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

Archive for the ‘Background song’ Category


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

Blog Day :

4432 Post No. : 15866 Movie Count :

4365

#The Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 101 # Remembering Salil Chowdhury #
————————————————————————————

Today 5th September 2020 is the twenty-fifth (19 November 1922 – 5 September 1995) ‘Remembrance anniversary’ of yesteryears’ great music director and also lyricist, writer and poet Salil Chowdhary.

Salil Chowdhury has given us some of the unforgettable and even immortal songs in movies like ‘Do Bigha Zameen-1953’, ‘Naukri-1954’, ‘Jaagte Raho-1956’, ‘Madhumati-1958’, ‘Parakh-1960’, ‘Chhayaa-1961’, ‘Anand-1971’, ‘Mere Apne-1971’, ‘Rajnigandha-1974’ and many many others. There is a long list of his achievements and recognitions which very well deserved a detailed post. However today we will discuss a lesser known movie where music is composed by him.

Today’s song is from a movie ‘Sabse Badaa Sukh-1972’.

I came across this song almost seven years back and it is lying pending since then. That time the very less information was available with me about his movie. After that I got information from HFGK Vol-V (1971-1980). The movie had also become available online for some time before becoming unavailable again.

Here are the details about his movie.

‘Sabse Badaa Sukh-1972’ was directed by Hrishikesh Mukherjee for ‘Lakshmi Enterprise’ and ‘Hrishikesh Mukherjee Unit’. Saroj Bannerjee, Susheela Kamat, Nitin Mukesh and Shakeel Chandra were assistant directors. The movie was presented by Ashok Hira and Kishore Kanungo

Story and screenplay of this movie was written by Hrishikesh Mukherjee. Nityanand Dutt and D.N. Mukherjee were his associates.

Dialogues for this movie were written by Gulzar. Additional scenes were written by Salil Chowdhary and lyrics were written by Yogesh.

Das Dhaimade was the Editor in chief for this movie whereas Subhash Gupta was the sound editor. Editing was done by Shanker Pradhan, Shreedhar Mishra, Khan Zaman Khan and Anil Pradhan. Biren Tripathy was the Dialogue director of this movie. Anil Ghosh was the associate director and controller of production.

This movie had Vijay Arora, Robi Ghosh, Meeta Faiyyaz, Naarghita, Kumud Damle, Meher Banu, Rajni Bala, Sabeena, Sunita, Tun Tun. Kali Bannerjee, Utpal Dutt, Asrani and Keshto Mukherjee. They were supported by S. N. Banerjee, Raj Verma, Bhola, Noni, Tarun Ghosh, Mukund Babu, Sudha, Sarita Devi, Shreedhar, Jagjit, Meena Rai and others.

Manna Dey, Nitin Mukesh and Naarghita had given their voice to the two songs in this movie. Music for this movie was composed by Salil Chowdhury. Kanu Ghosh and Shashikant assisted him in music.

This movie was passed by Censor Board on 24.11.1972.

Today’s song is a background song played while the titles of the movie are rolling. Earlier video links were available which now seem to have become obsolete and only the audio of this song is available.

This song is sung by Manna Dey. This movie had total two songs and the other song is sung by Nitin Mukesh and Naarghita.

I have not watched this movie so can’t say much about it. However, I would request knowledgeable readers to throw light on this movie and its songs.

Let us now enjoy today’s song. Lyrics are written by Yogesh and music is composed by Salil Chowdhury.

With this song ‘Sabse Badaa Suh-1972’ makes its debut on the blog.

Audio

Song-Chal chal chal re (Sabse Bada Sukh)(1972) Singer-Manna Dey, Lyrics-Yogesh, MD-Salil Chaudhary
All chorus
Male chorus
Female chorus

Lyrics

Chal chal chal re ae ae
Pyaase man mere mujhe
Ab na chhal re ae ae
Khwaabon mein uljhe
tu ye na samjhe
Khwaabon mein uljhe
tu ye na samjhe
Kahaan hai
Kahaan hai
Kahaan hai
Tera sabse bada sukh
Tera sabse bada sukh
Tera sabse bada sukh

Aa aa aa
Aa aa aa

Jag hai bada albela aa
Aa
Lagaa hai yahaan ik mela
Aa
Jag hai bada albela aa
Aa
Lagaa hai yahaan ik mela
Aa
Sambhal sambhal kar yahaan se nikal
Na mailaa ho aanchal al
Chal chal chal re ae
Pyaase man mere mujhe ab na chhal re ae
Khwaabon mein uljhe
tu ye na samjhe
Khwaabon mein uljhe
tu ye na samjhe
Kahaan hai
Kahaan hai
Kahaan hai
Tera sabse bada sukh
Tera sabse bada sukh
Tera sabse bada sukh

Aa
Aa
Aa

Sapnon ke lekar jhule ae
Aa
Kitne yahaan path bhule ae
Aa
Sapnon ke lekar jhule ae
Aa
Kitne yahaan path bhule ae
Aa
Dagar dagar pe hai taashon ka nagar
Thehar na man chanchal al
Chal chal chal re ae ae
Pyaase man mere mujhe
Ab na chhal re ae ae
Khwaabon mein uljhe
tu ye na samjhe
Khwaabon mein uljhe
tu ye na samjhe
Kahaan hai
Kahaan hai
Kahaan hai
Tera sabse bada sukh
Tera sabse bada sukh
Tera sabse bada sukh

———————————————–
Devnagari Script Lyrics (Provided by Avinash Scrapwala)
———————————————–
चल चल चल रे
प्यासे मन मेरे मुझे
अब न छल रे ए
ख़्वाबों में उलझे तू ये न समझे
ख़्वाबों में उलझे तू ये न समझे
कहाँ है
कहाँ है
कहाँ है
तेरा सबसे बड़ा सुख
तेरा सबसे बड़ा सुख
तेरा सबसे बड़ा सुख


जग है बड़ा अलबेला आ

लगा है यहाँ इक मेला

जग है बड़ा अलबेला आ

लगा है यहाँ इक मेला

संभल संभल कर यहाँ से निकल
न मैला हो आँचल अल
चल चल चल रे
प्यासे मन मेरे मुझे
अब न छल रे ए
ख़्वाबों में उलझे तू ये न समझे
ख़्वाबों में उलझे तू ये न समझे
कहाँ है
कहाँ है
कहाँ है
तेरा सबसे बड़ा सुख
तेरा सबसे बड़ा सुख
तेरा सबसे बड़ा सुख



सपनों के लेकर झूले ए

कितने यहाँ पथ भूले ए

सपनों के लेकर झूले ए

कितने यहाँ पथ भूले ए

डगर डगर पे है ताशों का नगर
ठहर न मन चंचल अल
चल चल चल रे
प्यासे मन मेरे मुझे
अब न छल रे ए
ख़्वाबों में उलझे तू ये न समझे
ख़्वाबों में उलझे तू ये न समझे
कहाँ है
कहाँ है
कहाँ है
तेरा सबसे बड़ा सुख
तेरा सबसे बड़ा सुख
तेरा सबसे बड़ा सुख


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

Blog Day :

4423 Post No. : 15840

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Blog 10-Year Challenge (2010-2020) – Song No.61
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Here, we move on to the second and last movie eligible today for the ‘Blog Ten-Year Challenge’.
The movie is ‘Sahaaraa-1958’.

As discussed in earlier post today the other movies represented today ten years back were as under;

Song Movie title-Year Remarks
Ritu aaye ritu jaaye duniyaa rang badalti hai Sahaaraa-1958 07 songs posted
Dil se dil takraaye Love Marriage-1959 All songs covered
Matwaali naar thumak thumak chali jaaye Ek Phool Chaar Kaante-1960 All songs covered
Phir ek baar kaho Maayaa-1961 All songs covered
Dekhi anaadi teri preet Biraadari-1966 All songs covered
Kaun sunegaa kisko sunaayen Sautan Ki Beti-1989 01 song posted

“Sahaara”(1958) had ten songs in it, including one three version song. Two parts of that three version song is covered in the blog in this post. One of its versions could not be covered because that version does not seem to be available. Counting the two versions as two separate songs (as is the case in HFGK), the seven posts in the blog have covered eight songs from the movie so far. The fact that this is a three version song was discovered by me while going through the HFGK entries for this movie. The entries of this song has been updated accordingly, by adding part 3 of this song there. Part 2 ‘Aaghaz muhabbat ki baaten kya faydaa ab dohraane se’ appearently is not available as of now.

Here are the details of the eight songs from “Sahaara”(1958) discussed so far in the blog:-

Song Posted On Remarks
So jaa dukhiyaare 24.06.2009
Ritu aaye ritu jaaye duniyaa rang badalti hai 27.08.2010
Billi bajaaye baajaa 26.11.2010
Andhhon se dayaa karnaa daataa 12.12.2010
Mujhe tarke taalluk ke liye samjhaaya jaata hai 12.12.2011 Three part song, one part unavailable
Chham chham chham chham chale wo maa 16.06.2015
Ban ke suhaagan rahi abhaagan 18.12.2016

We can see that the movie made its debut on the blog on 24.06.2009 i.e. more than eleven years ago.

Well, when I noticed that the music director of this movie is Hemant Kumar and moreover lyrics were written by Bharat Vyas I was more than happy to take a song for presentation and do not want to miss this opportunity (because of special reasons 😊 which is the matter of another post, so keep visiting the blog 😊).

