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

Archive for the ‘Background song’ Category


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

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


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 :

4317 Post No. : 15602 Movie Count :

4296

Hindi Songs in Bangla Film – 28
———————————-
‘Subhash Chandra’ (1966, Bangla film) as the name suggests was one of many films on the life of Netaji Subhash Chandra Bose. The coverage of this film was from the school days of Netaji to his first-time arrest in 1921 for civil disobedience. The film ends with a scene in which Netaji is taking leave of his father and mother before he is formally arrested and taken to the jail in a police van. It is an anecdotal film covering the important events in the life of a young Subhash Chandra Bose up to 1921. Hindi dubbed version of the film with the same title was released in 1978. The main events in the early life of Subhash Chandra Bose covered in the film is summarised below:

Subhash Chandra who has joined a primary missionary school with English and Latin, gets the admission in the secondary school which is not a missionary school. His new teacher makes fun of him for not knowing Bangla and Sanskrit. The young Subhash assures the teacher that he would learn both Bangla and Sanskrit in two days which he does. The Head Master of his secondary school becomes Subhash Chandra’s ideal. He learns from him the works of Swami Ramkrishna Paramhans and Swami Vivekanand. Subhash Chandra studied vedas, upnishads, Ramayan, Mahabharat, Geeta, Bible and many other scriptures. His first leaning towards political activities was in 1912 when King George V visited Calcutta (Kolkata).

Subhash gets rusticated from the college for attacking a professor and in this process losses a couple of years in studies. He is reinstated by another college on the recommendation of a High Court lawyer who put a condition that Subhash Chandra should stand first in the merit list of the college. He clears BA with first class, standing second in the merit list. He is also active in University’s unit of Indian Territorial Army.

The film also shows the difference between Subhash Chandra and his lawyer-father who wants him to become an ICS officer and to join the Government service. After the Jullianwala Baagh massacare, Subhash Chandra is not ready to go to England to become ICS. But one of his relatives convinces him to take up ICS just to know the British system. Though Subhash Chandra passed ICS standing fourth in the merit list, within few months from joining ICS, he resigns from ICS much against the wishes of his father. Subhash Chandra pursues the profession of teacher and journalist. Later, under the guidance of Chitranjan Das, he plunges into full time political activities leading the nationalist movements under the ambit of Indian National Congress.

There are some more incidences in the life of Subhash Chandra Bose covered in the film. I guess, the aim of the film was to show a strong character of Subhash Chandra Bose, built over a period of time since his school days.

The film has been presented with a sleek screen play and dialogues without over-emphasising on patriotism. Particularly, I liked one dialogue in the film which I need to explain the background before one can appreciate it.

Subhash Chandra Bose, after the completion of matriculation, wanted to become a sage for which he was in search of a Guru. He travelled to Banaras, Mathura, Haridwar and beyond but came back disappointed. After successfully completion of training in Indian Territorial Army, he wanted to become a soldier in Indian Army which he shares his ambition with his friend. His friend comments ‘From a sage to a soldier? Two extremes. To which Subhash Chandra Bose reacts ‘I want to become a sage-like soldier and a soldier-like sage – a sage’s sacrifice and a soldier’s courage’. Incidentally, he did try to get selected in Bengal Regiment but was rejected for bad eyesight.

‘Subhash Chandra’ (1966) was directed by Pijush Bose. The star cast included Amar Dutta, Samar Chatterjee, Master Aashish Ghosh, Dilip Roy, Reba Devi etc. There were six songs in the film of which one song is in Hindi. All the songs were set to music by Aparesh Lahiri. As mentioned earlier, a dubbed version in Hindi with the same title was released in 1978 with Aparesh Lahiri as music director.

I am presenting the Hindi song ‘nahi maane jiyara hamaar’ which is based on a traditional Thumri with, more or less, on the same words. The song is sung by Bansari Lahiri. The use of ‘barse bahaar’ in the lyrics gives an impression of the song being a Kajri. Bansari Lahiri is a Hindustani classical singer and musician and the wife of the music director, Aparesh Lahiri. Music director, Bappi Lahiri is their only son. Interestingly, I find Bansari Lahiri has been accredited as Assistant Music Director to Bappi Lahiri in as many as 22 films from 1975 to 1990.

The part of the song has been played in the background with a low volume of sound as Subhash Chandra and his group are inside Nasipur Palace in Murshidabad. The same song has been used in the Hindi dubbed version of the film ‘Subhash Chandra’ (1978). So, it is one song used in both Bangla and Hindi versions of the film.

Audio Clip:

Song-Nahin maane jiyara hamaar (Subhash Chandra) Singer-Bansari Lahiri, MD-Aparesh Lahiri

Lyrics

aa aa aa aa
aa aa aa
nahin maane ae jiyara hamaar
hamaa..r re
nahin maane ae
nahin maane
nahin maane ae ae ge maane
nahin maane jiyara hamaar
nahin maane jiyara hamaar
nahin maane jiyara hamaar
nahin maane ae ae jiyara
nahin maane
nahin maane jiyara
nahin maane jiyara hamaar
nahin maane jiyara hamaar

baabul hadd keenhi haa aa aa
gawan nahin deenhi
baabul hadd keenhi ee
hadd keenhi baabul
gawan nahin ee ee ee deenhi
?? laage (???) barse bahaar
?? laage (???) barse baha..ar
?? laage ?? laage
barse baha..ar
?? laage barse baha..ar
?? laage barse bahaar
?? laage barse bahaar
baha……….aar


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 :

4315 Post No. : 15599

Today is 11 may 2020. In my opinion, 11 may is one of the most important dates in the history of modern India. It is on this date that India threw away the self imposed shackles of being an apologetic, suffering from inferiority complex, indecisive and weak nation which was being regarded as a pushover by one and all. Even tiny countries like Nepal, Sri Lanka and Bangladesh were beginning to mess with India with impunity.

It was on this day in 1998 that India announced to the world in no uncertain terms that enough was enough. India was not a nation to be trifled with. India is not a mouse. It is an elephant and it has decided to take its rightful place in the world. It will no longer act timid when faced with monkeys and hyenas. The world better get used to it.

What exactly did India do on 11 may 1998 ?

It was on this day that India, despite severe pressure from the entire world, and despite high tech surveillance on its activities, successfully conducted nuclear tests (3 nuclear tests on this day, followed by two more tests two days later).

The PM of India, Mr Atalbihari Vajpayee, who had authorised these tests as soon as he came to power, then announced to the world that India was “now a full fledged nuclear state”.

The haves of the nuclear technology as well as the first world wanted India to sign the discriminatory treaties like NPT and CTBT and give up all attempts at developing nuclear capabilities, while the existing nuclear powers were free to carry out their nuclear weapons programme.

