko nav jeevan
us partham partham parichay mein hi

poonam jaisi sundar saloni tumhari chata
poonam jaisi sundar saloni tumhari chata
yauvan tumhara barkha me umadti ghata
main janam janam ka pyaasa tha
tum mujhko mili banke saawan
phir mila tumhari aankhon se
mere pranon ko naw jeevan

us partham partham parichay mein hi
maine khoya tha apnapan
phir mila tumhari aankhon se
mere pranon ko nav jeevan
us partham partham parichay mein hi

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

उस प्रथम प्रथम परिचय में ही
मैंने खोया था अपनापन
उस प्रथम प्रथम परिचय में ही
मैंने खोया था अपनापन
फिर मिला तुम्हारी आँखों से
मेरे प्राणों को नवजीवन
उस प्रथम प्रथम परिचय में ही

सूना सूना जीवन था मेरा तुम्हारे बिना
सूना सूना जीवन था मेरा तुम्हारे बिना
एक अकेला मन था मेरा तुम्हारे बिना
तुमने आकर मुझे वो गीत दिया
प्रिए झूम उठा मेरा तन मन
फिर मिला तुम्हारी आँखों से
मेरे प्राणों को नवजीवन
उस प्रथम प्रथम परिचय में ही

पूनम जैसी सुंदर सलोनी तुम्हारी छटा
पूनम जैसी सुंदर सलोनी तुम्हारी छटा
यौवन तुम्हारा बरखा में उमड़ती घटा
मैं जनम जनम का प्यासा था
तुम मिलीं मुझे बनके सावन
फिर मिला तुम्हारी आँखों से
मेरे प्राणों को नवजीवन

उस प्रथम प्रथम परिचय में ही
मैंने खोया था अपनापन
फिर मिला तुम्हारी आँखों से
मेरे प्राणों को नवजीवन
उस प्रथम प्रथम परिचय में ही


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

Blog Day : 3800 Post No. : 14792

Today’s song is from film ‘Mangala’ (1950). This was a film made by Gemini Films of Madras and directed by its boss SS Vasan. The music was given by a team of Balkrishna Kalla, MD Parthasarathy and E Sankar Sastry. The cast of this film was P Bhanumathi, Ranjan, Agha, David, Badri Pershad, BS Kalla etc.

The film was a remake of the hit Tamil film ‘Mangamma Sapatham’ (1943). After the unprecedented foray of Gemini’s Vasan’s hit film ‘Chandralekha’ (1948) into the All India market, Subramaniam Srini Vasan or simply SS Vasan, became aware of the unlimited scope of the Hindi belt market for south-made Hindi films. Vasan was a writer, editor, producer and director, but above all, he was a business tycoon. He had established the popular Tamil magazine “Anand Vikatan”, and owned Gemini Studios, Gemini Laboratories and Gemini distribution circuits.

He soon decided to take advantage of the success of ‘Chandralekha’ and made another tri-lingual film . In Tamil it was called ‘Apoorva Sahodarargal’, in Telugu, it was ‘Apoorva Sahodaralu’, and in Hindi it was called ‘Nishan’ (1949). This film too was a great success. Encouraged by this, SS Vasan made his 1943 Tamil Hit film ‘Mangamma Sapatham’, into a remake in Hindi with the name ‘Mangala’.

Not by coincidence, but by design, the hero for all these 3 remakes and the originals was Ranjan. (This film was remade in Simhalese as ‘Mathalan’ in 1955, and in Telugu as ‘Mangamma Shapatham’ in 1965, featuring NT Ramarao, later the Chief Minister of erstwhile Andhra Pradesh, and Jamuna).

Enthused and inspired with Vasan’s success in the Hindi belt, another giant from the South came forward. AVM’s Tamil film ‘Vazhkai’ (1949) was a big hit in south. AVM made a Telugu version of it with the name ‘Jeevitham’ (1950) followed by a Hindi version ‘Bahaar’ (1951). They introduced Vyjayantimala with this film, in Hindi. The story of the film and the Music by SD Burman made film a big hit in Hindi too. AVM then made Hindi film ‘Ladki’ (1953), with a Tamil and Telugu version. This too became a hit film. However by that time the South market had grown manifolds and there was no need for the south film makers to venture into the Hindi belt to earn money. Thus, there was a slow down in this type of activity. The south now started making Hindi films directly in Madras by calling actors from Bombay. And some films were dubbed too.

Actually, the southern film activity, though as old as Hindi talkie films, is strictly limited to four southern states. It was only the adventurous SS Vasan who ventured into the bastion of Hindi film markets, by promoting his film ‘Chandralekha’. In fact this had encouraged other producers like AVM, Prasad, Vijaya etc. to tap the Hindi belt. While making a multilingual film, the south producers always called the Hindi artistes, be it actors, directors ,composers or singers to come to Madras, but they never went to Bombay. It was only through dubbed or remade films that south actors, composers or actors were exposed to the Hindi arena. Those days anyone from south was a ‘madrasi‘ and likewise anyone from other than south was a North Indian or a Punjabi ! No one from the North bothered to distinguish between Tamil, Telugu, Kannada or Malayalam – films or people. Everything was ‘madrasi‘.

The divide between the north and the south went on widening, which finally resulted in the anti-Hindi agitations of the 60s and 70s in Madras and other southern places. Fortunately, in recent times and with the new generation, thanks to the coalition politics at the centre and states as well as IT centres at Hyderabad and Bangalore, the North-South exchange is much better and each state is identified individually. Thanks also to writers like Chetan Bhagat’s novels. Thanks to Modernization.

In the early times of the film industry, very few educated people used to join here. That is why graduates or postgraduates used to flaunt their degrees with pride – like Moti, BA – the lyricist (though he was actually MA), or Kavi Pradeep’s pseudo name – Miss Kamal BA or even singer Surendra as BA, LLB etc.

A highly qualified person and that too in an unrelated subject joining films was a wonder then. Thus, a young man with an unlikely name for a hero, like RAMNARAYAN VENKATRAMAN SARMA alias actor RANJAN was a novelty. Ranjan was born in Madras on 2-3-1918 in an orthodox Brahmin family. He did his BA with Physics and then completed M Litt in Carnatak music and dance, and became a Research Fellow for Ph.D. He also became the managing editor of ‘NATYAM‘ a magazine for dance, drama and music. In total contrast to his expertise in fine arts, he learnt fencing (sword fighting) after he saw it in the Olympic Games.