“Sahaaraa-1958’ was directed by Lekhraj Bhakri for ‘Tasviristaan, Bombay’. It was produced by Kuldeep Sehgal. The movie had Meena Kumari, M. Rajan, Daisi Irani, Manoj Kumar, Geeta Sinha, Kuldeep Kaur, Kanhaiyalal, Badri Prasad Leela Mishra, Sundar, Niranjan Sharma, Sagar, Rinku, Shakeel Nomani, Khanna, Black & White, Kardar, Ameer Banu, Chandabai, Sadhna, Maya Das, Kanchanmala and others.The movie was passed by Censor Board on 08.08.1958.

Music of this movie was composed by Hemant Kumar. And lyrics for all the ten songs were written by Bharat Vyas.

The song under discussion is sung by Protima Bannerjee and composed by Hemant Kumar.

Lyrics of this song reminds me of another such song from the movie ‘Jai Santoshi Maa-1975’ – ‘jo dukh se ghabra jaaye wo nahin hind ki naari’. I think we have many songs in Hindi movies falling in this category where the ‘Bhartiya Naari’ is eulogized for her strength and sacrifices for the sake of her family. Today’s song happens in this situation in the movie.

The song is a background song where Meena Kumari can be seen travelling in a ‘bullock-cart’ returning from her ‘In-Laws house’, where her father in law requested her to suffer for the mistake of his own daughter to save his ‘prestige’ in the society …

I have not watched the full movie so can’t say much about it and its other songs …

If we can locate the missing part of the three part song then this song would see the movie getting YIPPEED. But seeing that one part of the song remains uncovered, this movie too remains technically unYIPPEED.


Song-Har dukhda sahnewaali munh se na kuchh kahnewaali(Sahaara)(1958) Singers-Hemant Kumar, Protima Bannerjee, Lyrics-Bharat Vyas, MD-Hemant Kumar
Both

Lyrics

har dukhdaa sahnewaali
munh se naa kuchh kehnewaali
har dukhdaa sahnewaali
munh se na kuchh kehnewaali
tyaag aur sewa mein
jo duniyaa se nyaari hai
haan aa aa aa
tyaag aur sewa mein
jo duniyaa se nyaari hai

dharti si dheeraj waali
ye bharat ki naari hai
bharat ki naari hai
bharat ki naari hai

ghar ki laaj ko dharm jo samjhe
karam kare sukhkaari ee
angaaron mein kood pade jo
samajh use phulwaari ee
ghar ki laaj ko dharm jo samjhe
karam kare sukhkaari ee
angaaron mein kood pade jo
samajh usey phulwaari ee

ho o o o aa aa
har aansoo peenewaali
honthon ko seenewaali

mar mar kar jeenewaali
aisi sannaari hai
haan aa aa aa
mar mar kar jeenewaali
aisi sannaari hai

dharti si dheeraj waali
ye bharat ki naari hai
bharat ki naari hai
bharat ki naari hai

gangaa si nirmal hai jiski
jamuna jaisi kaayaa aa
aisi devi apne sar par
le le dosh paraayaa aa
gangaa si nirmal hai jiski
jamuna jaisi kaayaa aa
aisi devi apne sar par
le le dosh paraayaa aa

ho o o o o aa
qurbaani karnewaali
hans hans kar marnewaali

jiske balidaanon ke aagey
duniyaa haari hai
haan aa aa aa
jiske balidaanon ke aagey
duniyaa haari hai ae

dharti si dheeraj waali
ye bharat ki naari hai
bharat ki naari hai
bharat ki naari hai
har dukhdaa sahnewaali
munh se naa kuchh kehnewaali
tyaag aur sewa mein
jo duniyaa se nyaari hai
aa aa aa aa
tyaag aur sewa mein
jo duniyaa se nyaari hai

dharti si dheeraj waali
ye bharat ki naari hai
bharat ki naari hai
bharat ki naari hai

—————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————-
हर दुखड़ा सहनेवाली
मुंह से ना कुछ कहनेवाली
हर दुखड़ा सहनेवाली
मुंह से ना कुछ कहनेवाली
त्याग और सेवा में
जो दुनिया से न्यारी है
हाँ आ आ आ
त्याग और सेवा में
जो दुनिया से न्यारी है

धरती सी धीरज वाली
ये भारत की नारी है
भारत की नारी है
भारत की नारी है

घर की लाज को धर्म जो समझे
करम करे सुखकारी ई
अंगारों में कूद पड़े जो
समझ उसे फूलवारी ई
घर की लाज को धर्म जो समझे
करम करे सुखकारी ई
अंगारों में कूद पड़े जो
समझ उसे फूलवारी ई

हो ओ ओ ओ आ आ
हर आँसू पीनेवाली
होंठों को सीनेवाली

मर मर कर जीनेवाली
ऐसी सन्नारी है
हाँ आ आ आ
मर मर कर जीनेवाली
ऐसी सन्नारी है

धरती सी धीरज वाली
ये भारत की नारी है
भारत की नारी है
भारत की नारी है

गंगा सी निर्मल है जिसकी
जमुना जैसी काया आ
ऐसी देवी अपने सर पर
ले ले दोष पराया आ
गंगा सी निर्मल है जिसकी
जमुना जैसी काया आ
ऐसी देवी अपने सर पर
ले ले दोष पराया आ

हो ओ ओ ओ ओ आ
कुर्बानी करनेवाली
हंस हंस कर मरनेवाली

जिसके बलिदानों के आगे
दुनिया हारी है
हाँ आ आ आ
जिसके बलिदानों के आगे
दुनिया हारी है

धरती सी धीरज वाली
ये भारत की नारी है
भारत की नारी है
भारत की नारी है
हर दुखड़ा सहनेवाली
मुंह से ना कुछ कहनेवाली
त्याग और सेवा में
जो दुनिया से न्यारी है
आ आ आ आ
त्याग और सेवा में
जो दुनिया से न्यारी है

धरती सी धीरज वाली
ये भारत की नारी है
भारत की नारी है
भारत की नारी है


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 :

4419 Post No. : 15827

“Raagini”(1958) was produced by Ashok Kumar and Ganesh and directed by Rakhan for Ashok Pictures, Bombay. The movie had Ashok Kumar, Kishore Kumar, Padmini, Jabeen Jaleel, Balam, Sundar, Nazeer Hussain, Achala Sachdev, Amir Banu, Protima Devi, Rajendra, Master Vinod (Mehra), Baby Leela, Navami, Ifthikhar, Jamal, Mirajkar, Kathana, Bhardwaj, Narbada Shankar, Master Raja etc in it.

This “social” movie was quite an entertaining movie, as can be judged from the songs of the movie. This movie had as many as twelve songs in it. Eleven songs have been covered so far. Here are the details of these songs :-

Blog Post number Song Posted on Singers Remarks
341 Main Bangali chhokra Kishore Kumar, Asha Bhonsle 4 December 2008
2804 Chhotaa sa baalmaa Asha Bhonsle 17 August 2010
5442 Man mora baawra Rafi 12 February 2012 Rafi giving playback for Kishore Kumar
5893 Mujhko baar baar yaad na aa bewafaa Kishore Kumar, Asha Bhonsle 29 April 2012
6326 Hamne raat guzaari taare gin gin ke Asha Bhonsle 29 July 2012
6385 Piya main hoon patang tu dor Asha Bhonsle, Kishore Kumar 6 August 2012
6424 Mud mud hamko dekhta Asha Bhonsle, Kishore Kumar 12 August 2012
11059 Is duniya se niraala hoon main Geeta Dutt, Asha Bhonsle 14 April 2015 Picturised on child artists Vinod Mehra and Jabeen Jaleel
14842 Dil todne waale bata ke jaa Asha Bhonsle 16 Jan 2019
15383 Chhed diye mere dil ke taar kyun Ustaad Amaanat Ali Khan, Ustaad Fateh Ali Khan 16 Jan 2020 Kishore Kumar and Anand Pal lip syncing in the voices of classical singers
15813 Tujhe dekh ke machal gaya aaj mera mann Asha Bhonsle 16 Jan 2020

The movie had Kishore Kumar and one would expect him to sing for himself. He did that in four songs. In addition, he lip synced a song in Rafi’s voice.

But that is not all. There is another song in the movie which is sung by doyens of Hindustani classical music namely Ustaad Amaanat Ali Khan and Ustaad Fateh Ali Khan. This song is lip synced on screen by Kishore Kumar and Anand Pal.

Finding classically trained Naushad using the voices of Ustaads of Hindustani classical music is expected, but O P Nayyar, who was supposedly untrained in Hindustani classical music actually got Ustaads to sing for his movie is something unexpected.

Naushad of course, got Ustaad Amir Khan to sing in “Baiju Baawra”(1952), as also Pt D V Paluskar. In “Mughal e Azam”(1960) he got Ustaad Bade Ghulam Ali Khan. We had also witnesed Pt Bhimsen Joshi singing in “Basant Bahaar”(1956).

Come to think of it, the title “Raagini” itself is a derivative of “Raag”. The movie apparently had Kishore Kumar playing a musician.

The movie begins with a classical song sung by Ustaad amir Khan while titles roll in. and that “movie opening” song is the only song from the movie which is not yet covered.

So, here is that twelfth and final song from “Raagini”(1958) to appear in the blog. The song is sung by Ustaad Amir Khan. Lyricist is not known. O P Nayyar is of course credited as the music director.