They were bullying India for several years. The fact that India was a very weak and vulnerable country those days, beginning from 1990s meant that India was being regarded as a third world country not worthy of being taken seriously or given respect. Indians who were still around during 1980s will recall that any technology that India wanted to acquire from the west was scuttled by USA. India wanted to buy supercomputers for weather forecast but USA prevented its sale giving the excuse that India would use it for its nuclear activities. When India wanted cryogenic engines for its space explorations, USA not only denied this technology to India, it also arm twisted Russia into not giving this technology to India.

India, showing self respect, developed its own supercomputers and well as its own cryogenic engine.

The fact that India had adopted a disastrous economic policy since its independence meant that India was a begging bowl country right from its independence, and no attempt was made to address this fact. In 1991, with India being in dire straights, politically, economically and in many other ways, India faced the ignominy of having to mortgage its gold to secure an IMF bailout package to save Indian economy !

This incident led to an uproar among Indian public. Fortunately, a right man found himself at the helm at the right moment. This man, Mr P V Narsimha Rao, reformed Indian economic policy. The results of this reform took time to show, but they began to show with time. This was another example to show that Indians had self respect, and they would go to great lengths to protect their self respect.

These two events, one being the opening of India economy (the date was 24 july 1991) and other being the nuclear tests on 11 may 1998, are as important in the history of modern India as 15 august 1947 and 26 january 1950. As far as the world was concerned, these two dates are of far more significance than they are to India. Opening of the Indian economy found India becoming an attractive destination of foreign investment and becoming a vast market as well.

When India exploded its nuclear devices on 11 may 1998, the world, which was largely anti India, condemned it. Most major countries imposed sanctions of India.

As noted earlier, India was already used to anti India conduct of USA and their friends. Even the “aid” that India used tyo receive from USA was in millions whereas someone like Pakistan used to receive aid in billions of dollars. So the tiny amount of a few million dollars of American aid did not hurt India much. Curiously, countries like Germany, France and UK could see what USA had not seen, that India was becoming a big market to do business with, and so they neither condemned Indian tests not imposed any sanctions on India. USA and Japan, alongwith China were the most vocal against Indian tests. And unsurprisingly, Pakistan.

Indians knew that Pakistan had acquired nuclear technology clandestinely from China. Threat from China and Pakistan was one of the major reasons why India felt compelled to become an nuclear power. Pakistan felt the urge to match India. They were pressurized by their public (also egged on and mocked at by Indian PM and home minister) into conducting their nuclear tests, wghile USA warned Pakistan against it. Pakistan succumbed to its domestic pressure and conducted its nuclear tests on 28 may 1998. This vindicated Indian accusation that Pakistan had already acquired the nuclear technology clandestinely with Chinese help. Pakistan had to come clean on its nuclear capabilities.

Like India, Pakistan too were slapped with economic sanctions.

What followed in the aftermath of these tests changed the course of International relations. India did not give a damn to USA sanctions but Pakistani economy crumbled. To save Pakistan, an ally of USA, USA looked for a face saving formula and removed the sanctions on the two countries, and at the same time hastily arranged for IMF loans to bail out Pakistani economy.

Soon enough, USA realized that India was a potential economic power and a vast market. And that India had the manpower to develop its own technologies if foreign technologies were denied to them. These realization, plus the knowledge that Indian nuclear programme was indigenous and not based on stealing, unlike Pakistan, meant that USA grudgingly began to give respect to India. Meanwhile tiny neighbors like Nepal and Sri Lanka also learnt to respect the new found assertiveness of India.

Today, in 2020, youngsters who find India being in good terms with USA and other major nations, can barely believe what I have written above. Today India can assert itself and is respected worldwide by the same countries that scorned and scoffed at India till 1998. All this change happened as a result of two major events of 1990s, namely opening of economy and conducting nuclear tests.

This second event took place on 11 may 1998 (viz on this day 22 years ago. Ever since, this date is observed in India as National Technological day. To my mind, it was much more than that. As far as I am concerned this day can as well be called “National Self Respect day.”

It was from this day onward that India became a self respecting and assertive nation. And this self respect and assertiveness began to show in different fields. For instance, India began to become a cricketing powerhouse, at a cricketing as well as at financial level. Indians began to shine in several areas. The area of IT, a new sector which did not exist back then in 1990s, is a sector that is today a sector where Indians thrive.

Today India is world’s fifth largest economy and looks set to become world’s third largest economy in one decade.

All the above feats have been achieved after Indians gained self confidence and self esteem. And that day was 11 may 1998. India has not looked back since.

“Parmaanu”(1998) is a movie that is based on the Pokharan nuclear tests of 1998 that changed the world. This is a very interesting movie. This movie was directed by Abhishek Verma for Zee Studios and JA Entertainment. The movie had John Abraham, Diana Penty, Boman Irani, Aditya Hitkari, Vikas Kumar, Yogendra Tiku, Ajay Shankar, Anuja Sathe, Darshan Pandya, Zachary Coffin, Mark Bennington, Satinder Singh Gahlot, Praveena Deshpande etc in it.

A dialogue of the movie, is my favorite dialogue. It should be the favorite dialogue of all self respecting Indians:-

ab ham dar ke shaant nahin baithhenge
kar ke shaant baithhenge

I watched this movie and loved it. I have covered two songs from this movie in the past. The second of these songs was covered on this date one year ago.

On the occasion of this great day in modern Indian history, here is a song from “Parmaanu”(1998). This song is sung by Divya Kumar. Vayu is the lyricist. Music is composed by Sachin Jigar.


Song-Ke mainu aisa lageya lageya (Parmaanu)(2018) Singer-Divya Kumar, Lyrics-Vayu, MD-Sachin Jigar

Lyrics

chorus

lageya lageya mainu lageya lageya mainu
lageya lageya mainu lageya lageya mainu

sabse pehle sabse badhke
dil mein mere hai ye mera watan
aasmaan bhi haar jaaye kar le koi jatan
sabse badhke dil mein mere hai ye mera watan
aasmaan bhi haar jaaye kar le koi jatan
mainu laggeya
ho mainu laggeya
ho mainu lageya lageya
lagi lageya laegeya laagi lageya kasumbi rang
ki aisa mainu lageya lageya
lagi lageya laegeya lagi lageya kasumbi rang
ki aisa mainu lageya lageya
mainu lageya laegeya mainu lageya kasumbi rang
ki aisa mainu lageya lageya
lagi lageya laegeya lagi lageya kasumbi rang

zid pe jo ad jaayenge
jag se bhi lad jayenge
aabru iski rakhne ko
ab to main waari jaawaan ye jivan
ki aisa mainu lageya lageya
lagi lageya laegeya lagi lageya kasumbi rang
ki aisa mainu lageya lageya
lagi lageya laegeya lagi lageya kasumbi rang
ki aisa mainu lageya lageya
lagi lageya laegeya lagi lageya kasumbi rang