He was spotted by a Tamil producer and he made his debut in the film ‘Ashok Kumar’ (1941). After a few films in Tamil and Telugu he got the role of Shashank in the magnum opus film ‘Chandralekha’ in 1948. The drum dance and his fencing were the two main attractions in the film. The final sword fighting is considered the longest ever fencing fight in films till today ! The film was a hit and Ranjan became type cast in action films. Ranjan was a very poor actor, but his fencing skills were marvelous.

In 1949 came ‘Nishaan’, based on the Hollywood film ‘The Corsican Brothers’ – one good and one bad. It was a story of twins. The audience liked a scene from the film which showed that there were marks on one brother’s back if the other one was whipped ! The film, in Hindi, Tamil and Telugu, was a hit everywhere mainly for its fencing scenes. In ‘Mangala’ opposite Bhanumati, he was the villain and the hero too.

He was invited by New York University for a research fellowship, but Vasan did not leave him, so after ‘Mangala’, as soon as the contract was over, Ranjan came to Bombay.

‘Shin Shinaki Boobla Boo’ (1952) saw him with Rehana but as a romantic hero, he was worse than Bharat Bhushan or Pradeep Kumar ! He acted in ‘Sindbad The Sailor’ (1952),  ‘Nishan Danka’ (1952), ‘Kafila’ (1952), ‘Baaghi’ (1953), ‘Shahenshah’ (1953), ‘Baap Beti’ (1954), ‘Baghdad’ (1961), and a host of B and C grade films, many of them dubbed or remakes of southern films. He was known for only fencing. But he never became famous like Stewart Granger in ‘Scaramouche’ for his fencing. In the 1950s he acted in 23 films, in 1960s he did 18 films and in 1970s his tally was 17 films. A total of 58 films in Hindi.

After sword fighting became obsolete he shifted to writing. The story of film ‘Munim ji’ (1955) was written by him. After few years in south he was seen again in ‘Chor Chor’ (1974) and ‘Chaitali’ (1976). ‘Ram Balram’ (1980) was his last film.

He married a Muslim girl and she converted to Hinduism taking the name of Laxmi. Ranjan wrote 12 books on dancing and music. He shifted to USA to live with his son in New Jersey. He passed away 12-9-1983, due to a heart attack. He was so much forgotten that even the news of his death was not published in India.

The composers of ‘Mangala’ was a team of D Parthsarthi, Balkrishna Kalla and E Shanker. This team also gave music to few other films like ‘Sansaar’ (1951), ‘Mr Sampat’ (1952), ‘Bahut Din Huye’ (1954). Balkrishna Kalla with Mohd Shafi gave music to ‘Krishna Kanhaiya’ (1952). Independently he gave music to only one film – ‘Do Dulhe’ (1954). The southern composers gave music only to dubbed films or remakes.

In the original version of ‘Mangala’, which was ‘Mangamma Shapatham’ (1943), the heroine was Vasundhara Devi – mother of Vaijayantimala. In Hindi film ‘Mangala’, the heroine was P Bhanumathi, but the hero was same – Ranjan. There were some Hindi actors like Agha, David and Badriprasad. The composer of today’s song, Balkrishna Kalla also did a small role in this film. When Shamshad Begum sang songs for ‘Chandralekha’, her songs were recorded in Bombay, but for ‘Mangala’, Shamshad went to Madras first time and sang 9 songs out of its 15 songs. In this film the songs and dances of Carmen Miranda were freely copied in the Tamil, Telugu and Hindi versions.

The late 1940’s was marked in Bollywood with the remake of several super hit movies from south, especially from Tamil. The 1950 hit ‘Mangala’, produced by Gemini Pictures, was one such movie which was originally made in Tamil. SS Vasan was the director of the Hindi version. The newspaper, The Hindu, in its issue of 3-2-2013 has said this, about film ‘Mangala’,

Bhanumathi Ramakrishna was so bowled over by the performance of Vasundhara Devi (mother of yesteryear heroine Vyjayanthimala Bali) in Gemini’s blockbuster 1943 Tamil hit, Mangamma Sabadham , that she wished, if at all the film were to be remade in Telugu, she would act in it. In fact, the Tamil movie was released by Gemini supremo S.S. Vasan at a few centres in Andhra also and was well received there too. A few years later, Vasan decided to remake the movie in Telugu and Hindi under the title Mangala . Impressed by Bhanumathi’s performance in the Tamil film, Rajamukthi , he decided to sign her and approached her husband, Ramakrishna Rao. It was an opportunity she was waiting for and Bhanumathi immediately accepted the offer. She was paid a remuneration of Rs. 1 lakh for both the versions. Ranjan, who did the hero’s role in Mangamma Sabadham , was retained to play the lead role in both Telugu and Hindi versions. Popular editor of the time, Chandru (who had done commendable work as editor for Gemini’s earlier trilingual, Apoorva Sahodarulu) was entrusted with the job of directing the Telugu movie.

Based on a popular folklore, an engrossing narrative was weaved by Gemini’s story department. Mangala (Bhanumathi), the charming daughter of a rich farmer, is very haughty by temperament. When Prince Sugunapal (Ranjan) fails to win her love, he throws a challenge that he would marry her and then imprison her for life, denying her the marital bliss. She counter-challenges him that she would bear a child from him and make the child whip him in his court.

The prince marries her and puts her in a lonely palace. She makes her father (Doraiswamy) dig a tunnel from the palace to her village, sneaks through it to her house and learns dance. Disguised as a gypsy, she entices the Prince, secretly gives birth to a child, and when he grows up (Ranjan – dual role) gets her vow fulfilled through him. Realisation dawns on the Prince and the tale ends on a happy note.

All through it is Mangala’s show and Bhanumathi essayed it brilliantly. If Vasundhara Devi was admired for her nice dances in the Tamil version, Bhanumathi scored through her acting prowess. Ranjan made his presence felt in dual role.