A comment in youtube suggests that this song is in Raag Lalit, a morning raag.

I have a feeling that “Raagini”(1958) for O P Nayyar must haave been a labour of love, that gave been great creative satisfaction.

With this song, all the songs of “Raagini”(1958) are covered in the blog and the movie gets YIPPEED in the blog.


Song-Jogiya mere ghar aaye (Raagini)(1957) Singer-Ustaad Amir Khan, MD-O P Nayyar

Lyrics

aa aa aa
jogiya mere ghar aaaaye
jogiya mere ghar aaaaye
ghar ghar alakh jagaaaye
jogiya mere ghar aaaaye
kaanan kundal gale bij shail
kanan kundal gale bij shail
ang bhabhoot ramaaye ae
jogiyaaaa
mere
ghar aaaye
jogiya mere ghar aaaaye
jogee ee ee ee ya mere ae
ghar
jogiya mere ghar aaaye ae
jogiya aa aa aa
mere ghar aaaaaaye
jogiya mere ghar
aa aa aa aa aa aa
aa aa aa aa aa
jogiya mere ghar aaaaaye


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 :

4414 Post No. : 15815 Movie Count :

4359

Hullo Atuldom

Thank you Nahmji for reminding me of this song. How? Well in your previous post on Nusrat Fateh Ali Khan you mentioned his nephew. And immediately I thought of today’s song which is written by the poet, lyricist, author screenwriter and director who turns a year younger today.

This man has worked with all the legends of the Hindi film industry beginning (as lyricist) with Sachin Dev Burman in 1963 in a movie directed by Bimal Roy. His last released movie is “The Sky is Pink” which released in September 2019 and was directed by Shonali Bose (a new director who has been making films since 2005) and had music by Pritam Chakravarty. In the interim (1963 to 2019) he has written songs for movies directed by Hrishikesh Mukherjee, Asit Sen etc of the earlier brigade and Shaad Ali, Mani Ratnam, Danny Boyle etc from the newer set of directors. He has of course written songs in the movies he himself directed, the last of which came in 1999 – Hu Tu Tu. This Sahitya Akademi, Dadasaheb Phalke, Padma Bhushan award winner has won several National Film awards, 21 Filmfare awards and also an Academy Award (popular as Oscars) plus a Grammy. Such a talent that even International juries cannot ignore right?

So it must already be clear that I am here wishing Shri. Sampooran Singh Kalra professionally called Gulzar on his 86th birthday. There is enough material in various posts about this man’s biography so let us go directly to the song which has a play of words that is typical of Gulzar saab.

In this song he has used words like “Piri” which I am sure that common people like me don’t know the meaning of. I would love it if someone can give synonyms.
This song is from “Ishqiya” which released in 2010. (10 years back). It was directed by Abhishek Chaubey, produced by Raman Maroo and Vishal Bharadwaj and has music by Vishal Bharadwaj. It had a highly talented star cast headed by stalwart Naseeruddin Shah, Vidya Balan, Arshad Warsi and a whole lot of talent in supporting cast too. It was written by Gulzar too. The story was placed in Gorakhpur. It had to do with the escapades of two criminals who botch up a job and run away to take refuge in the home of one Vidyadhar Verma (Adil Hussain- remember seeing him as Sridevi’s husband in “English Vinglish”) and end up meeting Verma’s wife Krishna (Vidya Balan) who gives them shelter to achieve her own secret goal.

Baaki ki kahaani parde pe (see the movie to enjoy this ‘black comedy’). After all if this 86 year old can say “dil toh bachcha hai ji” even we, his fans, should have bachhpana in our “dil”
The song is sung by Raahat Fateh Ali Khan.

Happy Birthday once again Kalraji a.k.a Gulzar saab.


Song-Dil to bachcha hai jee (Ishqiya)(2010) Singer-Rahat Fateh Ali Khan, Lyrics-Gulzar, MD-Vishal Bhardwaj

Lyrics

aisi uljhi nazar unse hat’ti nahin
daant se reshmi dor kat’ti nahin
umr kabki baras ke sufed ho gayi
kaari badri jawaani ki chhat’ti nahin
wallah yeh dhadkan
badhne lagi hai
chehre ki rangat
udne lagi hai
darr lagta hai tanha sone mein jee
dil toh bachcha hai jee
dil toh bachcha hai jee
thoda kachcha hai jee
aaaaa
dil toh bachcha hai jee
aisi uljhi nazar unse hat’ti nahin
daantse reshmi dor kat’ti nahin
umr kab ki baras ke sufed ho gayi
kaari badri jawaani ki chhant’ti nahin
raaa ra aaa aaa aa
raaa ra aaa aaa aa
raaa ra aaa aaa aa
raaa
raaa ra aaa aaa aa
raaa ra aaa aaa aa
raaa ra aaa aaa aa
raaa

kisko pata thha pehlu mein rakkha
dil aisa paaji bhi hoga
hum toh hamesha samajhte thhe koi
hum jaisa haaji hi hoga
haaye zor karein kitna shor karein
bewajah baaton pe ainvayi gaur karen
dil sa koi kameena aa nahin
koi toh roke
koi toh toke
iss umr mein ab khaaoge dhokhe
darr lagta hai ishq karne mein jee
dil toh bachcha hai jee,
dil toh bachcha hai jee
thhoda kachcha hai jee,
aaaa
dil toh bachcha hai jee

aisi udaasi baithhi hai dil pe
hansne se ghabra rahe hai
saari jawaani katra ke kaati
piri mein takra gaye hai
dil dhadkta hai toh
aise lagta hai woh
aa raha hai yahin dekhta hi raho
prem ki maare kataar re ae
tauba yeh lamhe
kat’te nahin kyun
aankhon se meri
hat’te nahin kyun
darr lagta hai khud se kehne mein bhi
dil toh bachcha hai jee,
dil toh bachcha hai jee
thhoda kachcha hai jee,
aaaaa
dil to bachcha hai jee


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 :

4388 Post No. : 15750 Movie Count :

4342

Hindi Songs in Bangla Films: 35

‘Gumnaami’ (2019) is a Bangla film with fairly good parts of dialogues in Hindi and English. The film is produced under the banner of Shri Venkatesh Films and is directed by Srijit Mukherjee. The main star cast consists of Prosenjit Chatterjee (as Netaji Subhash Chandra Bose and later as Gumnaami Baba), Anirban Bhattacharya (as journalist, Chandrachur Dhar), Tanushri Chakraborty (as Ronita Dhar), Surendra Rajan (as Mahatma Gandhi), Sanjay Gurubuxani (as Jawaharlal Nehru) etc. The film was released on October 2, 2019. Being a recent release, as of now, the movie is not available on video sharing platforms.

I watched the film on one of the OTT platforms. The film is not a biopic on Netaji Subhash Chandra Bose. It is based on later events, relating to the investigations by Mukherjee Commission, which was set up by Government of India in 1999 to probe the death of Netaji Subhash Chandra Bose. The Commission was assigned the task to tackle the three broad theories surrounding the alleged mysteries and unanswered questions related to Netaji’s death. First, Netaji died in a plane crash while taking off from an airport in Taiwan. Second, he staged a fake plane crash to escape to Russia where he died in prison. Lastly, Netaji staged a plane crash, escaped to Russia and returned to India as a sanyasi (monk) known as ‘Bhagwan ji’ or ‘Gumnaami Baba’ who died in September 1985 in Faizabad.

Film starts with Mahatma Gandhi and Jawaharlal Nehru advising Netaji Subhash Chandra Bose, who was the then Congress President, that he should support the British Government during World War II. They also advocate non-violent methods for attaining India’s freedom from the British Rule. Netaji disagrees by saying that freedom is to be snatched from Britishers rather than demanding from them. Due to his differences with Congress High Command, he resigns from the Indian National Congress. He goes abroad to make allies with Japan and Germany who are at war with Great Britain and the Allied forces. He sets up Indian National Army with the support of Japan.

After the surrender of Japan to allied forces in Burma, Netaji shifts his forces to Singapore and then to Bangkok. He advises his forces to surrender while he with Rahman will go to Tokyo for onward escape to Soviet Union which, according to his view, would become anti-British after the war. He can then fight for India’s independence from there. While travelling to Soviet Union, Netaji’s plane catches fire and he dies after a few hours of the accident due to burn injury on August 18, 1945. He is cremated and his ashes are taken to Tokyo.

There have been many commissions and reports to inquire about the circumstances of Netaji’s death but there still remains uncertainty and the doubts have been raised in various quarters about the death of Netaji from time to time. In 1999, Government of India decides to set up the Mukherjee Commission go into the mysteries behind Netaji’s death afresh.

In 2003, a journalist, Chandrachur Dhar is given an independent assignment by his employer, Indiatimes to make a research-based study on the mystery of Netaji’s death. Chandrachur believes that all the myths surrounding Netaji’s death are hoaxes. Nevertheless, he takes up the assignment and spends much of his time in gathering evidences. During this period, his entire thinking about Netaji’s life changes. The study and research on the Netaji’s life becomes his obsession to such an extent that he neglects his personal life. His wife, Ronita feels that she is living with a husband who is unstable, crazy and unpredictable. In a fit of anger, she ransacks all the papers and documents which Chandrachur had collected in the course of his reasearch. She files for a divorce and gets it. In frustration, Chandrachur resigns his job. Instead, he forms a passionate group of his friends called ‘Mission Netaji’ to study and research to solve the mystery of Netaji’s death.