chorus

apna loha maane duniya ye banaaya hai man
saara dum kham daal ke hum poora kar dein vachan
apna loha maane duniya ye banaaya hai man
sara dum kham daal ke hum poora kar dein vachan
darr se upar uthh gaye sar
hausle hain buland
is iraade ko hila de
har kisi mein kahaan hai itna dum
mainu laggeya
o ho mainu laggeya
ho mainu lageya lageya
lagi lageya laegeya lagi lageya kasumbi rang
ki aisa mainu lageya lageya
lagi lageya lageya lagi lageya kasumbi rang
ki aisa mainu lageya lageya
mainu lageya lageya mainu lageya kasumbi rang
ki aisa mainu lageya lageya
lagi lageya lageya lagi lageya kasumbi rang

zid pe jo ad jayenge
jag se bhi bhid jayenge
aabru iski rakhne ko ab to main waari jaawaan ye jeevan
ki aisa mainu lageya lageya
laagi lageya laegeya laagi lageya kasumbi rang
ki aisa mainu lageya lageya
laagi lageya laegeya laagi lageya kasumbi rang
ki aisa mainu lageya lageya
mainu lageya laegeya mainu lageya kasumbi rang
ki aisa mainu lageya lageya
lagi lageya laegeya laagi lageya kasumbi rang


This article is written by Peevesie’s Mom, 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 :

4298 Post No. : 15557

Hullo Atuldom

Today we are wishing the Apple of every cricket-loving-Indian’s eye A VERY HAPPY BIRTHDAY. This pyaara sa bachcha of India turns 47.

He is the inspiration to many in the current Indian cricket squad but he himself was inspired by the likes of Sunny Gavaskar, Kapil Dev etc. He is one lucky guy to have been able to share the dressing room with his idols. He made his debut in the cricketing world as a lad of 16 years and 205 days in Test cricket and was a month older when he got his place in the Indian One-day team. I am not going to state that he is the highest run scorer of all time in international cricket nor am I going to mention that he is the only player to have scored 100 international centuries. I am not a statistician but I used to admire his style of playing. I had a silly feeling that I should be away from the TV whenever he was reaching a milestone like 50 or 100. I remember seeing an India Australia one-day match at the Wankhede Stadium in Mumbai and we were rooting for his milestone and he got out 4 or 5 runs short of it; my son and brother-in-law who were with me decided to walk out. That is the kind of sentiments he generated in cricket-lovers.

We have one song from a movie called “Sachin: A Billion Dreams” which was posted on this date two years ago. That was a movie dedicated to the Little Master (as Sunny Gavaskar addressed our birthday boy) also called the Master Blaster by his fans. That movie was a biopic which had the Little Master as he is in flesh and blood. It showed his journey from a lad to the time India lifted the cricket World Cup in 2011. In his journey of nearly 25 years he was ranked the second best test batsman of all time by Wisden Cricketers’ Almanack- first rank being Sir Don Bradman (but of course). He was also the second best ODI batsman of all time, coming second to Vivian Richards. These are not my thoughts about the Little Master but what the followers of cricket feel.

Other than numerous man-of-the-match awards he has been bestowed with the Padma Shri and Padma Vibhushan. He is the only sportsperson to receive the Bharat Ratna, India’s highest civilian award. Even if he has retired from the game which he lived for he is never too far from the public eye. We see him regularly on TV in ads and in these trying times, of the current situation the world is facing, we can see him, along with his teammates, urge his fans to “Stay Safe and Be Safe”.

Today’s song is sung and composed by A R Rehman and written by Irshad Kamil.

Let us wish our Sachin 10dulkar (10 was his jersey number too) A VERY HAPPY BIRTHDAY

Audio (Full)

Video (partial)

Song-Hind mere jind (Sachin a billion dreams)(2017) Singer-A R Rahman, Lyrics-Irshad Kaamil, MD-A R Rahman

Lyrics

ooo ooo ooo o o o
ooo ooo ooo o o o

o o o beli
o beliya
o mere yaara
duniya ke taaraa
lo jaaga hai ae neendon se ae
lo jaaga hai ummeedon se
jeetegi raushni ee ee ee ee

hind mere jind
hind mere jind
o hind mere jind
hind mere jind
hind mere jind
hind mere jind
o hind mere jind ki pakki jeet
hind mere jind
hind mere jind
o hind mere jind,
hind mere jind
hind mere jind,
hind mere jind
o hind mere jind ki pakki jeet
ooo oooo oooo
oooo ooo oooo
oooo
oooo ooo o o o
o o o o o o o

hmmm hmmmmmm hmmm
hmmmm hmmmm hmmmm
hmmm hmmmmmm hmmm
hmmmm hmmmm hmmmm
hmmm hmmmmmm hmmm
hmmmm hmmmm hmmmm

hind mere jind, hind mere jind
o hind mere jind, hind mere jind
hind mere jind, hind mere jind
o hind mere jind ki pakki jeet
jeet jeet jeet jeet

ab sabhi maan lo baat yeh pyaar se
maante ho bhala kyun sada haar se
jo shikhar ke liye hai bana hind hai
woh meri jaan thha
woh meri jind hai
aa rahi hai sada
dil ke aataal(?) se
ab sabhi maan lo baat yeh
pyaar se

hind mere jind, hind mere jind
o hind mere jind, hind mere jind
hind mere jind
hind mere jind
o hind mere jind ki pakki jeet
hind mere jind, hind mere jind
o hind mere jind
hind mere jind
hind mere jind
hind mere jind
o hind mere jind ki pakki jeet
jeet jeet jeet jeet

ooooo oooooo ooooo
ooooo oooooo ooooo
ooooo oooooo ooooo


This article is written by Ava Suri, 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 :

4285 Post No. : 15334 Movie Count :

4282

Let me tell you a bit about the background of this post. My nephew works as an RJ for a radio station and he has a slot called ‘Golmaal Gagan ne bol diya to bol diya‘, which is an audio review of latest movies. The way things are these days I am sure he goes through a lot of pain watching substandard movies. He praised a recently released movie called ‘Jawaani Jaaneman’ (2020).  After listening to his review of this film I decided to watch it. Just as I was mulling over when to go to watch the movie, I got a message from our fellow Atulite Avinash. He wanted me to write up a bidaai song that was used in the film. Very kindly, he even sent me the lyrics of the song to help me.

There are many a slip between the cup and the lip, they say. There was a strike on uber cabs in my tricity on the day I was to go to see the movie. The strike went on for many days. One thing led to another and I was unable to watch the movie. Today I logged into Amazon Prime to check out what they were offering. On a whim, I looked to see if this movie had started streaming yet. Viola! It was there. I just spent my quarantine afternoon watching the film.

‘Jawa’ni Jaaneman’ stars Saif Ali Khan as Jazz, a Punjabi settled in London. He is an estate broker and not hugely successful. He believes in YOLO [You-Only-Live-Once] and spends his time partying hard and scoring with girls. He is at that awkward age that is on the cusp of elderliness. He needs root touch ups, dark glasses even at night to hide his wrinkly eyes and spectacles to read. Yet he wants to continue his unfettered lifestyle. A couple of girls rebuff him as an oldie, but many girls continue to fall for him, so he is happy. Into this walks a young girl, Tia, who claims to be his daughter. She turns his life upside down.