The songs and dance sequences were all hits of that time. Music was composed by Partha Sarathi, Kalla and E Sankar Sastri. Two songs from this film were inspired by the famous Brazilian dancer Carmen Miranda’s classics. The song “Ma Ma Ma Ma Ma Mummy” was based on Carmen Miranda’s “Mama Yo Quiero” and “Ayyi Ayyi Ayyi Ayyi Mari Main To Laaj Se” (today’s song) in which Bhanumathi is dressed like Carmen, was based on “I Yi Yi Yi Yi — I Like You Very Much”  from the film “That Night in Rio ” (1941), sung by Carmen Miranda herself.

Enjoy the dance and song video….

 


Song – Ayyi Ayyi Ayyi Ayyi Mari Main To Laaj Se  (Mangala) (1950) Singer – P Bhanumati, Lyrics – Pt Indra, Music – MD Parthasarthy, BK Kalla, E Shankar Shastri

Lyrics (Provided by Sudhir)

ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa
ch ch ch ch..ch

ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa
ch ch ch ch..ch

ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa
ch ch ch ch..ch

ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa. . .
ta na na na ra naa naa. . .
ta na na na na naa. . .
ta na na na ra naa naa. . .
ta na na na na naa. . .
ta na na na na naa
ta na na na na naa

taa na na naa raa nanna
naa raa nanna
naa raa nannaa
ta na na na na naa. . .
ch ch ch ch..ch

taa na na naa raa nanna
taa na na naa raa nanna
taa raa nanna
ta na na naa raa nanna
ta na na na na naa. . .
taa naa naa naa. . .

ayyi ayyi ayyi ayyi mari main to laaj se
sainyyaan dekhe mohey pyaar se
aayi aayi raja torey paas re
piya se milan ki aas re
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ahaa haa haa haa. . .

kaun jaane kaisa jaadu daal ke
chheen liya dil mora haaye
khili khili khili rahe chaandni
chanda sa ye much muskaaye
chhoti si raat
chhoti si baat
dil ki pukaar
sumba limbaa. . .
suno suno pyaare morey saajna
baaje morey dil ka sitar
gori gori chhori main to baalma
puchho reejho reejho hai kyon nikhar
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ahaa haa haa haa. . .

meri chaal nihaar
kaisi thummakdaar
meri kamar nihaar
kaisi lachakdaar
mere nain nihaar
jaise tez kataar
meri nath nihaar
kaisi hai chammakdaar
ye bahaar
ye nikhaar
tum shikaar
main shikaar
phadak phadak
thadak thadak

ayyi ayyi ayyi ayyi mari main to laaj se
haaye ri main to laajon mari
hanh hanh
ayyi ayyi ayyi ayyi mari main to laaj se
saayyaa ji jee
du du de de dor
ka ka ki ki ku ku ke ke kaye kekor
piya se milan ki aas re
chhoti si raat
chhoti si baat
dil ki pukaar
sumba limbaa. . . aa. . .

suno suno pyaare morey saajna
cha cha chu chu chu chu chaye chechor
ka ka ki ki ku ku ke ke kaye kekor
ta tta ta ti tu tu tuteyi tetor
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ayyi ayyi ayyi yayyi yayyi yaa. . .

ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa

ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa

ta ra ra na na naa naa. . .
ta ra ra na na naa. . .
ta ra ra na na naa naa. . .
ta na na naa raa naa
ta na na naa raa naa

ta na na naa raa nanna naa raa nanna naa raa nanna
taa naa naa naa raa. . .
ta na na naa raa nanna
ta na naa raa nanna
ta na na na naa. . .
ta. . na. . na. . naa. . .

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


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 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 : 3739 Post No. : 14693

A real life funtoosh, if ever there was one. So many anecdotes from his real life are told – and they read like a story writer creating script for comic scenes.

Like the fact that he had a sign that said ‘Beware of Kishore’ on the door of his Warden Road flat – once HS Rawail came to visit him, and offered his hand for a handshake, and Kishore took his hand and bit it; when Rawail asked him why he did that, Kishore pointed to the sign on the door saying – “Didn’t you read this. . .”.

Or the time he appeared on the sets with make up on half of his face – he had not yet been paid in full by the producer.

Or the time when filming a scene in which he was driving a car, he continued driving and reached Khandala, because the director did not say ‘cut’ to end the scene.

His frolic and cheekiness is so well evident in his roles and antics onscreen, and his actions off screen. But there is a also a serious side to his personality, that gets expressed so well in his renderings of “Dukhi Mann Mere. . .” (‘Funtoosh’, 1956), “Beqaraar Dil Tu Gaaye Ja. . .” (‘Door Ka Raahi’, 1971), “Zindagi Ke Safar Mein Guzar Jaate Hain Jo Maqaam. . .” (‘Aap Ki Kasam’, 1974), “Jin Raaton Ki Bhor Nahin Hai. . .” (‘Door Gagan Ki Chhaon Mein’, 1964), and so many more such poignant songs that only could be done by him. Listen to “Koi Hamdam Na Rahaa. . .” (‘Jeevan Naiya’, 1936) rendered by Ashok Kumar, and then its reprisal sung by Kishore in 1961 “Jhumroo”. The two renditions are dimensions apart – the depth and emotion in the 1961 rendering has no measure, in comparison to the 1936 version.

His reverence for KL Saigal is legendary. It is recounted by Ashok Kumar himself in an interview. In his teen years, Kishore would sit outside the recording studio when Saigal Sb’s recordings were in progress. Sometimes Saigal Sb would ask him to sing. And when the young Kishore finished, he was given 4 annas (25 paise) as reward. It would make the young man immeasurably happy.

Continuing, Ashok Kumar narrates that in his home, Kishore had a temple room set aside with a photo portrait of Saigal Sb, where he lighted a diya every day, and paid respects to his idol. The floor of this temple room was a platform made of wood that was raised 6 inches above the actual flooring. No one, including Kishore Kumar himself, was allowed to enter this room with any kind of footwear. Once, Ashok Kumar was passing by and he had something important about which he wanted to talk urgently with Kishore. He came in. Kishore was in the temple room, lighting the diya for his daily prayers to Saigal Sb. In the hurry of his urgency, and that the matter was just a two minutes conversation, Ashok Kumar forgot to remove his shoes and stepped into the room. As he started to speak, Kishore turned around, and saw Ashok Kumar standing there with his shoes on. He immediately threw the lighted diya itself, that was in his hands, at the legs of Ashok Kumar, and asked him to immediately exit the temple room.