Based on extensive studies and research, Chandrachur makes presentations before the Mukherjee Commission with evidences to prove that Netaji did not die in plane crash but escaped to Russia by staging a fake plane crash. From Russia, he came to India via Tibet as a wandering monk and stayed in Lucknow. He submits 19 evidences in support of his contention.  In 2005, Mukherjee Commission presented the report to the Government of India. The Report was presented to Lok Sabha and was publicly released.

Chandrachur and his friends of ‘Mission Netaji’ have assembled in his house to read the Commission’s report. Ronita, his ex-wife has come to wish her best to Chandrachur. While Commission has come to the conclusion that Netaji has not died in the plane crash based on the various evidences including the DNA report of his remains which have been kept in Tokyo, which was identified as that of a Japanese soldier. However, due to absence of any concrete evidence, the Commission is unable to come to the conclusion whether Netaji escaped to Russia. Further, the DNA test of Gumnaami Baba did not match with that of Netaji.  The Government of India rejected the report without giving any reasons.

The rejection of the Commission’s report affected Chandrachur so much that he locks himself in a room full of the books, and documents collected over the last 3 years for his ‘Mission Netaji’. He starts burning every documents, files and books connected with his research so much so the entire room engulfs with fire. Ronita calls his friends and gets the door broken to rescue Chandrachur. The film ends with Ronita convincing Chandrachur to keep on fighting for the truth of Netaji’s death. Hence, the fight must go on until an end to the mystery.

Before I started watching this film, I did not have a very high expectation from the film because, there has been many films on the life of Netaji Subhash Chandra Bose. Furthermore, I was one of the believers that Netaji died in the plane crash in August 1945 and the talks thereafter about the mystery of his death were all myths and conjectures. But once I completed watching the film in one sitting, I must admit that the director, Srijit Mukherjee has managed to present the film in a way which made me to rethink about the controversies surrounding Netaji’s death. This film is a class by itself putting it on a different pedestal.

Prosenjit Chatterjee, in the role of Netaji as well as Gumnaami Baba has given an excellent performance which was a pleasant surprise for me as most of his roles in Bangla films are that of a romantic hero. His performance as a Gumnaami Baba looks so real that for once, I started feeling that Gumnaami Baba could really be Netaji in disguise. As Netaji, almost all of his dialogues are in Hindi and English. It is only when he turns to act as Gumnaami Baba, his dialogues are in Bangla.

Another roll of honor in the film goes to Anirban Bhattacharya, who in the role of Chandrachur Dhar, has given the superb performance as a journalist. His submissions to the Mukherjee Commission and the crazy reactions to the news that the Commission’s reports have been rejected by the Government are his top-most performances in the film. In fact, he has an equal presence in the film if not more than Prosenjit Chatterjee.

The film is a mix of black & white and colour. The scenes involving Netaji in pre-1945 period are in black & white while scenes representing Gumnaami Baba, Chandrachur Dhar, the journalist and the proceedings of the Mukherjee Commission are in colour. The film has dialogues in Bangla, Hindi, English and few dialogues in Japanese. These combinations in the film give a feel of a period atmosphere as well as the natural proceedings of the story in the film.

While on Netaji Subhash Chandra Bose, it is incidental and interesting to note that today, July 23rd,is the Remembrance Day of one of Netaji’s closest aides who led  INA’s Women Wing named the Rani Jhansi Regiment. She is Captain (Dr) Lakshmi Sehgal (24/20/1914 – 23/07/2012) of INA born as Lakshmi Swaminathan. She had barely completed her MBBS and arrived in Singapore, where she met with Netaji and got immersed in the Azad Hind movement.

During the surrender of Singapore by British to the Japanese, Dr Lakshmi helped heal the wounded soldiers of prisoners of war, many of whom were Indians. They desired to form the Azad Hind Fauj. After the arrival of Netaji in Singapore in July 1943, Dr. Lakshmi met Netaji who was keen to take women into INA. Thus she became Captain Lakshmi Swaminathan of Rani Jhansi Regiment of INA.

In Burma operations, INA joined Japanese in December 1944 but by March 1945, Japanese were on the losing ground. INA decided to beat a retreat from Burma. While crossing into Imphal, Captain Lakshmi was arrested in Burma by the British Forces and held in prison in Burma until March 1946 when she was sent to Delhi for trials as a war criminal. However, on the eve of India getting independence,  Captain Sehgal and many of the INA facing trials were set free.

In March 1947, Captain Lakshmi married Prem Kumar Sehgal and shifted to Kanpur. She continued her medical practice in Kanpur. She became a Rajya Sabha member in 1971. During the Bangla Desh crisis in 1971, she set up relief and medical camps for refugees from East Pakistan in Kolkata. During the Bhopal gas tragedy in December 1984, she led a medical team to look after those affected by the gas. She was active as a medical practitioner until the age of 92.

‘Gumnaami’ (2019) has 5 songs of which 3 are in Hindi. All songs have been used in the film as background songs. I am presenting “Shubh Sukh Chain Ki Barkha Barse” rendered by Babul Supriyo and chorus. There is an interesting history behind this song.

After the establishment of the provisional Government in exile of INA in 1943, Netaji decided to have a National Anthem for his Government. He himself selected Gurudev Rabindranath Tagore’s “Jan Gan Man Adhinayak Jai He” and asked Mumtaz Hussain and Colonel Abid Hussain Saffarani of INA to translate it into Hindustani so that it becomes easy to understand the meaning to all. He selected Captain Ram Singh Thakur to composed in the martial music so that the listeners would be awaken. It is significant to note that on the day of India’s independence on August 15, 1947, Jawaharlal Nehru unfurled the Tricolour on the ramparts of the Red Fort after which Captain Ram Singh Thakur of INA conducted the orchestra with his musicians, playing the tune of the National Anthem of INA.

In the film, this song appears towards the end of the film, incorporating the flashback of what has happened in the life of Netaji from 1940-45 and the efforts made by the journalist to unlock the mystery of Netaji’s death. The credit title of the film gives credit to Mumtaz Hussain and Colonel Abid Hussain Saffarani as lyricists and the music to Captain Ram Singh Thakur. However, I feel that Rabindranath Tagore should also get the credit since the tune was originally composed by him for “Jan Gan Man Adhinayak Jai He”. The audio clip of the song has one extra stanza.

It is the song which reminds us with moist eyes, the fond memory of Netaji of his sacrifice for the freedom of the motherland.

Video

Audio

Song – Shubh Sukh Chain Ki Barkha Barse (Gumnaami) (Bangla) (2019) Singer – Babul Supriyo, Lyrics – Mumtaz Hussain, Colonel Abid Hussain Saffarani , MD – Captain Ram Singh Thakur
[Note on MD – The original score of this song is created by Gurudev Rabindranath Tagore, the creator of the “Jan Gan Man. . .” anthem.]
Chorus

Lyrics

shubh sukh chain ki barkha barse
bharat bhaag hai jaaga
punjab, sindh, gujarat, maratha
draavid, utkal, banga
chanchal sagar, vindh, himaalaya
neela yamuna, ganga
tere nit gun gaaye
tujh se jeewan paaye
har tan paaye asha
suraj ban kar jag par chamke
bharat naam subhaaga
jai ho…o
jai ho…o
jai ho…o
jai jai jai jai ho..o
bharat naam subhaaga
 
sab ke dil mein preet basaaye
teri meethi baani
har subey ke rahne waale
har mazhab ke praani
sab bhed aur farak mita ke
sab god mein teri aa ke
goondhe prem ki maala
suraj ban kar jag par chamke
bharat naam subhaaga
jai ho…o
jai ho…o
jai ho…o
jai jai  jai  jai ho…o
bharat naam subhaaga
 
subah savere pankh pakheru
tere hi gun gaayen
baas bhari bharpur hawaayen
jeewan mein rut laayen
sab mil kar hind pukaaren
jai azad hind ke naare
pyaara desh hamaara
suraj ban kar jag par chamke
bharat naam subhaaga
jai ho…o
jai ho…o
jai ho…o
jai jai jai jai ho…o
bharat naam subhaaga…aa

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
शुभ सुख चैन की बरखा बरसे
भारत भाग है जागा
पंजाब सिंध गुजरात मराठा
द्राविड़ उत्कल बंग
चंचल सागर विंध्य हिमाला
नीर यमुना गंगा
तेरे नित गुण गाये
तुझ से जीवन पाये
हर तन पाये आशा
सूरज बनकर जग पर चमके
भारत नाम सुभागा
जय हो॰ ॰ ॰
जय हो॰ ॰ ॰
जय हो॰ ॰ ॰
जय हो॰ ॰ ॰
जय जय जय जय हो॰ ॰ ॰
भारत नाम सुभागा

सबके दिल में प्रीत बसाये
तेरी मीठी बानी
हर सूबे के रहने वाले
हर मज़हब के प्राणी
सब भेद और फर्क मिटा के
सब गोद में तेरी आ के
गूँधे प्रेम की माला
सूरज बनकर जग पर चमके
भारत नाम सुभागा
जय हो॰ ॰ ॰
जय हो॰ ॰ ॰
जय हो॰ ॰ ॰
जय हो॰ ॰ ॰
जय जय जय जय हो॰ ॰ ॰
भारत नाम सुभागा

सुबह सवेरे पंख पखेरू
तेरे ही गुण गायें
बास भरी भरपूर हवाएं
जीवन में रूत लाएँ
सब मिल कर हिन्द पुकारें
जय आज़ाद हिन्द के नारे
प्यारा देश हमारा
सूरज बनकर जग पर चमके
भारत नाम सुभागा
जय हो॰ ॰ ॰
जय हो॰ ॰ ॰
जय हो॰ ॰ ॰
जय हो॰ ॰ ॰
जय जय जय जय हो॰ ॰ ॰
भारत नाम सुभागा

 


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

Blog Day :

4383 Post No. : 15733

Rajesh Khanna – The Phenomenon – 6
– – – – – – – – – – – – – – – – – – – –

Today 18th July is the Remembrance Day of Rajesh Khanna. He passed away on 18th July 2012. As a tribute to him here is song from the 1980 movie ‘Thodi Si Bewafaai’.