Tia is very ably played by Alaya Furniturewala, daughter of Pooja Bedi. She gets her looks from her mother, bindaas attitude from her grandmother Protima Bedi and acting chops from her grandfather, Kabir Bedi. She livens the movie up with her lovely performance as a girl in search of her father. Tabu plays the mother of Tia. Her performance was top notch as usual, though it saddened me deeply to see her showing her age. Farida Jalal plays Jazz’s mother; she is wasted, if you ask me. She barely has a part. Not that she disappointed, I wanted to see more of her.  I loved Kumud Mishra as Jazz’s older brother Dimpy. His part is small but he was so good in it.

I thought Saif is not his usual self in this movie. To be frank I have not seen too many recent movies. I have seen Saif in his earlier films and found him quite engaging. He looks the part, for sure. He is believable as a swinger in his forties. But playing the tumba every time the camera pans on Saif, to remind us that he is Punjab da Puttar, becomes a bit off putting. In my opinion, the movie had a slow start which picks up steam once Saif introduces his daughter to his family. It ends up nicely, if a bit predictably.

The song under discussion here is a bidaai song. Traditionally sung when the bride is about to leave her maternal home after marriage, here it is used when Tia has a fight with her father and decides to leave with her mother. Though Saif’s acting was largely lackluster, during this song his expressions were on point. Alaya shone as usual as a heart broken girl leaving her father after a tiff.

The opening of this song has been taken from a popular Punjabi song sung by the inimitable Surinder Kaur – “Madhaniyan, Haaye O Mere Daadeya Rabba, Kinnaan Jammiyaan Kinnaan Ne Lai Jaaniyaan“. It is a cry of despair by the bride at being cast out by her parents, her brothers and sisters-in-law.

Harshdeep Kaur is no stranger to us, having won several awards and being dubbed ‘Sufi ki Sultana’. I love most of the songs sung in her rich voice. Here too, her lovely voice tugs at our heart strings.

I am trying to attempt a translation of the song. I am not sure I am up to it, so please excuse my gauche efforts.

haaye o mere daadeya rabba
kinnaa jammeya
kinnaa ne lai jaaneya haaye
inj lagdaa mainu haan
jinve rusiyaa saara jahaanteri ankh daa taara
vagge paani khaara

kyun pichchhe aye mudna
dil aisaa aye tuteyaa

roye aangan vehda
nai lagnaa pheraa

mere baabula
mere baabula
tera lakht-e-jigar aj challeyaa

mere athroo jaande
sukh de ve ae ae ae
te pair naa jaande rukde ve ae

meri marzi na muskaandi aye
te qismat payi aazmaandi aye

jinve pura ghar tere naal gayaa
har rut har mausam saal gayaa

naa aahat naa koi dastak hai
ghar bin tere bematlab hai

inj lagdaa mainu haan
jinve rusiyaa saara jahaan

teri ankh daa taara
vagge paani khaara

kyun pichchhe hai mudna
dil aisa aye tuteyaa

roye aangan vehda
nai lagnaa pheraa aa aa aa aa

kalla hoya kalla hoya
mera lakht-e-jigar aj challeyaa

 


oh god you are so tough on me,
those who gave birth to me
are sending me away
i feel the whole world
has turned its face from methe star of your eyes
is crying bitter tears

why should i look back
my heart is broken
my house and courtyard cry
will you never return?

my father
my father
the darling of your heart is leaving today
my eyes are drying up
yet my feet do not want to stay

my desires have stopped smiling
fate is testing me

my whole house is empty,
(it has departed with you)
all the seasons, all the years are gone
the house has fallen into silence
it is no home without you

i feel as if the whole world
has turned its face from me

the star of your eyes
cries bitter tears

why look back on
my heartbreak

the home  and courtyard cry out
will you ever return?

i am left all alone
my heart’s darling has left

 

Song – Mere Baabula Mere Baabula, Tera Lakht e Jigar Ajj Challeya (Jawwani Jaaneman) (2020) Singer – Harshdeep Kaur, Akhil Sachdeva, Lyrics – Shailender Singh Sodhi (Shellee), MD – Gourov-Roshin

Lyrics (Provided by Avinash Scrapwala)
(Based on Video Version)

hmm hmm hmm hmm
ho o o o o
hmm hmm hmm mm mm
hmm hmm

haaye o mere daadeya rabba
kinnaan jammiyaan
kinnaan ne lai jaaniyaaan haaye

haaye o mere daadeya rabba
kinnaan jammiyaan
kinnaan ne lai jaaniyaaan aa aa aa haaye

enj lagdaa mainu haan
jinven ruseyaa saara jahaan
teri aakh daa taara
vagge paani khaara
kyun pichhe ae mudna
dil aisaa ae tuteyaa
roye aangan vehda
nai lagna pheraa aa aa aa aa

mere baabula
mere baabula
tera lakht e jigar aj challeya

mere baabula
mere baabula
tera lakht e jigar aj challeya

mere baabula
nazraan mila
aj bin doli turr challiyaan
mere baabula
mere baabula
tera lakht e jigar aaj challeya
aa aa aa

mere athroo jaande sukkde ve ae ae ae
te pair ne jaande rukde ve ae
mere athroo jaande sukkde ve
te pair ne jaande rukde ve
meri marzi na muskaandi ae
te qismat payi aazmaandi ae
haaye ae ae ae
enj lagdaa mainu haan
jinven ruseyaa saara jahaan
teri aakh daa taara
vagge paani khaara
kyun pichhe ae mudna
dil aisa ae tuteyaa
roye aangan vehda
nai lagna phera aa aa aa aa

mere baabula
mere baabula
tera lakht e jigar aj challeya

mere baabula
mere baabula
tera lakht e jigar aj challeya

mere baabula
nazraan mila
aj bin doli turr challiyaan aa
mere baabula
mere baabula
tera lakht e jigar aj challeya
aa aa aa

jinven pura ghar tere naal gayaa aa aa
har rut har mausam saal gayaa aa
jinven pura ghar tere naal gayaa
har rut har mausam saal gayaa
naa aahat naa koi dastak hai
ghar bin tere bematlab hai
haaye ae ae ae
enj lagdaa mainu haan
jinven rusiyaa saara jahaan
teri aakh daa taara aa
vagge paani khaara aa aa
kyun pichchhe hai mudna
dil aisa hai tuteyaa
roye aangan vehda
nai lagnaa pheraa aa aa aa aa

kalla hoya kalla hoya
mera lakht e jigar aj challeyaa
kalla hoya kalla hoya
mera lakht e jigar aaj challeyaa
kalla hoya kalla hoya
mann da manzar tur challeya
kalla hoya kalla hoya
mera lakht e jigar aaj challeyaa
aa aa aa aa aa

haaye o mere daadeya rabba
kinnaan jammiyaan
kinnaan ne lai jaaniyaan hai ae ae ae ae