Coming to today’s song. The peculiarity of Kishore Da’s career runs into multiple dimensions. His prolific engagements with films – playback singer, actor, producer, director, lyricist, music director; I would dare say that no other film persona has touched upon such a gamut of the various ways he connected with and contributed to cinema. His film ‘Badhti Ka Naam Daadhi’ (1974) is about Kishore Kumar, playing himself on screen, producing a film titled ‘Badhti Ka Naam Daadhi’ – what more to say. 🙂 🙂

His comic roles vs his serious roles – quite a handle on the entire spectrum of emotions. Going from haywire films like ‘Half Ticket’ (1962) to poignantly moving essays like ‘Door Gagan Ki Chhaon Mein’ (1964) and ‘Door Ka Raahi’ (1971).

There is one more peculiarity, which of course has been discussed and mentioned often on this blog. I bring forth the topic of Kishore Kumar lip syncing the playback voice of other singers, for himself on screen. Now, this is a very interesting phenomena. An accomplished singer, who is also an actor, and who almost always sings playback for himself when performing on screen, has surprisingly enough, also performed on the playback voice of other mainline singers. I present below the complete list of 18 such songs from Hindi films, in which another prominent singer is providing the playback to Kishore Da on screen. I am sure this is a record that may never be equalled by any other singer-actor. These are,

 

S.No.

Song Title Film Year MD

Playback Voice

1

Chori Chori Aana Na Khidki Taley Tum Miss Mala 1954 Chitragupt Mohammed Rafi

2

Jaane Bhi De Chhod Ye Bahaanaa Baap Re Baap 1955 OP Nayyar Asha Bhosle

3

Hamen Koi Gham Hai Bhaagam Bhaag 1956 OP Nayyar Mohammed Rafi

4

Aankhon Ko Milaa Yaar Se Peene Ka Mazaa Le Bhaagam Bhaag 1956 OP Nayyar Mohammed Rafi, SD Batish

5

Chale Ho Kahaan Karke Jee Beqaraar Bhaagam Bhaag 1956 OP Nayyar Mohammed Rafi

6

Din Albele Pyaar Ka Mausam Begunaah 1957 Shankar Jaikishan Manna Dey

7

Man Mora Baawra Raagini 1958 OP Nayyar Mohammed Rafi
8 Ajab Hai Dastaan Teri Ae Zindagi Sharaarat 1959 Shankar Jaikishan Mohammed Rafi

9

Tu Mera Copyright Main Teri Copyright Sharaarat 1959 Shankar Jaikishan Mohammed Rafi

10

Pahle Murgi Huyi Thi Ke Andaa Krorepati 1961 Shankar Jaikishan Manna Dey

11

Ho Gayee Shaam Dil Badnaam Naughty Boy 1962 SD Burman Manna Dey

12

Mohabbat Karna Hai Asaaan Daal Mein Kaala 1964 C Ramchandra Manna Dey

13

Baalma Saajna, Duniya Bhula Tere Pyaar Ne Akalmand 1966 OP Nayyar Asha Bhosle

14

Ki Jo Main Hota Hawaa Ka Jhonka Duniya Naachegi 1967 Lakshmikant Pyaarelal Manna Dey

15

Hum Ne To Dil Bichha Diya Albela Mastaana 1967 N Datta Mahendra Kapoor

16

O Mere Dilbar Jaaneman Jaaneman Haaye Mera Dil 1968 Usha Khanna Manna Dey

17

Alakh Niranjan, Bam Bam Bholenath Haaye Mera Dil 1968 Usha Khanna Manna Dey

18

Apni Aadat Hai Sabko Salaam Karnaa Pyaar Deewaana 1972 Lala-Asar-Sattaar Mohammed Rafi

As you can see, most of the honours are done by Mohammed Rafi and Manna Dey, one song in the voice of SD Batish, and then one song in the voice of Asha Bhosle (yes. . . 🙂 ). This list of 18 songs is taken from the book ‘Gaata Rahe Mera Dil. . ‘, a definitive compilation of Kishore Kumar songs by Kamal Dhiman. As you can see, of these 18, thirteen songs are already covered on our blog. Today, I bring on one more of this special category songs. And this one is a special song in itself – we have Mahendra Kapoor giving playback to Kishore Kumar. I am sure this will come as a surprise. 🙂

Of this list of 18 songs, thirteen are already showcased on our blog. The fourteenth comes on board today, leaving four more from this category to be posted.

Today’s song is from the film ‘Albela Mastaana’ from 1967. The song is a duet sung by Mahendra Kapoor and Usha Mangeshkar. On screen, the song is performed by Kishore Kumar and Asha Nadkarni. Songs of this film are written by Prem Dhawan and the music is by N Datta. And without further ado, I would suggest you listen to this song, and get this rare flavor of the one and only instance of Mahendra Kapoor giving playback to Kishore Kumar.


Song – Hum Ne To Dil Bichha Diya Tumhaari Raah Mein (Albela Mastaana) (1967) Singer – Mahendra Kapoor, Usha Mangeshkar, Lyrics – Anand Bakshi, MD – N Datta
Mahendra Kapoor + Usha Mangeshkar

Lyrics

hum ne to dil bichhaa diya
tumhaari raah mein
oo oo oo
hum ne to dil bichhaa diya
tumhaari raah mein
hum ne utha ke rakh liya
hum ne utha ke rakh liya
is ko nigaah mein
hum ne to dil bichhaa diya
tumhaari raah mein

baahon pe meri jhoom ke
gesu bikher do
baahon pe meri jhoom ke
gesu bikher do
dheere se koi pyaar ka
naghma chhed do
dil ko hamaare baandh lo
dil ko hamaare baandh lo
zulf e siaah mein
hum ne to dil bichhaa diya
tumhaari raah mein

meri har ik nazar mein hai
teri hi justju
meri har ik nazar mein hai
teri hi justju
har ek saans mein basi
teri hi aarzoo
tera hi dard hai chhupa
tera hi dard hai chhupa
har ek aah mein
hum ne to dil bichhaa diya
tumhaari raah mein

jo tum miley
to zindagi haseen ban gayi
jo tum miley
to zindagi haseen ban gayi
duniya hamaare pyaar ki
rangeen ban gayi
donon jahaan bhula diye
donon jahaan bhula diye
tumhaari chaah mein
hum ne to dil bichhaa diya
tumhaari raah mein
hum ne to dil bichhaa diya
tumhaari raah mein