My last post in this series ‘Rajesh Khanna-The Phenomenon’ came almost one and half year back on his birth anniversary. In that post I had discussed a song from the 1979 movie ‘Amardeep’ and for today’s post we move to Rajesh Khanna movies in 1980.

The seventies ended on a positive note for Rajesh Khanna with ‘Amardeep’ being a hit at the box office. But, then 1980 was more like ‘turning around’ year for him on a positive note. And few of his movies performed well at the box office though only one of them viz. ‘Thodi Si Bewafaai’ became a ‘hit’ movie.

If we look back on the year 1980 from the point of view of Rajesh Khanna’s film career this was an important year for him – after his fourteen years in the film industry and recovering back after a string of commercially unsuccessful movies at the box-office.

However, these unsuccessful movies saw him playing different roles and it was like if he himself was trying to get out of his ‘Rajesh Khanna’ image and maybe it was a time for him where as an ‘actor’ he was doing an introspection of self.

As an actor he was looking for stronger roles. Nobody could have imagined that any star but Rajesh Khanna will be playing a role of a ‘psychopath who rapes and kills young women’ in those times in Hindi movies, but Kaka accepted this role in ‘Red Rose’. The movie was praised by all though it bombed at the box office. But it is considered a fine piece of the talent of the director Bharathiraja and Rajesh Khanna’s performance in it.

The other four movies of the same year 1980 viz ‘Phir Wohi Raat’, ‘Aanchal’, ‘Bandish’ and the today’s movie ‘Thodi Si Bewafaai’ also had him playing different roles a like a ‘psychiatrist’ in the ‘horror’ genre ‘Phir Wohi Raat’, a villager in ‘Aanchal’, a medical college student in ‘Bandish’ and a rich jeweler’s son in ‘Thodi Si Bewafaai’.

He appeared in the following movies in 1980;

S.No. Movie Year Passed by Censor Board Director
01 Thodi Si Bewafaai 1980 29.04.1980 Eesmaayil Shroff
02 Red Rose 1980 23.05.1980 Bharathiraja
03 Phir Wohi Raat 1980 06.08.1980 Danny Denzongpa
04 Aanchal 1980 18.09.1980 Anil Ganguly
05 Bandish 1980 07.10.1980 K. Bappaiah

‘Thodi Si Bewafaai-1980’ was directed by Esmayeel Shroff for Konark Kombine International. It was produced by Nand Mirani and Srichand Asrani, while Rashid Ismail was the co-producer of this movie. It was presented by Nand B. Mansharamaney. Subhash Sonik was the chief assistant director of this movie. Vasant Katkar was the art director of this movie. Editing of this movie was done by Rajoo. Esmayeel Shroff was the writer of this movie and its dialogues of this movie were written by Moin-ud-din. The movie was passed by Censor Board on 29.04.1980.

It had Rajesh Khanna, Shabana Azmi, Sushant Ray, Padmini Kolhapure, Deven Verma, Dr. Shreeram Lagoo, AK Hangal, Jalal Agha, Shashi Kiran, Raja Bakshi, Urmila Bhatt, Gayatri, Gouri Khorana, Preeti Ganguly, Deena Pathak, Leela Mishra, Madhu Chauhan, Lalita Kumari, Murad, Dharamveer, Moolchand, Ramavtar, Manmauji, Jameel, Kishore, Sunder Taneja, Gopal Sirkar, Mani and others. This movie introduced Dr. Maya Alagh.

This movie had total six songs written by Gulzar and composed by Khayyam Saab. Singers Lata Mangeshkar, Kishore Kumar, Asha Bhonsle, Sulakshana Pandit, Anwar, Jagjit Kaur and Bhupendra had given their voices to the songs in this movie. Today’s song is a background song (cum theme song too) sung by Bhupinder Singh.

This song is in three parts – first part happens as the movie starts with court proceedings where the court rules in favor of Neema (Shabana Azmi) and allows her to live separately from Arun Choudhary (Rajesh Khanna). The court also gives the custody of their child to Neema and allows Arun to meet the child for two hours once in a week on Sunday. As Neema, her child, her brother and Arun came out of the court, Arun once again tries to convince Neema to think about her decision but she is adamant and leaves with the child. Here the titles of the movie are rolling and the song continues.

Second part happens when Neema visits an optical shop for getting her spectacles repaired. The shop owner is Deven Verma and Arun (Rajesh Khanna) is working there. Here again very less dialogue is exchanged between them and Neema leaves the shop as Arun keeps watching her. The second part plays in the background here.

Third part of this song gets played when Arun visits Neema after a gap of twelve years to get his son back with him (as allowed by the court when the child completes fourteen years of age). However, he is told by Neema that Nandu (Sushant Ray) their son has gone to Bombay without telling her. Arun leaves in fury threatening Neema to meet once again in court. As he leaves Neema, who is shattered in grief, regrets to herself …

meraa to jeewan ujad gayaa …
main muqadamaa jeet kar haar gayi
tum muqadamaa haar kar jeet gaye
tumhaare liye Nandu sab kuchh hai, aur main kuchh bhi nahin,
ek baar mujhe bulaa kar to dekh liyaa hota, saaraa jeewan tumhaare pichhe pichhe chalti rehti …

Enjoy the words of Gulzar Saab, and Bhupinder Singh’s voice a perfect fit for such poignant philosophical songs and Khayyam Saab’s timeless music.

I have deliberately selected this background theme song for today where we can watch and enjoy the nuanced performances by both Rajesh Khanna and Shabana Azmi.

Enjoy the ‘times’ and ‘charisma’ of Superstar – Rajesh Khanna. . .

Video (Part I)

Video (Part II)

Video (Part III)

Audio

Song-Aaj bichhde hain kal ka darr bhi nahin (Thhodi Si Bewafaai)(1980) Singer-Bhupinder Singh, Lyrics-Gulzar, MD-Khayyam

Lyrics

—————————–
Part-1
—————————–
aaj bichhde hain
aaj bichhde hain
kal ka dar bhi nahin
zindagi itni mukhtsar bhi nahin

aaj bichhde hain ae
aaj bichhde hain
aaj bichhde hain
kal ka dar bhi nahin
zindagi itni mukhtsar bhi nahin
aaj bichhde hain ae

zakhm dikhte nahin abhi lekin
zakhm dikhte nahin abhi lekin
thhande honge to dard niklegaa aa
taish utregaa waqt ka jab bhi
chehraa andar se zard niklegaa aa aa
aaj bichhde hain
aaj bichhde hain
kal ka dar bhi nahin
zindagi itni mukhtsar bhi nahin
aaj bichhde hain ae

kehnewaalon ka kuchh nahin jaata
sehnewaale kamaal karte hain
kaun dhoondhe jawaab dardon ke
log to bas sawaal karte hain aen
aaj bichhde hain
aaj bichhde hain
kal ka dar bhi nahin
zindagi itni mukhtsar bhi nahin
aaj bichhde hain ae

aaj bichhde hain ae
kal ka dar bhi nahin
zindagi itni mukhtasar bhi nahin
aaj bichhde hain ae

———————————————-
Part-2
———————————————

kal jo aayega jaane kya hogaa
beet jaayen jo kal nahin aate ae
waqt ki shaakh todne waalon
tootee shaakhon pe phal nahin aate ae
aaj bichhde hain
aaj bichhde hain
kal ka dar bhi nahin
zindagi itni mukhtsar bhi nahin
aaj bichhde hain ae

———————————————–
Part-3
———————————————–
kachchi mitti hai
dil bhi insaan bhi
dekhne hi mein sakht lagtaa hai ae
aansoo ponchhe ke aansoo’on ke nishaan
khushq hone mein waqt lagtaa hai ae ae
aaj bichhde hain
aaj bichhde hain
kal ka dar bhi nahin
zindagi itni mukhtsar bhi nahin
aaj bichhde hain ae
aaj bichhde hain ae
aaj bichhde hain ae

_________________________________________________________________

Devnagri Script lyrics(Provided by Avinash Scrapwala)
_________________________________________________________________

भाग-१
_________________________________________________________________

आज बिछड़े हैं
आज बिछड़े हैं
कल का डर भी नहीं
ज़िन्दगी इतनी मुख़्तसर भी नहीं
आज बिछड़े हैं ए

आज बिछड़े हैं
आज बिछड़े है
कल का डर भी नहीं
ज़िन्दगी इतनी मुख़्तसर भी नहीं
आज बिछड़े हैं ए