———————————————————-
Hindi script lyrics (Provided by Sudhir Kapur)
———————————————————-
(विडियो पर आधारित)

हम्म हम्म हम्म हम्म
हो ओ ओ ओ ओ
हम्म हम्म हम्म मम्म मम्म
हम्म हम्म

हाए ओ मेरे डाडेया रब्बा
किन्नां जम्मीयाँ
किन्नां ने लै जानियाँ हाए

हाए ओ मेरे डाडेया रब्बा
किन्नां जम्मीयाँ
किन्नां ने लै जानियाँ हाए

एञ्ज लग्दा मैंनूँ हाँ
जिंवें रुसेया सारा जहाँ
तेरी आक्ख दा तारा
वग्गे पानी खारा’
क्यों पिच्छे ए मुड़ना
दिल ऐसा ए टुट्टेआ
रोये आँगन वेहड़ा
नइं लगना फेरा आ आ आ

मेरे बाबुला
मेरे बाबुला
तेरा लख़्त ए जिगर आज्ज चल्लेया

मेरे बाबुला
मेरे बाबुला
तेरा लख़्त ए जिगर आज्ज चल्लेया

मेरे बाबुला
नज़राँ मिला
आज बिन डोली टुर्र चल्लीआँ
मेरे बाबुला
मेरे बाबुला
तेरा लख़्त ए जिगर आज्ज चल्लेया
आ आ आ

मेरे अत्थरू जांदे सुकदे वे ए ए ए
ते पैर ने जांदे रुकदे वे ए
मेरे अत्थरू जांदे सुकदे वे
ते पैर ने जांदे रुकदे वे
मेरी मर्ज़ी ना मुस्कान्दी ए
ते क़िस्मत पई अज़्मांदी ए
हाए ए ए
एञ्ज लग्दा मैंनू हाँ
जिंवें रुसेया सारा जहाँ
तेरी अक्ख द तारा
वग्गे पानी खारा
क्यों पिच्छे ए मुड़ना
दिल ऐसा ए टुट्टेआ
रोये आँगन वेहड़ा
नइं लगना फेरा आ आ आ

मेरे बाबुला
मेरे बाबुला
तेरा लख़्त ए जिगर आज्ज चल्लेया

मेरे बाबुला
मेरे बाबुला
तेरा लख़्त ए जिगर आज्ज चल्लेया

मेरे बाबुला
नज़राँ मिला
आज बिन डोली टुर्र चल्लीआँ
मेरे बाबुला
मेरे बाबुला
तेरा लख़्त ए जिगर आज्ज चल्लेया
आ आ आ

जींवें पूरा घार तेरे नाल गया आ आ
हर रुत हर मौसम साल गया आ
जींवें पूरा घार तेरे नाल गया आ आ
हर रुत हर मौसम साल गया आ
ना आहट ना कोई दस्तक है
घार बिन तेरे बेमतलब है
हाए ए ए ए
एञ्ज लग्दा मैंनू हाँ
जिंवें रुसेया सारा जहाँ
तेरी अक्ख द तारा
वग्गे पानी खारा
क्यों पिच्छे ए मुड़ना
दिल ऐसा ए टुट्टेआ
रोये आँगन वेहड़ा
नइं लगना फेरा आ आ आ

कल्ला होया कल्ला होया
मेरा लख़्त ए जिगर आज्ज चल्लेया
कल्ला होया कल्ला होया
मेरा लख़्त ए जिगर आज्ज चल्लेया
कल्ला होया कल्ला होया
मन दा मंज़र टुर्र चल्लेया
कल्ला होया कल्ला होया
मेरा लख़्त ए जिगर आज्ज चल्लेया
आ आ आ आ आ

हाए ओ मेरे डाडेया रब्बा
किन्नां जम्मीयाँ
किन्नां ने लै जानियाँ हाए ए ए ए

———————————————————-
Gurmukhi script lyrics (Provided by Gajendra Khanna)
———————————————————-

ਹ੍ਮ੍ਮ ਹ੍ਮ੍ਮ ਹ੍ਮ੍ਮ ਹ੍ਮ੍ਮ
ਹੋ ਓ ਓ ਓ ਓ
ਹ੍ਮ੍ਮ ਹ੍ਮ੍ਮ ਹ੍ਮ੍ਮ ਮ੍ਮ ਮ੍ਮ
ਹ੍ਮ੍ਮ ਹ੍ਮ੍ਮ

ਹਾਏ ਓ ਮੇਰੇ ਡਾਡਿਯਾ ਰੱਬਾ
ਕਿੰਨਾਂ ਜਮਿਯਾਂ
ਕਿੰਨਾਂ ਨੇ ਲੈ ਜਾਨਿਯਾਂ ਹਾਏ
ਹਾਏ ਓ ਮੇਰੇ ਡਾਡਿਯਾ ਰੱਬਾ
ਕਿੰਨਾਂ ਜਮਿਯਾਂ
ਕਿੰਨਾਂ ਨੇ ਲੈ ਜਾਨਿਯਾਂ ਆ ਆ ਆ ਹਾਏ

ਇੰਜ ਲੱਗਦਾ ਮੈਨੂੰ ਹਾਂ
ਜਿਵੇਂ ਰੁਸਿਯਾ ਸਾਰਾ ਜਹਾਂ
ਤੇਰੀ  ਅੱਖ ਦਾ ਤਾਰਾ
ਵੱਗੇ ਪਾਣੀ ਖਾਰਾ
ਕਯੂੰ ਪਿੱਛੇ  ਏ ਮੁੜਨਾ
ਦਿਲ ਐਸਾ ਏ  ਟੁਟਿਆ
ਰੋਏ ਆਂਗਨ ਵੇੜਾ
ਨਹੀਂ ਲਗਣਾ ਫੇਰਾ ਆ ਆ ਆ ਆ

ਮੇਰੇ ਬਾਬੁਲਾ
ਮੇਰੇ ਬਾਬੁਲਾ
ਤੇਰਾ ਲਖਤੇ ਜਿਗਰ ਅਜ ਚਲਿਆ

ਮੇਰੇ ਬਾਬੁਲਾ
ਮੇਰੇ ਬਾਬੁਲਾ
ਤੇਰਾ ਲਖਤੇ ਜਿਗਰ ਅਜ ਚਲਿਆ

ਮੇਰੇ ਬਾਬੁਲਾ
ਨਜ਼ਰਾਂ ਮਿਲਾ
ਅੱਜ ਬਿਨ ਡੋਲੀ ਤੁਰ ਚਲੀਆਂ
ਮੇਰੇ ਬਾਬੁਲਾ
ਮੇਰੇ ਬਾਬੁਲਾ
ਤੇਰਾ ਲਖਤ-ਏ-ਜਿਗਰ ਅੱਜ ਚਲਿਆ
ਆ ਆ ਆ