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

हमने तो दिल बिछा दिया
तुम्हारी राह में
ओ ओ ओ
हमने तो दिल बिछा दिया
तुम्हारी राह में
हमने उठा के रख लिया
हमने उठा के रख लिया
इसको निगाह में
हमने तो दिल बिछा दिया
तुम्हारी राह में

बाहों पे मेरी झूम के
गेसू बिखेर दो
बाहों पे मेरी झूम के
गेसू बिखेर दो
धीरे से कोई प्यार का
नग़मा छेड़ दो
दिल को हमारे बांध लो
दिल को हमारे बांध लो
जुल्फ ए सियाह में
हमने तो दिल बिछा दिया
तुम्हारी राह में

मेरी हर इक नज़र में
तेरी ही जुस्तजू
मेरी हर इक नज़र में
तेरी ही जुस्तजू
हर एक सांस में बसी
तेरी ही आरज़ू
तेरा ही दर्द है छुपा
तेरा ही दर्द है छुपा
हर एक आह में
हमने तो दिल बिछा दिया
तुम्हारी राह में

जो तुम मिले
तो ज़िंदगी हसीन बन गई
जो तुम मिले
तो ज़िंदगी हसीन बन गई
दुनिया हमारे प्यार की
रंगीन बन गई
दोनों जहान् भुला दिये
दोनों जहान् भुला दिये
तुम्हारी चाह में
हमने तो दिल बिछा दिया
तुम्हारी राह में
हमने तो दिल बिछा दिया
तुम्हारी राह में


This article is written by Nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3737 Post No. : 14688

This song from the film Suhaag  (1979) has been waiting in my drafts for a long time now. It is a group song based on Punjabi folk and a popular one at that.

It so happened that when I saw Peevesie’s Mom’s post yesterday on Rekha’s birthday, got an idea in the mind to do a post for Amitabh & Rekhas birthday together with a song of both of them.  There are a lot of songs featuring these two as a couple yet to be posted in the blog.

Somehow I  thought of the song “Naam Re. . . Sabse Bada Tera Naam, O Sheronwaali” from Suhaag, as a trio celebration of Amitabh Bachchan and Rekha’s birthdays plus Navratri.  But when I looked up the movie in the list, this song is already posted by Peevesie’s Mom in 2016. So that choice got ruled out.

Further yesterday was blue day for Navratri, there was a photo session of all ladies in the office, which is the norm all over nowadays in Mumbai offices at least. A colleague made a collage of those photos and put it on the status of the office ladies whatsapp group. It so happened she had mistakenly included one group photograph from another office.

When I pointed it out to her, she said “galti se ho gaya re. . .” . I asked my husband if there was a song with the word ‘galti‘ , he said there was no such song but there is a song with the word ‘bhool‘,  e.g. “Hum Se Bhool Ho Gayee Hum Ka Maafi Dai Do” (‘Ram Balram’, 1980). I remembered the song “Hum Se Ka Bhool Hui Jo Ye Sazaa Hum Ko Mili” (‘Janta Hawaldar’, 1979). But since the song from ‘Ram Balram’ has both Rekha & Amitabh I shared the link to that song in the group. I am appreciated for thinking of a song at the drop of a hat, since we have a Hindi film song for all moments and occasions. I have reliable help in this endeavor, what with my husband being a filmy buff, YouTube etc. 🙂

So back to the song – today is yellow day and in this song at least Parveen Babi can be seen in full yellow, sunny splendour. And it has both Rafi  & Asha Singing for Amitabh & Rekha.  Asha Bhosle in giving playback to Parveen Babi too and Shailendra Singh is doing the honours for Shashi Kapoor. Anand Bakshi is the lyricist for this song composed by Laxmikant Pyarelal. Amitabh Bachchan is in disguise in this song to hide his identity from friend Shashi Kapoor, which is uncovered at the end of the song by Shashi Kapoor. Overall a colourful and enjoyable song to suit a celebratory occasion.

This bhangra song is filmed in the old Blighty’s Hyde Park – London, if I am not mistaken.


Song – Teri Rabb Ne Bana Di Jodi (Suhaag) (1979) Singer – Mohammed Rafi, Asha Bhosle (for Rekha), Asha Bhosle (for Parveen Babi), Shailendra Singh, Lyrics – Anand Bakshi, MD – Lakshmikant Pyaarelal
Mohammed Rafi + Asha Bhosle

Lyrics

teri rabb ne banaa di jodi..ee
teri rabb ne
teri rabb ne banaa di jodi 
tu haan kar ya na kar yaaraa
o yaaraa
ye bole jogi ka iktaaraa ho..oo 

o teri rabb ne banaa di jodi 
tu haan kar ya na kar yaaraa
o yaaraa
yeh bole jogi ka ik taaraa ho..oo 

kya bole teraa iktaaraa
kya bole
o kya bole teraa iktaaraa
mujhe kya lena hai jogi
o jogi ee 
meri shaadi marzi se hogi..ee
ho..oo

kya karne hain ghode haathi..ee
kya karne hain baaraati 
nainon ki is doli mein..ea
chal mujhe bittha le saathi
ke aisi ladki kahaan milti hai
gudiya ki tarah hilti hai
din raat tadapte hain bhanwre
tab ek kali khilti hai
hatt
jaao mujhe jaane do..oo
hatt jaao 
o hatt jaao mujhe jaane do
na khankaao khan khan kangana aa
o kangana
mujhe nahin ban’na tera sajna..aa
ho..oo

pehle kyun aankh ladaayi
gori ki neend churaayi
pehle kyun aankh ladaayi
gori ki neend churaayi
kar ke badnaam kisi ko..oo
banata hai ab harjaayi
iss jatt yamle se darna 
ab tu inkaar na karna
chup kar ke ban ja dulha
ye laathi dekh le varna
mat baandho zabardasti se..ea
mat baandho
o mat baandho zabardasti se
mere sar sehre ki ladiyaan
o ladiyaan 
tumhen lag jaayengi hathkadiyaan..aan
ho..oo 

sach bole duniyaa saari..ee
ye ishq buri beemari
tu ne mera dil todaa..aa
mar jaaun maar kataari
chal chhod isey deewani..ee
mat kar barbaad jawaani
laakhon hain is ke jaise
laakhon mein ek tu raani

saun rabb di main mar jaawaan
o saun rabb di
o saun rabb di main mar jaawaan
ladaaayi thhi ye to jhoothi
o jhoothi..ee
pehen le pyaar ki ye angoothi..ee
ho..oo
teri rabb ne banaa di jodi..ee
teri rabb ne
o teri rabb ne banaa di jodi..ee
teri rabb ne

o teri rabb ne banaa di jodi..ee
teri rabb ne
o teri rabb ne banaa di jodi..ee
teri rabb ne