ज़ख्म दिखते नहीं अभी लेकिन
ज़ख्म दिखते नहीं अभी लेकिन
ठंडे होंगे तो दर्द निकलेगा आ
तैश उतरेगा वक़्त का जब भी
चेहरा अन्दर से ज़र्द निकलेगा आ आ आ

आज बिछड़े हैं
आज बिछड़े है
कल का डर भी नहीं
ज़िन्दगी इतनी मुख़्तसर भी नहीं
आज बिछड़े हैं ए

कहनेवालों का कुछ नहीं जाता
सहनेवाले कमाल करते हैं
कौन ढूंढें जवाब दर्दों के
लोग तो बस सवाल करते है
आज बिछड़े हैं
आज बिछड़े है
कल का डर भी नहीं
ज़िन्दगी इतनी मुख़्तसर भी नहीं
आज बिछड़े हैं ए

आज बिछड़े है
कल का डर भी नहीं
ज़िन्दगी इतनी मुख़्तसर भी नहीं
आज बिछड़े हैं ए
____________________________________________________________________

भाग-२
_________________________________________________________________

कल जो आएगा जाने क्या होगा
कल जो आएगा जाने क्या होगा
बीत जाए जो कल नहीं आते ए
वक़्त कि शाख तोड़ने वालों
टूटी शाखों पे फल नहीं आते
आज बिछड़े हैं
आज बिछड़े है
कल का डर भी नहीं
ज़िन्दगी इतनी मुख़्तसर भी नहीं
आज बिछड़े हैं ए

_________________________________________________________________

भाग-३
_________________________________________________________________

कच्ची मिटटी हैं
दिल भी इंसा भी
देखने ही में सख्त लगता है ए
आँसू पोंछे के आंसूओं के निशाँ
खुश्क होने में वक़्त लगता है ए ए
आज बिछड़े हैं
आज बिछड़े है
कल का डर भी नहीं
ज़िन्दगी इतनी मुख़्तसर भी नहीं
आज बिछड़े हैं ए
आज बिछड़े हैं ए
आज बिछड़े हैं ए


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 :

4369 Post No. : 15701

“Zindagi”(1964) was written produced and directed by Ramanand Sagar for Gemini Productions, Madras. This movie had Raj Kumar, Rajendra Kumar, Vyjayanthimala, Helen, Mehmood, Prithviraj Chauhan, Jeevan, Dhumal, Jayant, Kanhaiyalal, Hiralal, Master Shahid, Leela Chitnis, Pushpavalli(Actress Rekha`s mother), Baby Farida & “Honey”, Mumtaz Begum, Moolchand, Nirupa Roy, Satyajeet etc in it.

The movie had 13 songs in it. Nine songs from the movie have been covered in the past.

Last year, on 30 august 2019, we had covered an expectant mother song, viz Ek naye mehmaan ke aane ki khabar hai. Today, some ten months later, we find Vyjyanti Mala, the expectant mother in that song, seeking to abandon that child, while Prithviraj Kapoor is also visible in the picturisation. I request our knowledgeable readers to throw light on the circumstances that are depicted in the picturisation of this song,

The song is sung by Lata. Hasrat Jaipuri is the lyricist. Music is composed by Shankar Jaikishan.

Lyrics of this song were sent to me by Prakashchandra.


Song-Pyaar ki dulhan sada suhaagan (Zindagi)(1964) Singer-Lata, Lyrics-Hasrat Jaipuri, MD-Shankar Jaikishan

Lyrics(Provided by Prakashchandra)

pyaar ki dulhan sada suhaagan
kabhi na widhwa hoye
jeewan maran se upar rishta
janam janam ka hoye

pyaar ki dulhan sada suhaagan
kabhi na widhwa hoye
jeewan maran se upar rishta
janam janam ka hoye
janam janam ka hoye

o chain mere dil ke
mere ghar ki raushni
tere to maa ka doodh
ye hai aakhiri ghadi
poochhe agar zamaana
teri ma kidhar gayi
kehna ke mere baaba se milne chali gayi
kehna ke mere baaba se milne chali gayi

ab na maa hoon main kisi ki
na bahu na beti
teri jogan hoon
tere paas chali aati hoon
teri yaadon ko liye
saath chali aati hoon
teri yaadon ko liye
saath chali aati hoon


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 :

4367 Post No. : 15696

Today (2 july 2020) is the 66th birth anniversary of Sayeed Mohammed Aziz-un-Nabi, better known as singer Mohammed Aziz (2 July 1954 – 27 November 2018).

I was under the impression that he made his debut as a playback singer in 1970s. I was mistaking him with Anwar, who began his career in 1970s. Mohammad Aziz made his debut as a playback singer in HFM in 1984. He shot to fame with “Main mard taange waala”, the title song of “Mard”(1985). He then sung some other memorable songs. One of them being “Mai se meena se na saaqi se”.

On the occasion of his birth anniversary, here is a song from “Aakhir Kyon”(1985). This song is sung by Md Aziz. Indeewar is the lyricist. Music is composed by Rajesh Roshan.

The song gets played on a radio / two in one while Rajesh Khanna and Smita Patil, playing an estranged couple, look on.

The lyrics of the song are quite inspirational. The lyrics makes this song a forgotten gem.

Lyrics of this song were sent to me by Avinash Scrapwala.

Video

Audio

Song-Ek andhera laakh sitaare (Aakhir Kyon)(1985) Singer-Md Aziz, Lyrics-Indeewar, MD-Rajesh Roshan

Lyrics

hmm hmm hmm hmm hmm hmm
hmm hmm
hmm hmm hmm

ek andheraa laakh sitaaare ae
ek niraasha laakh sahaare
sabse badi saugaat hai jeewan
naadaan hain jo jeewan se haare ae
ek andheraa laakh sitaaare ae
ek niraasha laakh sahaare
sabse badi ee saugaat hai jeewan
naadaan hai jo jeewan se haare ae
ek andheraa laakh sitaare ae ae

duniya ki ye bagiyaa aisi
jitney kaanten phool bhi utne
duniya ki ye ae ae bagiyaa aisi
jitney kaanten phool bhi utne
daaman mein khud aa jaayenge
jinki taraf tu haath pasaaare
ek andheraa laakh sitaare ae

beete huye kal ki khaatir tu
aanewaala kal mat khona
beete hue kal ki khaatir tu
aanewaala kal mat khona
jaane kaun kahaan se aakar
raahen teri phir se sanwaaare ae
ek andheraa laakh sitaare ae

dukh se agar pehchaan na ho to
kaisaa sukh aur kaisi khushiyaan
dukh se agar pehchaan na ho to
kaisaa sukh aur kaisi khushiyaan
toofaanon se lad kar hi to
lagte hain saahil kitne pyaaare ae
ek andheraa laakh sitaaare
ek niraasha laakh sahaaare
sabse badi saugaat hai jeewan
naadaan hain jo jeewan se haare ae
ek andheraa laakh sitaare ae ae ae

—————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————-
ह्म ह्म ह्म ह्म ह्म ह्म
ह्म ह्म ह्म ह्म ह्म …

एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए ए

दुनिया की ये बगिया ऐसी
जितने कांटे फूल भी उतने
दुनिया की ये बगिया ऐसी
जितने कांटे फूल भी उतने
दामन में खुद आ जायेंगे
जिनकी तरफ तू हाथ पसारे
एक अन्धेरा लाख सितारे ए

बीते हुए कल की खातिर तू
आनेवाला कल मत खोना
बीते हुए कल की खातिर तू
आनेवाला कल मत खोना
जाने कौन कहाँ से आकर
राहें तेरी फिर से सँवारे ए
एक अन्धेरा लाख सितारे ए

दुःख से अगर पहचान न हो तो
कैसा सुख और कैसी खुशियाँ
दुःख से अगर पहचान न हो तो
कैसा सुख और कैसी खुशियाँ
तूफानों से लड़कर ही तो
लगते हैं साहिल कितने प्यारे ए
एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए ए ए


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 :

4355 Post No. : 15676 Movie Count :

4319

In Hindi film industry, there are very  few producer-directors who make the films out of their passion for bringing to the notice of the public at large,  the social issues which they consider to be important. The mainstream film makers would generally avoid in their films such subjects as they are not money spinners at the box office unless they add ‘spices’ to those social issues to make it the box office success.  I had earlier discussed such producers/directors like Nagesh Kukunoor and Sai Paranjpye. I guess, the main driving point for them in making socially relevant films is the creative satisfaction and probably the international recognition they may get. Showmanship in terms of top star actors, music directors, lyricists, costly sets and costumes and the marketing blitz before the release of the films do not fit into their budget.

‘Lakshmi’ (2014) was one socially relevant film based on a true story of child trafficking and prostitution. How did Nagesh Kukunoor got the idea of making ‘Lakshmi’ (2014)?

As revealed by Nagesh Kukunoor in a couple of interviews for the magazines, he was on a visit to a rescue shelter for child prostitutes run by a NGO, where he heard several stories of exploitation – both physical and emotional which were of very disturbing nature. But there was a story of one minor girl, Lakshmi who was kidnapped by a child trafficker and sold to a brothel. Despite all odds, she fought bravely, took the traffickers to the court and came out triumphant. All the rescued girls had only one wish list that such exploitation should not happen to other girls.  Nagesh Kukunoor found the experience very moving and decided to make a film on it.