ਮੇਰੇ ਅਥਰੂ ਜਾਂਦੇ ਸੁੱਕਦੇ ਵੇ ਏ ਏ ਏ
ਤੇ ਪੈਰ ਨੇ ਜਾਂਦੇ ਰੁਕਦੇ ਵੇ ਏ
ਮੇਰੇ ਅਥਰੂ ਜਾਂਦੇ ਸੁੱਕਦੇ ਵੇ
ਤੇ ਪੈਰ ਨੇ ਜਾਂਦੇ ਰੁਕਦੇ ਵੇ
ਮੇਰੀ ਮਰਜ਼ੀ ਨਾ ਮੁਸ੍ਕਾਂਦੀ ਏ
ਤੇ ਕਿਸਮਤ ਪਯੀ ਆਜ਼ਮਾਂਦੀ ਏ
ਹਾਏ ਏ ਏ ਏ
ਇੰਜ ਲਗੱਦਾ ਮੈਨੂੰ ਹਾਏ
ਜਿਵੇਂ ਰੁਸਿਯਾ ਸਾਰਾ ਜਹਾਂ
ਤੇਰੀ ਅੱਖ ਦਾ ਤਾਰਾ
ਵੱਗੇ ਪਾਣੀ ਖਾਰਾ
ਕਯੁਂ ਪਿੱਛੇ ਏ ਮੁੜਨਾ
ਦਿਲ ਐਸਾ ਏ ਟੁਟਿਆ
ਰੋਏ ਆਂਗਨ ਵੇੜਾ
ਨਹੀਂ ਲਗਨਾ ਫੇਰਾ ਆ ਆ ਆ ਆ

ਮੇਰੇ ਬਾਬੁਲਾ
ਮੇਰੇ ਬਾਬੁਲਾ
ਤੇਰਾ ਲਖਤ-ਏ-ਜਿਗਰ ਅੱਜ ਚਲਿਆ

ਮੇਰੇ ਬਾਬੁਲਾ
ਮੇਰੇ ਬਾਬੁਲਾ
ਤੇਰਾ ਲਖਤ-ਏ-ਜਿਗਰ ਅੱਜ ਚਲਿਆ

ਮੇਰੇ ਬਾਬੁਲਾ
ਨਜ਼ਰਾਂ ਮਿਲਾ
ਅੱਜ ਬਿਨ ਡੋਲੀ ਤੁਰ ਚਲੀਆਂ ਆ
ਮੇਰੇ ਬਾਬੁਲਾ
ਮੇਰੇ ਬਾਬੁਲਾ
ਤੇਰਾ ਲਖਤ-ਏ-ਜਿਗਰ ਅੱਜ ਚਲਿਆ
ਆ ਆ ਆ

ਜਿੰਵੇਂ ਪੂਰਾ ਘਰ ਤੇਰੇ ਨਾਲ ਗਯਾ ਆ ਆ
ਹਰ ਰੁਤ ਹਰ ਮੌਸਮ ਸਾਲ ਗਯਾ ਆ
ਜਿੰਵੇਂ ਪੂਰਾ ਘਰ ਤੇਰੇ ਨਾਲ ਗਯਾ
ਹਰ ਰੁਤ ਹਰ ਮੌਸਮ ਸਾਲ ਗਯਾ
ਨਾ ਆਹਟ ਨਾ ਕੋਈ ਦਸਤਕ ਹੈ
ਘਰ ਬਿਨ ਤੇਰੇ ਬੇਮਤਲਬ ਹੈ
ਹਾਏ ਏ ਏ ਏ

ਇੰਜ ਲਗੱਦਾ ਮੈਨੂੰ ਹਾਂ
ਜਿੰਵੇਂ ਰੁਸਿਆ ਸਾਰਾ ਜਹਾਂ
ਤੇਰੀ ਅੱਖ ਦਾ ਤਾਰਾ ਆ
ਵੱਗੇ ਪਾਣੀ ਖਾਰਾ ਆ ਆ
ਕਯੁਂ ਪਿੱਛੇ ਹੈ ਮੁੜਨਾ
ਦਿਲ ਐਸਾ ਹੈ ਟੁਟਿਆ
ਰੋਏ ਆਂਗਨ ਵੇਹੜਾ
ਨਹੀਂ ਲਗਣਾ ਫੇਰਾ ਆ ਆ ਆ ਆ

ਕੱਲਾ ਹੋਯਾ ਕੱਲਾ ਹੋਯਾ
ਮੇਰਾ ਲਖਤ-ਏ-ਜਿਗਰ ਅੱਜ ਚਲਿਆ
ਕੱਲਾ ਹੋਯਾ ਕੱਲਾ ਹੋਯਾ
ਮੇਰਾ ਲਖਤ-ਏ-ਜਿਗਰ ਅੱਜ ਚਲਿਆ
ਕੱਲਾ ਹੋਯਾ  ਕੱਲਾ ਹੋਯਾ
ਮੰਨ ਦਾ ਮੰਜ਼ਰ ਤੁਰ ਚਲਿਆ
ਕੱਲਾ ਹੋਯਾ ਕੱਲਾ ਹੋਯਾ
ਮੇਰਾ ਲਖਤ-ਏ-ਜਿਗਰ ਅੱਜ ਚਲਿਆ
ਆ ਆ ਆ ਆ ਆ  

ਹਾਏ ਓ ਮੇਰੇ ਦਾਦਿਆ ਰੱਬਾ
ਕਿੰਨਾਂ ਜੰਮਿਆਂ
ਕਿੰਨਾਂ ਨੇ ਲੈ ਜਾਣੀਆਂ ਹਾਏ ਏ ਏ ਏ

 

 

 

 

 

 


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 :

4283 Post No. : 15530

—————————————————————————
Blog 10-Year Challenge (2010-2020) – Song No. 19
—————————————————————————

Regulars on the blog would be surprised to see my post covering a song from the forties or rather from the decade of ‘thirties’-1931-40.

My forte is the movies from the ‘seventies’. But, yes, I have from time to time shared songs from movies before the years of ‘seventies’ too.
As a music lover, I love the songs from the ‘golden period’ or ‘pre-golden period’ of Hindi cinema. I have a great admiration for the stalwarts of that era and a great fascination of the movies and songs of that era.

During my childhood days, I got to watch many movies of the ‘black & white’ era e.g. ‘Dillagi-1949’, ‘Dard-1947’, ‘Dulaari-1949’ etc. during the regular weekly screening of movies at our colony recreation club.

I don’t think I have ever watched a movie from the decade of 1931-1940. So, when I noticed this movie ‘Nartaki-1940’ falling under ‘blog ten year challenge’ of today 09.04.2020 I browsed its pending songs, and when I found that a song from the great Pankaj Mallick is pending to be posted, it was enough reason for me to share this song.

A few years back I got to watch a documentary on ‘New Theatres’ on ‘Doordarshan’ and I got to watch it more than once. The great Pankaj Mallick and songs sung by him have special place in my heart so I am more than happy to share this song here today.