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

तेरी रब्ब ने बना दी जोड़ी
तेरी रब्ब ने
तेरी रब्ब ने बना दी जोड़ी
तू हाँ कर या ना कर यारा
ओ यारा
ये बोले जोगी का इकतारा हो॰॰ओ

ओ तेरी रब्ब ने बना दी जोड़ी
तू हाँ कर या ना कर यारा
ओ यारा
ये बोले जोगी का इकतारा हो॰॰ओ

क्या बोले तेरा इकतारा
क्या बोले
ओ क्या बोले तेरा इकतारा
मुझे क्या लेना है जोगी
ओ जोगी॰॰ई
मेरी शादी मर्ज़ी से होगी॰॰ई
हो॰॰ओ

क्या करने हैं घोड़े हाथी॰॰ई
क्या करने हैं बाराती
नैनों की इस डोली में
चल मुझे बिठा ले साथी
के ऐसी लड़की कहाँ मिलती है
गुड़िया की तरह हिलती है
दिन रात तड़पते हैं भँवरे
तब एक काली खिलती है
हट्ट॰॰ जाओ मुझे जाने दो
हट जाओ
ओ हट जाओ मुझे जाने दो
ना खनकाओ खन खन कंगना
ओ कंगना
मुझे नहीं बनना तेरा सजना॰॰आ
हो॰॰ओ

पहले क्यों आँख लड़ाई
गोरी की नींद चुराई
पहले क्यों आँख लड़ाई
गोरी की नींद चुराई
कर के बदनाम किसी को
बंता है अब हरजाई
इस जट्ट यमले से डरना
अब तू इंकार ना करना
चुप कर के बन जा दूल्हा
ये लाठी देख ले वरना
मत बांधो ज़बरदस्ती से
मत बांधो
ओ मत बांधो ज़बरदस्ती से
मेरे सर सेहरे की लड़ियाँ
ओ लड़ियाँ
तुम्हें लग जाएंगी हथकड़ियाँ॰॰आं
हो॰॰ओ

सच बोले दुनिया सारी
ये इश्क़ बुरी बीमारी
तू ने मेरा दिल तोड़ा॰॰आ
मर जाऊँ मार कटारी
चल छोड़ इसे दीवानी॰॰ई
मत कर बर्बाद जवानी
लाखों हैं इस के जैसे
लाखों में एक तू रानी
सौं रब्ब दी मैं मर जांवाँ
ओ सौं रब्ब दी
ओ सौं रब्ब दी मैं मर जांवाँ
लड़ाई थी ये तो झूठी
ओ झूठी॰॰ई
पहन ले प्यार की ये अंगूठी॰॰ई
हो॰॰ओ

तेरी रब्ब ने बना दी जोड़ी
तेरी रब्ब ने
ओ तेरी रब्ब ने बना दी जोड़ी
तेरी रब्ब ने
ओ तेरी रब्ब ने बना दी जोड़ी
तेरी रब्ब ने


This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

3726 Post No. : 14665 Movie Count :

4008

Hullo to all in Atuldom

Todays’ song has Anand Bakshi and Anand Milind get together to give the movie goers Anand (joy!). it is from a movie which was directed by Hrishikesh Mukherjee for GP Sippy’s production – ‘Jhooth Bole Kauwa Kaate’ (1998). The movie stars Anil Kapoor, Juhi Chawla, Amrish Puri, Anupam Kher, Reema Lagoo and Sajid Khan.

The screenplay for thid movie is written by Hrishikesh Mukherjee and Sachin Bhowmick, based on a story by Bimal Kar. It has a lot of inspiration from many of Hrishida’s earlier successful movies. Remember “shifting pain” in ‘Anand’ (1970) – well the character of Shankar’s (Anil Kapoor) bhabhi has “shifting pain” in her knee. Remember “mooche mundawana” in ‘Golmaal’ (1979)? Here Shankar has to cut his hair “baal mundwana”. Remember the strict Jija ji who used to judge a person “soongh ke”; here we have a father (Amrish Puri) who has similar powers.  Then we had David in ‘Chupke Chupke’ (1975) who was in tandem with the pranksters; here we had a mamma (Anupam Kher). And also, there is a passing reference to the joke about identical twins (Golmaal) and Amrish Puri (who is called Bhayankar behind his back) goes- “Steve Waugh, Mark Waugh Wah Wah!!” I know all this about the movie as I have seen it a few times on TV of course. And I thoroughly enjoyed it.  There are many songs in the movie which are good.

There was a song in Hrishida’s “Naram Garam’ (1981) which had a girl ask her chacha (Shatrughan Sinha) to get ready for a wedding. Today’s song has a bhaanji (Juhi Chawla) asking her mamma why he was still a bachelor.  The song is sung by Vinod Rathod and Alka Yagnik. This song is similar in thought with what I had presented a few days back- a bachelor loving his bachelorhood. 🙂

Any idea why this song and movie today? Well it was the last movie to be directed by the Hrishikesh Mukherjee. He returned to direction of films after a gap of 10 years.

Starting his life as teacher of mathematics and science before venturing into filmdom as a cameraman and then an assistant film editor in the late 40s, in Calcutta (now Kolkata) he went on to work with Bimal Roy as film editor and assistant director in movie like ‘Do Bigha Zameen’ and ‘Devdas’. He debuted as director with ‘Musafir’ in 1957 and followed it up with movies that are a class in themselves – ‘Anari’, ‘Anuradha’, ‘Chhaya’, ‘Asli Naqli’, and the list goes on to include a few movies that gave Dharmendra his first comedy – ‘Chupke Chupke’; Amitabh his big break in ‘Anand’; introduced Jaya Bhaduri to Bollywood – ‘Guddi’. I am not a critique of his work, I am a fan. I might have seen all the movies he made in the late 70s through to the 80s. so when ‘Jhooth Bole Kauwa Kaate’ released I saw that too but not in the cinema hall as the movie had a poor audience reception. But the songs of the movie keep replaying in my head.