The biggest problem for Nagesh Kukunoor was that though he got the start and the end of Lakshmi’s real story, he was almost blank as to what happened in-between the start and end of the story. He felt that it was not proper to make the girl to relive the trauma she faced in the brothel. So, he relied on the inputs from NGOs as to how the girls were treated in the brothels and his own imagination to fill the gaps in the story. Hence, he calls his film ‘Lakshmi’ (2014) as ‘a fictional account of a true story’.

There was a problem in selecting the actor for the main role of Lakshmi who should be around 14 years of age. But it would be awkward for the director to discussed with a minor actor or with her parents, the scenes involving her activities in the brothel. So, Nagesh Kukunoor dropped the idea of making the film.

In a filmy party, Nagesh Kukunoor met the playback singer, Monali Thakur who was 21, but looked much younger because of her lean figure and small face. He thought that with proper costumes and hairstyles, she could be made to look like a 14-year girl. Fortunately for Negesh Kukunoor, Monali Thakur agreed to do the role of Lakshmi in the film though she had never acted earlier. So, the main actors for the film – Monali Thakur, Satish Kaushik, Shefali Shah besides Nagesh Kukunoor in the role of a pimp was finalised. Ram Kapoor acted in the role of an advocate for Lakshmi. The film was completed in 22 days of shootings which took place in around Hyderabad. The film faced some hurdles in the Censor Board but eventually got the certification for adult viewing.

I had watched the film on a video sharing platform a few years back but had left it half way as some of the scenes involving the crime and violence were very disturbing. Recently, I watched the film once again skipping disturbing scenes in-between but up to the end involving court-room scenes. The gist of the story of the film is as under:

Lakshmi (Monali Thakur), a minor girl, is sold to Reddy Garu (Satish Kaushik) by her father.  Reddy is a child trafficker who runs a brothel in Hyderabad in the guise of a girls’ hostel as a ‘shelter for orphaned girls. He is assisted by Chinna (Nagesh Kukunoor) who is his front man for his brothel activities. But the kingpin for the immoral activities is a city corporator, Radha (Gulfam Khan). Initially, Reddy keeps Lakshmi in his house, giving her estrogen injections by his personal doctor in the name of injections for her weakness. After 3 weeks, she is sent to the brothel under the custody of Madam Jyothi (Shefali Shah) who is a tough both with her girls and clients but kind-hearted. Jyothi has a daughter who is studying engineering but she is not aware of her mother’s nature of job. Chinna often abuses Jyothi, both verbally and physically for not doing her job properly.

One day, Lakshmi runs away from the brothel and tries to register an FIR in the police station against the illegal activities going in the so called girls’ hostel. But instead of acting on her tip, the news is leaked out to Reddy who through Chinna catches her while on the run. He assaults her with his wooden club stubbed with nails. (did Chinese get the idea from this film!) so that she would not dare try to run away again. But she tells him that she would surely flee from brothel one day.

Since Reddy and Chinna get free every time there is a raid on the brothel, a social worker, Mohan (Ramkrishna Shenoy) sets a trap by becoming a bogus customer and record the activities in a room with a hidden camera with marked currency notes etc. A police raid on the brothel leads to the arrest of Reddy and Chinna along with Jyothi and girls. Girls are sent to the shelters run by Mohan for child prostitute. Both Reddy and Chinna get bail and the brothel is again opened.

Girls  are not happy in the shelter house as neither the work interests them nor their parents and the society honourably accept them. So, one by all girls are back to the brothel except Lakshmi who says to Mohan that she would fight the battle in the court. Encouraged by her stand, Mohan and another lady social worker take her to an advocate, Avinash (Ram Kapoor) who had stopped his practice some years back due to nervous breakdown which in turn was because of the unethical activities of his fellow advocates who could be bought by the interested parties and the manipulation of witnesses.

After listening to the case, Avinash, refuses to take up the case on behalf of Lakshmi as during his practice on Prevetion of Immoral Trafficking Act (PITA) cases, the complainers did not stand up to the uncomfortable questions put forward by the defense advocates and key witnesses became hostile. Thus, all the cases were dismissed. He further states that not a single case under PITA has gone in favour of the aggrieved parties since the introduction of the Act because of this reason as well as aggrieved parties taking back their complained either due to threat or with money power. Lakshmi says with conviction that she will not change her statement. Her firm commitment makes Advocate Avinash  to agree to fight the case on behalf of Lakshmi.

In the court, the defense lawyer asks Lakshmi very uncomfortable personal questions relating to her activities in the brothel so that she avoids answering which will make the case weak against the accused. The video footage of marked currency notes changing hands at the brothel did not carry weight as the defense lawyer says that the video could have been doctored. Also, being the girls hostel, the money could be changing hands due to legitimate activities of the hostel. in the absence of FIR and the medical report for rapes in the brothel at the material time, Advocate Avinash has no other proof to substantiate the charges made by Lakshmi.

The only proof which Mohan had with him was a long video footage of the room in which Lakshmi was raped in the brothel by 7 clients in the whole night which was recorded in a concealed close-circuit video camera which Mohan had installed with the connivance of Madam Jyothi. But the video footage is too personal to be displayed in the court room. But the urge in Lakshmi to punish Reddy and Chinna was so great that she agreed for the display of the video footage in the court. Also, the witness statement from the personal doctor of Reddy favouring Lakshmi’s contention and the video footage turned the court’s decision in favour of Lakshmi. Reddy, Chinna and Corporator Radha were found guilty under PITA and IPC and they were sentenced 10 years of imprisonment. Lakshmi’s father was also jailed for abatement of the crime.

Monali Thakur made a debut as an actor in the film and she has acted brilliantly though she could have been better trained in her dialogue delivery in Hyderabadi Hindi. She had displayed a very innocence face through out the film so much so that even after her bold decision to fight the case in the court, one never find aggressiveness in her face or in voice. She has played the role in a subtle way. Satish Kaushik in the role of Reddy has acted well but his dialogues with north Indian accents have let him down. On the other hand, Nagesh Kukunoor as Chinna the pimp, has excelled in his dialogues in Hyderabadi Hindi but was somewhat weak in his acting. Ram Kapoor as an advocate for Lakshmi has done excellent performance as an advocate.

As mentioned earlier, the film has some very disturbing scenes. The dialogues are raunchy. But these are expected in the film with the brothel having the central place in the story. Probably, on this background, Nagesh Kukunoor as a producer was not keen on releasing the film widely. The film was release in some select theatres all over India and mostly in the morning slots. However, the film was shown in International film festivals. In Palm Spring Film Festival, 2014, the film won the audience award for the best film among 191 films screened. The film was also shown free to many social organisations all over India.

‘Lakshmi’ has four songs – all as background songs. I am presenting the first song “Sun Ri Baawli Tu Apne Liye Khud Hi Maang Le Duaa” sung by Papon (real name: Angarag Mahanta). The song is written by an upcoming lyricist, Manoj Yadav which is set to music by Tapas Relia, also an upcoming music director from Gujarat.

I find the use of the words in lyrics interesting. The lyrics sounds like that 1960s and 1970s songs. A search in the internet gives me a profile of Manoj Yadav as the son of a mill worker of Mumbai who has spent his major life in Mumbai with summer holidays being spent in Gorakhpur, his native place. He says in one of the interviews that Gulzar’s jingles “Jungle Jungle Pata Chala Hai” which he had watched in his childhood influenced him to write poems. He started his career as a jingle writer for advertising films where Tapas Relia was one of the music directors. Then he gradually moved into Hindi films as song writer. So far, he has written lyrics for about 60 songs in 36 films since 2012.

The song under discussion is used as a background song in parts in 4 different situations in the film. Probably for this reason, the video clip of the song is not available. However, Tips, the owner of the music rights of the songs in the film has made a video clip of the song remixing some scenes from the film with the playback singer Papon while keeping intact the original sound track of the song in the video. The audio clip contains the elongated song.

Remixed Video

Audio

Song – Sun Ri Baawli Tu Apne Liye Khud Hi Maang Le Duaa (Lakshmi) (2014) Singer – Papon (aka Angarag Mahanta), Lyrics – Manoj Yadav, MD – Tapas Relia

Lyrics

ae aa aa ae aaa
o o o o o
uu uu uu uu
ha aa aa aa
re re re re re
la ra aa ra aa aa
sun ri baawli tu apne liye
khud hi maang le duaa
koi tera na hona
sun ri baawli tu apne liye
khud hi maang le duaa
koi tera na hona
bejaar saa nazar aaye jo
tere saamne tera masihaa
wo tera na hona
tan kaa kamra man ki kothi
saanson kaa khel khilona aa aa
kesh mein suraj khos ke chalna
kabhi koi raat miley na aa aa
sun ri baawli tu apne liye
khud hi maang le duaa
koi tera na hona
 
ho o o
toothe taare uthaa le…
unse chanda bana le….ae..
toothe taare uthaa le
unse chanda bana le
thaam aanchal ka kona
usse tu aasmaan bana le
dhoop hai doli chhaavn hai dulhan
khud se preet chhodna
kesh mein suraj khos ke chalna
kabhi koi raat miley na aa aa
sun ri baawli tu apne liye
khud hi maang le duaa
koi tera na hona aa aa
 
ho o o
ud jaana jab
udne ka man ho.. ho…o o o
ud jaana jab 
udne ka man ho
bharose raai ke lena??
tu hi tera hausla ho
likhne de jo bhi likhta hai lamha
uske haath rok na aa
kesh mein suraj khos ke chalna
kabhi koi raat miley na aa aa
sun ri baawli tu apne liye
khud hi maang le duaa
koi tera na hona
bejaar saa nazar aaye jo
tere saamne tera masihaa
wo tera na hona
tan ka kamra man ki kothi
saanson kaa khel khilona aa
kesh mein suraj khos ke chalna
kabhi koi raat miley na aa
sun ri baawli tu apne liye
khud hi maang le duaa
koi tera na hona…
sun ri baawli ae ae ae
sun ri baa…wli ee ee
sun ri baawli ee ee
sun ri baawli  ae ae ae ae


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:

4348 Post No. : 15660

Songs Repeated in Hindi Films – 19
– – – – – – – – – – – – – – – – – –

Even this one – you might say. Aah yes, even this one. 🙂

This song from ‘Mahal’ in 1949, probably has the most recognized prelude across the entire history of Hindi Film Song. It has become the signature song of the earlier decades of Hindi cinema. No representative selection of Lata ji’s songs would ever be considered complete without it.