HFGK Vol 1 1931-1940 mentioned this song in two versions (i.e. Male version and Female Version by Roop Kumari). The audio/video links of the song available were only for the male version sung by Pankaj Mallick or some mentioned them as Pankaj Mallick and chorus.

As the movie was available online, I decided to watch this movie. For me this is the oldest movie I have watched till date. And, for me, the current ‘situation’ makes it a special occasion and a very ‘special movie’ to watch and to remember as a ‘memory of these days’.

(Imagine what record I have created for me :). I have watched a movie released twenty-eight before I was born and I have watched a movie seventy-nine years after it was released. 🙂 (This movie was passed by the then Bengal Board of Censors on 18.12.1940).

After watching this movie, I can say that there is no female version sung by Roop Kumari for today’s song as mentioned in HFGK. (And I think this needs to be corrected in HFGK).

Coming back to the movies represented ten years back on this day we have the following songs represented on the blog on 09.04.2010 including a song from this movie ‘Nartaki-1940’;

Song Movie title-Year Remarks
Dene waala jab bhi detaa … Funtoosh-1956 All songs covered (08)
Dil mein hamaare kaun samaayaa… Adhikaar-1954 All songs covered (08)
Beqaraar hai koi Shama Parwaana-1954 All songs covered (11)
Prem ka naataa chhootaa Nartaki-1940 05 of 08 songs covered

So far, following songs from “Nartaki-1940” have been covered on the blog;

Song Posted On
Prem ka naataa chhootaa 09.04.2010
Madbhari rut jawaan hai 21.09.2011
Ye kaun aaj aayaa sawere sawere 15.03.2011
Aankh moond kar dhyaan 10.06.2011
Teri dayaa se ae daayee 12.10.2011

let us now enjoy this song for today …

(video) (Part-1)

Video (Part II)


Audio (Record version)

Song-Kaun tujhe samjhaaye (Nartaki)(1940) Singer-Pankaj Mullick, Lyrics-AArzoo Lucknow, MD-Pankaj Mullick

Lyrics
——————————-
Video (Part I)
——————————-

kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye
kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye

prem parikshaa(?)
ulte seedhe donon baan chalaaye
ae ae
bhed chhipaaye
marey ghut ghut ke
kahe to maaraa jaaye ae
bhed chhipaaye
marey ghut ghut ke
kahe to maaraa jaaye ae
moorakh
kaun tujhe samjhaaye
kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye

(conversation between the actor & actress, not included)

kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye
kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye

prem juaa aur laabh ki aasha
jo hai ye bhi jaaye ae ae ae
prem juaa aur laabh ki aasha
jo hai ye bhi jaaye ae ae ae
man maujan ki ulti Gangaa
jeeta daanv haraaye
moorakh
kaun tujhe samjhaaye ae

(song continues in the background as the actor & actress are shown walking together)

kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye
apni chaal badalnaa maanjhi
ee ee ee ee
apni chaal badalnaa maanjhi
mauj bhanwar naa sataaye
swarg ghaat ko jaati naiyya
narak pahunch na jaaye ae
swarg ghaat ko jaati naiyya
narak pahunch na jaaye
moorakh
kaun tujhe samjhaaye ae

———————————
Video (Part II)
———————————-

kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye ae
kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye ae
prem juaa aur laabh ki aasha aa
jo hai ye bhi jaaye ae ae ae
prem juaa aur laabh ki aasha
jo hai ye bhi jaaye ae
man maujan ki ulti Gangaa
jeeta daanv haraaye
moorakh
kaun tujhe samjhaaye ae

(dialogues, not included)

apni chaal badalnaa maanjhi
ee ee ee ee
apni chaal badalnaa maanjhi
mauj bhanwar naa sataaye ae
swarg ghaat ko jaati naiyya
narak pahunch na jaaye ae ae …

—————————————————-
(chorus) (record version)
—————————————————–
kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye
kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye
prem juaa aur laabh ki aasha
jo hai ye bhi jaaye ae ae ae
prem juaa aur laabh ki aasha
jo hai ye bhi jaaye ae ae ae
man maujan ki ulti Gangaa
jeeta daanv haraaye
moorakh
kaun tujhe samjhaaye ae

prem parikshaa (?)
ulte seedhe donon baan chalaaye
ae ae
prem parikshaa(?)
ulte seedhe donon baan chalaaye
ae ae
bhed chhipaaye
marey ghut ghut ke
kahe to maaraa jaaye ae
bhed chhipaaye
marey ghut ghut ke
kahe to maaraa jaaye ae
moorakh
kaun tujhe samjhaaye

apni chaal badalnaa maanjhi
ee ee ee ee ee ee ee ee
apni chaal badalnaa maanjhe
mauj(?) bhanwar naa sataaye
swarg ghaat ko jaati naiyya
narak pahunch na jaaye ae
swarg ghaat ko jaati naiyya
narak pahunch na jaaye ae
moorakh
kaun tujhe samjhaaye ae
kaun tujhe samjhaaye moorakh
kaun tujhe samjhaaye


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Blog Day: 4263 Post No.: 15489

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Blog 10-Year Challenge (2010-2020) – Song No. 13
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In olden days (even today for that matter) Indians were expected to behave in a particular manner. For instance, when it came to their day to day live, most of them were “gareeb” and they were told that they had the sole right on the resources of the nation in the form of doles aka subsidies. All political parties claimed to be pro poor parties and promised to “hataao” gareebi if voted to power. After repeatedly getting voted to power on the plank of hataaoing gareebi, the same politicians now claim to be for the “gareeb”. These “gareeb” are supposed to be gullible possessing of short memory so the politicians can get away despite failing to fulfill their past promises.

Movie makers were no different. They too made movies for the same segment of society that were treated as “gareeb” by the political classes. This section of society was supposed to like movies with escapist stories that bore little resemblance to real life. Depicting real life was considered no no. Movies depicting real life were considered boring. Why would a “gareeb” audience come to the movie hall to watch movies depicting his real dull life ? This was what the movie makers believed in.

Sometimes, some movie makers would make movies with realistic movies. Ordinary movie goers and even press would describe these movies as boring. Most movies like this flopped.

Top stars acted in such movies for creative satisfaction, but the ordinary fans felt betrayed when they would go to the movie hall and find their star sans his usual mannerisms.

Rajesh Khanna is “Aavishkaar” (1973), and Amitabh Bachchan in “Man Aazaad Hoon” (1990) are two such movies that readily comes to my mind.

“Aavishkaar” (1973) was directed by Basu Bhattacharya Aarohi Film Makers Bombay. This movie had Rajesh Khanna, Sharmila Tagore, Dina Gandhi, Denis Clement, Satyen Kappu, Monika Jasnan (child artist), Devendra Khandelwal, Margaret, new discoveries Mahesh Sharma and Minna Johar etc in it.