Here is one to remember Hrishida on his birth anniversary.

Song – I Love You, Bhaanji Thank You (Jhooth Boley Kauwa Kaate) (1998) Singer – Alka Yagnik, Vinod Rathod, Lyrics – Anand Bakshi, MD – Anand Milind

Lyrics

pihu pihu bole papiha
koyal bole kuhu kuhu
[bird sounds]
pihu pihu bole papiha
koyal bole kuhu kuhu
mama I love you
bhaanji thank you
bhaanji I love you
mama thank you

mama kar lo shaadi
le aao meri maami
mujhe kisi ladki ki
karni nahi gulaami
mai bhi to ladki hoon
mat karo meri badnaami
ladki nahi tu meri bhaanji
meri jaan hai tu..uu
mama I love you
bhaanji thank you
bhaanji I love you
mama thank you

bolo mamma sa re ga ma
main kyon bolu sa re ga ma
topi kurta aur pyjama
maami ke bin kya hai mama
maami ke bin kya hai mama
chup kar mat kar meri bhaanji
beech sadak tu hungama
hat ched na mujhko tu..uu
mamma I love you
bhaanji thank you
bhaanji I love you
mama thank you

mama sabki jodiyaan
tu kaise akela rah gaya
bhaanji main aage nikal gaya
peeche wo mela rah gaya
pandrah bees baras wapas peeche tu mud ja
ho mama seeti baja
meri maami ko bula
ho seeti bajaana tujhe sikhaaya kisne ye batla
ho bhaanji seeti baja
mujhe us ladke se mila
koi kaam ka ladka hai ya
hai shehari babu
he mama I love you
bhaanji thank you
bhaanji I love you
mama thank you
mama I love you
bhaanji thank you
bhaanji I love you
mama thank you

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

पीहू पीहू बोले पपीहा
कोयल बे कुहु कुहु

[पक्षी के स्वर]

पीहू पीहू बोले पपीहा
कोयल बे कुहु कुहु
मामा आई लव यू
भांजी थैंक यू
भांजी आई लव यू
मामा थैंक यू

मामा कर लो शादी
ले आओ मेरी मामी
मुझे किसी लड़की की
करनी नहीं गुलामी
मैं भी तो लड़की हूँ
मत करो मेरी बदनामी
लड़की नहीं तू मेरी भांजी
मेरी जान हैं तू॰॰ऊ
मामा आई लव यू
भांजी थैंक यू
भांजी आई लव यू
मामा थैंक यू

बोलो मामा सा रे गा मा
मैं क्यों बोलूँ सा रे गा मा
टोपी कुर्ता और पाजामा
मामी के बिन क्या है मामा
मामी के बिन क्या है मामा
चुप कर मत कर मेरी भांजी
बीच सड़क तू हँगामा
हट छेड़ ना मुझको तू॰॰ऊ

मामा सबकी जोड़ियाँ
तू कैसे अकेला रह गया
भांजी मैं आगे निकाल गया
पीछे वो मेला रह गया
पंद्रह बीस बरस वापस पीछे तू मुड़ जा
हो मामा सीटी बजा
मेरी मामी को बुला
हो सीटी बजाना तुझे सिखाया किसने ये बतला
हो भांजी सीटी बजा
मुझे उस लड़के से मिला
कोई काम का लड़का है या
है शहरी बाबू
हे मामा आई लव यू
भांजी थैंक यू
भांजी आई लव यू
मामा थैंक यू
मामा आई लव यू
भांजी थैंक यू
भांजी आई लव यू
मामा थैंक यू


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 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 : 3720 Post No. : 14655

My affair with Tanuja (one of the many that I had during my school years) started when I first saw her in a film on Doordarshan. If I remember correctly, it was ‘Bahaaren Phir Bhi Aayengi’ from 1966. The song was “Aapke Haseen Rukh . . .”. The way this song is filmed, Tanuja looks such a pretty enchanting young lady, as the camera pans in on her with sunlight behind, the rays of the sun diffracting from her open tresses. At that time, I did not even know her name. Just that face, and the vision of sunlight reflecting from her hair, and I lost my heart to her.

Next meeting with her was probably ‘Jewel Thief’ (1967). Being a supporting role, she was on the screen much lesser than the leading lady. And I still did not know her name – I had not yet learnt to remember the names in the credits at the beginning of the film and then mapping them to the actual people who appeared on the screen.

The encounters were infrequent; but the enchantment would continue for some more time, occasionally reinforced by chance photos in Filmfare or Madhuri magazines, and songs in Chitrahaar. It would be much, much later that I would pick up the earlier threads with films like ‘Hamaari Yaad Aayegi’ (1961), ‘Mem Didi’ (1961), ‘Benazir’ (1964) and ‘Nai Umar Ki Nai Fasal’ (1965), ‘Anubhav’ (1971), ‘Haathi Mere Saathi’ (1971), ‘Door Ka Raahi’ (1971) and ‘Do Chor’ (1972). In the contemporary mode, I met her again in ‘Imtihaan’ (1972) and ‘Hamraahi’ (1974). And fell in love all over again with “O Mere Dil Ke Chain. . .” – ‘Mere Jeevan Saathi’ (1972); while still struggling to get into my teens. 🙂

Tanuja – the naughty, sometimes ferocious, playful, mischievous – an incisive smile and a twinkling gleam in the eyes. The best image in the mind is when she makes changes to her household in ‘Anubhav’, and Sanjeev Kumar comes home from work, and she opens the door, grabs him by his necktie and pulls him behind her into the house. Or her first encounter with Vinod Khanna in ‘Imtihan’ and she drenches him by mistake, with the garden hose. Many such images overflow in the mind – including the startling somewhat senior role of Padmini Kolhapure’s elder sister in law in ‘Prem Rog’ (1982). That was sure a let down to the discerning teen-end mind, who believed that Tanuja could never, would never grow up from her impish presence. A teen-age heart shattered, and a puppy love story spun off into oblivion. 😦  🙂

Tanuja – the second daughter of Shobhna Samarth, and younger sister of Nutan, was born in Bombay on 23rd Sep, 1943. Into the films as a child artist by 1950, she made her maiden appearance as Nutan’s younger sister on screen in ‘Hamari Beti’ (1950). She continued to appear in films as a child artist. Her first senior romantic role was in 1961 – Kedar Sharma’s film ‘Hamari Yaad Aayegi’. And then a progressive career that continues to be active till the present time. She is 75 years (as of yesterday).