The all too familiar picturization – the girl on the swing then the empty swing, the lonely boat in the river, the stunningly beautiful features of Kamini (Madhubala) – the song and its images are now an unforgettable montage. There is a whole traditional lore that now accompanies this song, which has achieved a cult status over the decades.

‘Kadambari’ from 1975, is delicate love story of young hearts which has some unconventional twists to it. The film is based on the novel ‘Dharti Sagar te Sippiyan’ written by Amrita Pritam. The film is produced under the banner of Madhu Creation Picture Pvt Ltd, Bombay and is directed by HK Verma. The star cast lis listed as Shabana Azmi, Vijay Arora, Arpana Choudhary, Jeet Surendra, Ajeet Singh, Mona, Jugnu, Chand Usmani, and V Gopal etc.

The film has two songs. One is written by Amrita Pritam herself –“Ambar Ki Ek Paak Suraahi, Baadal Ka Ek Jaam Uthaakar”, composed by Ustad Vilayat Khan and sung by Asha Bhosle, and the second one is “Kyon Hum Tum Rahen Akele”, written by Geetanjali Singh and is composed and sung by Ajeet Singh.

As per the official listings, that is all the songs in this film. In fact both the songs are already present on our blog and in that sense the film is already yippeee’d.

But wait, here is the surprise that was mentioned in a message early morning today. The film carries this iconic song – a repeat version, which in of itself, has a significant importance. The song is not reused in its original form. It has been re-recorded in the voice of Kavita Krishnamurty, and reused in this film. The important point here is that this is the debut recording of a film song by Kavita Krishnamurty in Hindi films – her first song. And she gets to re-render this classic masterpiece.

The song appears in the film in two parts. One stanza is performed close to the beginning of the film. The occasion is the birthday party of Chetna (Shabana Azmi). A very close and dear friend, Amit (Vijay Arora) is still awaited to join. In this mood, Chetna sings one stanza of this song – “Deepak Bagair Kaise Parwaane Jal Rahe Hain“.

The second stanza – “Bhatki Huyi Jawaani. . .” appears sometime before the end of the film. This stanza appears in the background. The situation is that a chance meeting happens between Chetna and Sheetal (Aparna Chaudhry) after many years. Both are in passing through difficult time in life, both are single and both are awaiting the men they love to return to them. Sheetal is in love with Sudhir (Jeet Surendra), who is the brother of Chetna.

As Chetna departs from Sheetal’s home, the song starts to play, with the visual cutting back and forth between Sheetal at home, with paintbrush and canvas, and Chetna in a three wheeler heading back to her home. “Maanjhi Bagair Naiya Saahil Ko Dhoondhti Hai” – the two friends are like directionless boats at sea, searching for the shores.

A brief summary of the storyline,

Chetna and Amit are childhood friends, and are in love. Amit has a past that he once reveals to Chetna – that he is an illegitimate child. His mother was a victim of a violent assault, and the man responsible neither did own up, nor accepted the lady. Amit’s mother (Chand Usmani) single handedly brings up Amit and educates him to be a doctor. Amit reveals that he has such a reverence for his mother that he has taken a vow never to marry, not sure how the prospective addition to the family would treat his mother and whether she would understand the painful past in the family.

To Chetna it becomes clear that Amit will not marry. She is heartbroken, but then she promises herself she will never pursue him for matrimony. An interlude happens in between, and Chetna is now carrying Amit’s child. She hides this fact from everyone, including Amit, moves to Bombay from Delhi on the pretext of a job, stays there for a couple of years, has the child and then returns home with a story about an unfortunate family where the parents passed away leaving behind this newborn child. So she has adopted the child.

The parallel love saga of Sheetal and Sudhir is also not working out well, and the two are not seeing each other. Both are in pain, but both are restraining. Chetna meets with Sheetal and talks with her to coax her back and rebuild the relationship with Sudhir.

In the meantime, Chetna and Amit are also back to their normal exchanges. Amit’s mother, who has always liked Chetna, starts to help with taking care of the child. Some observations, some exchanges, something about the child and Amit’s mother comes to realize that the child’s father is Amit, her son. Situations progress to an amiable juncture where this fact gets revealed and is accepted by everybody. Both couples are back together once again.

It is a sensitively handled drama of love. There are no emotional overplays in the film. Every situation is underplayed and intelligently handled. Love stories are not always dependent on villains and stern parents to play out their saga. In some cases, it is the protagonists themselves who provide the interesting and unexpected turns to the story. ‘Kadambari’ is one such story.

The reuse of the two stanzas of this song are also very imaginative and very appropriately linked into the specific situations and story flow.

And yes, by the way, as per the ten year challenge chart published early morning today, ‘Kadambari’ made its debut 10 years ago today. Quite appropriately, we bring on this post, and add the repeat song to the list of songs of this film on our blog. The song has been suggested to me by Dear Avinash ji, who has also sent us both the set of lyrics – in Hindi and English.

A mysterious and dreary night of a palace from 1949 got transformed into a birthday party at a middle class home in Delhi in 1975. Watch, listen and enjoy.

 

Song – Aayega Aayega. . . Aayega Aanewaala  (Kadambari) (1975) Singer – Kavita Krishnamurty, Lyrics – Nakshab Jarchavi, MD – Khemchand Prakash

Lyrics (Provided by Avinash Scrapwala)

Part I

aayegaaaa
aayegaa aa
aayegaa aa
aayegaa aanewaalaa
aayegaa aa
aayegaa aa
aayegaa aa

aayegaa aa
aayegaa aa
aayegaa aa
aayegaa aanewaalaa
aayegaa aa
aayegaa aa
aayegaa aa

deepak bagair kaise
parwaane jal rahe hain
deepak bagair kaise
parwaane jal rahe hain
koi nahin chalaata
aur teer chal rahe hain
koyi nahin chalaata aa
aur teer chal rahe hain
tadpega koi kab tak
be-aas be-sahaare ae
tadpega koi kab tak
be-aas be-sahaare
ye kah rahe hain mujhse
dil ke mere ishaare
aayegaa aa
aayegaa aa
aayegaa aa
aayegaa aanewaalaa
aayegaa aa
aayegaa aa
aayegaa aa

Part II

bhatki hui jawaani
manzil ko dhoondhti hai
bhatki hui jawaani
manzil ko dhoondhti hai
maanjhi bagair naiya
saahil ko dhoondhti hai
maanjhi bagair naiya
saahil ko dhoondhti hai
kya jaane dil ki kashti
kab tak lagey kinaare
kya jaane dil ki kashti
kab tak lagey kinaare
lekin ye keh rahe hain
dil ke mere ishaare
aayegaa aa
aayegaa aa
aayegaa aa
aayegaa aanewaalaa
aayegaa aa
aayegaa aa
aayegaa aa

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

भाग I

आएगा आ
आएगा आ
आएगा आ
आएगा आनेवाला
आएगा आ
आएगा आ
आएगा आ

आएगा आ
आएगा आ
आएगा आ
आएगा आनेवाला
आएगा आ
आएगा आ
आएगा आ

दीपक बगैर कैसे
परवाने जल रहे हैं
दीपक बगैर कैसे
परवाने जल रहे हैं
कोई नहीं चलाता
और तीर चल रहे हैं
कोई नहीं चलाता
और तीर चल रहे हैं
तडपेगा कोई कब तक
बे-आस बे-सहारे
तडपेगा कोई कब तक
बे-आस बे-सहारे
ये कह रहे हैं मुझसे
दिल के मेरे इशारे
आएगा आ
आएगा आ
आएगा आ
आएगा आनेवाला
आएगा आ
आएगा आ
आएगा आ

भाग II
भटकी हुई जवानी
मंज़िल को ढूंढती है
भटकी हुई जवानी
मंज़िल को ढूंढती है
मांझी बगैर नैया
साहिल को ढूंढती है
मांझी बगैर नैया
साहिल को ढूंढती है
क्या जाने दिल की कश्ती
कब तक लगे किनारे
क्या जाने दिल की कश्ती
कब तक लगे किनारे
लेकिन ये कह रहे हैं
दिल के मेरे इशारे
आएगा आ
आएगा आ
आएगा आ
आएगा आनेवाला
आएगा आ
आएगा आ
आएगा आ


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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 TWELVE years. This blog has over 15900 song posts by now.

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