The movie dealt with a real life “boring” tale, viz the marital life of a couple, played by Rajesh Khanna and Sharmila Tagore. Fans of superstar Rajesh Khanna, who went to the movie hass expecting a movie like “Aaraadhana”(1969) were disappointed. There was no way juvenile fans (including yours truly) of Rajesh Khanna, who were brought up on stuff like “Haathi Mere Saathi”(1971) and “Apna Desh” (1972) were going to like this movie.

This movie was only for “mature” movie goers. Just like “rich” people were looked down upon by “gareeb” people, “mature” people, with their occasional boring movies were looked down upon by people loving “mainstream” movies.

Please do not believe the review of “Aavishkaar”(1973) that is carried by wikipedia etc. These reviews are written with the benefit of hindsight by people who were not even born when this movie was released. I remember the reviews carried out in mainstream Hindi media during 1973 which bore no resemblance whatsoever with its review that we now find online.

Coming to the songs of the movie, “Aavishkaar” (1973) had five songs in it. Four of these songs are covered in the past as described hereunder:-

Song Posted On
Hansne ki chaah ne kitna mujhe 19.09.2008
Naina hain pyaase mere 20.03.2010
Mahaa shoonya ke mahaan vistaar mein 18.07.2016
Baabul mora, naihar chhuto hi jaaye 27.05.2019

From the table above, we can see that one song from the movie was covered on this day, ten years ago. So, this movie provides us an opportunity to have a blog ten year challenge. At the same time, all the songs of the movie get covered as well.

Ten years ago on this day, two songs were covered in the blog

Song Movie title-Year Remarks
Naina hain pyaase mere Aavishkaar-1973 04 of 05 songs posted
Kaali badariya maare najariya Do Roti-1957 All Songs posted on the blog

Here is the fifth and final song from “Aavishkaar”(1973) to appear in the blog. The song is sung by Manna Dey. Gyandev Agnihotri is the lyricist. Music is composed by Kanu Roy.

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

With this song, “Aavishkaar”(1973) joins the list of movies that have all their songs covered in the blog.

Video

Audio

Song-Maa ko pukaar kar poochha bachche ne (Aavishkaar)(1973) Singer-Manna Dey, Lyrics-Gyandev Agnihotri, MD-Kanu Roy

Lyrics(Provided by Avinash Scrapwala)

maa ko pukaar kar poochha bachche ne
aaya kahaan se hoon maa
bolo to
padaa kahaan paaya
bolo to
sun kar sawaal ye
maa ke stanon se ufan padaa doodh
aur bah aaya aankhon se
uttar

mere laal
tum to hamesha thhe
mere man ki abhilaasha mein
tan ki paribhaasha mein
bachpan ke gudiyaaghar mein ae
kitni baar tujhe
khelte khelte
toda aa
todte todte ae
jodaa aa

paakar khoya aur
kho kar payaa aa hai
kahaan se bataaun tu aaya hai
padaa tujhe maine kahaan paaya hai
mere ae laal

tu
haan tu hi to hai
meri amar aasha
subah ka sapna
maa aur daadi ki
sunehri khwaahish
prem ki paramparaa aa
aag ki khwaahish
aur prem ki aasha se
bani teri kaaya hai
kahaan se bataaun tu aaya hai
padaa tujhe maine kahaan paaya hai
mere laal

————————————
Devnagri Script lyrics(Provided by Avinash Scrapwala)
—————————————
माँ को पुकार कर पूछा बच्चे ने
आया कहाँ से हूँ माँ
बोलो तो
पडा कहाँ पाया
बोलो तो
सुन कर सवाल ये
माँ के स्तनों से उफन पडा दूध
और बह आया आँखों से
उत्तर

मेरे लाल
तुम तो हमेशा थे
मेरे मन की अभिलाषा में
तन की परिभाषा में
बचपन के गुड़ियाघर में ए
कितनी बार तुझे
खेलते खेलते तोड़ा आ
तोड़ते तोड़ते ए
जोड़ा आ

पाकर खोया और
खो कर पाया आ है
कहाँ से बताऊँ तू आया है
पडा तुझे मैंने कहाँ पाया है
मेरे ए लाल

तू
हां तू ही तो है
मेरी अमर आशा
सुबह का सपना
माँ और दादी कि
सुनहरी ख्वाईश
प्रेम की परंपरा आ
आग की ख्वाईश
और प्रेम की आशा से
बनी तेरी काया है
कहाँ से बताऊँ तू आया है
पडा तुझे मैंने कहाँ पाया है
मेरे लाल


Blog Day : 4228 Post No. : 15436

“Paataal Bhairavi”(1952) was a remake/ dubbing of a blockbuster Telugu movie of the same name. This movie was produced by B Nag Reddy and Chakrapani and directed by K V Reddy for Vijaya Vauhini Productions, Madras. The producers were the same people who were also behind the publication of the popular Children’s magazine “Chandamama”, which was published in many languages of India.

The movie had N T Rama Rao, S V Ranga Rao, C S R Relangi, Balakrishnan, Padmnabhan, Malti, T G Kamla, Laxmikantham, Hemaltamma Rao, Girija, Surbhi Kamala, Chitti etc in it.

The movie had nine songs in it. Three songs have been cobvered in the past.

Here is the fourth song from “Paataal Bhairavi”(1952) to appear in the blog. This song is sung by Talat Mehmood. Pt Indra Chandra is the lyricist. Music is composed by Ghantsala.

The song is picturised as a background song in the movie.

I am unable to identify the actors who are seen in the picturisation. I request our knowledgeable readrs to help identify them.


Song-Prem panthh ko chala musaafir ban kar deewaana(Paataal Bhairavi)(1952) Singer-Talat Mehmood, Lyrics-Pt Indra Chandra, MD-Ghantsala

Lyrics

Prem panthh ko chala musaafir
ban kar deewaana
musaafir ban kar mastaana
Prem panthh ko chala musaafir
ban kar deewaana
musaafir ban kar mastaana
kathhin dagariya door nagariya
sambhal sambhal kar jaana
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa
aa aa
kathhin dagariya door nagariya
sambhal sambhal kar jaana
laagi najariya baali umariya
na jaana pahchaana
Prem panthh ko chala musaafir
ban kar deewaana
musaafir ban kar mastaana

pyaar bhara hai dil maata ka
usko na bisraana
pyaar bhara hai dil maata ka
usko na bisraana
koi na apna sangi saathhi
saara desh begaana
Prem panthh ko chala musaafir
ban kar deewaana
musaafir ban kar mastaana

rang bhari dulhan ki aahen
dil ka dard na jaana
rang bhari dulhan ki aahen
dil ka dard na jaana
rahi tadapti shama akeli
roothh chala parwaana
Prem panthh ko chala musaafir
ban kar deewaana
musaafir ban kar mastaana
musaafir ban kar mastaana


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 ELEVEN years. This blog has more than 15600 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15695

Number of movies covered in the blog

Movies with all their songs covered =1211
Total Number of movies covered =4321

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