A grand happy birthday to Tanuja, as I remember my puppy crush on her with the lines I used to hum for her – “Yaari Ho Gai Yaar Se Lak Tunu Tunu”. 😀

You wouldn’t believe it, but I was totally unaware till the time yesterday as I started checking out the available material on her life and career, that she is Kajol’s mother. You can call me anything, but that is the fact that is. 😀

In my opinion, the film ‘Gustaakhi Maaf’ (1969) is one of the best comedies of Hindi screen. I saw this film for the first time on Doordarshan (what else), sometimes in second half of 1970s. Tanuja in a double role, paired opposite to Sanjeev Kumar and Sujit Kumar, playing two artist brothers in the film, who own a photo studio shop.

The film’s twin role is Tanuja’s handiwork. Twin sisters separated at childbirth. One remains in the town, and the second one is taken away to another destination. Fate would have it, that after twenty years, the sister living away, returns to visit this town. In the town, the other sister is already quite fitfully romantically involved with Sujit Kumar, the elder of the two brothers. The appearance of the twin sister of course creates numerous hilarious problems, but the high point comes when the out of town sister falls for Sanjeev Kumar, the younger brother. These scenes are some of the best in the film – Tanuja is trying to woo Sanjeev Kumar out of genuine interest, and Sanjeev is horrified and appalled that his future sister-in-law, and the bride to be of his elder brother, is playing romantic hooky with him. With nobody the wiser, the situation creates confusions galore, as all well wishers get together and carry off the in-town sister to a mental asylum in a straight jacket, believing whole heartedly that the young lady is struck with the split personality syndrome. And when the senior doctor at the asylum turns out to be V Gopal, one can imagine what twists and turns the situations will take. By a directorial intervention, the out of town sister also appears at the asylum – she is in search of someone else. With both the twins now present in the hospital, and everyone still unaware of what the crux of the problem is, it does carry all the ingredients to carry the situation towards a hilarious climax extremum. Happy ending of course, all sorted out and the two brothers get twin sister wives.

The song presented with this post is from the passage that the out of town sister is trying to woo Sanjeev Kumar, who is completely convinced that his future sister in law is making an ‘illegal‘ pass at him. The lady wants a portrait to be done in a scenic setting. Convinced that his future sis in law has lost it, Sanjeev tries to humour her by going along with the charade. But once reaching the scenic spot, when the lady breaks into a song of longing, that is too much for Sanjeev, and he tries to wriggle his way out of the situation.

Seriously, if you have not yet watched this film, then add it your list of things to do before departing from the planet. Till about a couple of years ago, this film was extremely unavailable, and a rare possession. But today, it is available on YT, so the rarity angle is gone. However, the humorous confusions angle is still the prime draw for this film.

Song is written by Naqsh Lyallpuri, with music by Sapan Jagmohan. Singing voice is that of Asha Bhosle. And the fun part is watching Tanuja’s antics and expressions as she, armed with this song, tries to take on the fortifications of a bewildered young man. A real treat to watch.

Many happy returns of the day, Tanuja ji – may the laughter never cease.

Song – Sajna Mera Jiyara Jaley (Gustakhi Maaf) (1969) Singer – Asha Bhosle, Lyrics – Naqsh Lyallpuri, MD – Sapan Jagmohan

Lyrics

hmmmm mmmmm
mmmmmmm mmmmmmmm
la ra la ra laa
la ra laa..aa..aa

sajna mera
haaye
jiyara jaley
aa jhoom ke
badra taley
ik baar tu
lag ja galey
sajna mera
jiyara jaley
aa jhoom ke
badra taley
ik baar tu
lag ja galey
sajna mera
jiyara jaley. . .

chanchal pawan zulfen
bikhra gayi
daali mere tan ki
mehka gayi
mann mein agan
bhadka gayi
sajna mera
jiyara jaley
aa jhoom ke
badra taley
ik baar tu
lag ja galey
sajna mera
jiyara jaley. . .

aankhen kahen pyaara. . .
sapna hai tu
dil ye kahe mera. . .
apna hai tu
apna hai ya sapna hai tu
sajna mera
haan haan sach
jiyara jaley
aa jhoom ke
badra taley
ik baar tu
lag ja galey
sajna mera
jiyara jaley
aa jhoom ke
badra taley
ik baar tu
lag ja galey
sajna mera
jiyara jaley. . .

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

हम्मममम म्ममममम
म्ममममममम म्ममममममम
ला रा ला रा ला॰॰॰
ला रा ला॰॰आ॰॰आ

सजना मेरा
हाय
जियरा जले
आ झूम के
बदरा तले
इक बार तू
लग जा गले
सजना मेरा
जियरा जले
आ झूम के
बदरा तले
इक बार तू
लग जा गले
सजना मेरा
जियरा जले॰ ॰ ॰

चंचल पावन ज़ुल्फें
बिखरा गई
डाली मेरे तन की
महका गई
मन में अगन
भड़का गई
सजना मेरा
जियरा जले
आ झूम के
बदरा तले
इक बार तू
लग जा गले
सजना मेरा
जियरा जले॰ ॰ ॰

आँखें कहें प्यारा॰ ॰ ॰
सपना है तू
दिल ये कहे मेरा॰ ॰ ॰
अपना है तू
अपना है या सपना है तू
सजना मेरा
जियरा जले
आ झूम के
बदरा तले
इक बार तू
लग जा गले
सजना मेरा
जियरा जले
आ झूम के
बदरा तले
इक बार तू
लग जा गले
सजना मेरा
जियरा जले॰ ॰ ॰


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 15000 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15035

Number of movies covered in the blog

Movies with all their songs covered =1171
Total Number of movies covered =4122

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