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

Archive for the ‘Bhajan’ 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 :

4084 Post No. : 15224

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Blog 10-Year Challenge (2009-19) – Song No. 46
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Today I present a song from the 1974 movie ‘Aarop’. (Yes! the year of this movie needs to be corrected as ‘1974’. It was passed by Censor Board on 16.01.1974).

“Aarop-1974” is one of the two movies which are falling under ‘Blog Ten Year Challenge’ today on 23.09.2019. The other movie is ‘Fashion-1957’.

As many as six movies were represented on the blog with their songs ten years back on the blog viz on 23.09.2009. Their details as well as the present status of the movies that these songs were from are as under :

Jhinchak jhinchakAarop-197304 of 07 songs coveredBahaaron se poochho…laakh sambhaalaFashion-195706 of 08 songs coveredKuchh bhi na bolengeWaaris-1954All Songs covered in the blogMera naram karejwa dol gayaAarzoo-1950All Songs covered in the blogRaat hai taaron bhariPardes-1950All Songs covered in the blogNaina deewaane ek nahin maaneAfsar-1950All Songs covered in the blog

Song Movie title-Year Remarks

“Aarop-1974” was directed by Atmaram for ‘Gurudutt Films Combine, Bombay’. Atmaram (Guru Dutt’s brother) also wrote the story and screenplay of this movie.

It had Saira Banu, Vinod Khanna, Vinod Mehra, Rehman, Bindu, Bharat Bhushan, Keshto Mukherji, Paintal, Gulshan Arora, Kundan, Savita, Manik, Murad, Krishnakant, Jankidas, Rajan Haksar, Maruti, Viju Khote, Pardesi, Bhagwan, Sabina, Chandu, Mohan Choti and Johny Walker.
Lily Chakravarti, Rajesh Behl, Raj Mehra makes a ‘guest appearance’ in this movie.

Y.G. Chavhan was the editor for this movie. Dialogues of this movie were written by Vrajendra Gaud. Govind Singh was the Chief Assistant Director and Ram Govind was the assistant in screenplay.

For me I was familiar with only one song ‘nainon mein darpan hai, darpan mein koyi’ . Later on, when I started collecting cassettes, I was looking for this song and then I got to know the name of the movie this song was from. But I think this song was not easily available then.

After many years I came to know about the music composer of this movie and it was Bhupen Hazarika. Earlier I thought that it was composed by the duo Laxmikant-Pyarelal.

This movie had as many as eight songs in it. Though HFGK mentioned it as having seven songs- including one two-part song.
But, during the preparation for this article I watched this movie which is available online and I think out of the three Manna Dey solo songs two may have been excluded from the movie, or either they have been edited from the version of the movie available online.
(I think correction is also required in HFGK movie page of this movie ‘Aarop-1974’ as the sequence of the songs is not as per their appearance in the movie).

Lyrics for all the songs in this movie were written by Maya Govind. As mentioned above music of this movie was composed by Bhupen Hazarika.
The titles of the movie mentioned that the Bhajans in this movie are based on the tunes of the devotional songs of Saint Kavi Shankar Dev from Assam.

One can experience that essence (or in my words ‘mere desh ki mitti ki khushboo’) in the song being presented today.

Asha Bhonsle (two solo songs), Kishore Kumar and Lata Mangeshkar (one duet song only and they most popular from this movie), Laxmi Shankar (one solo), Bhupen Hazarika and K.N. Sharma (one song together) and Manna Dey (three solo songs) gave their voices to the songs in this movie.

Out of the eight songs from this movie four songs have already been posted on the blog. From the remaining songs I had option of two Manna Da songs (they are available combined in one link online), one song by Asha Bhonsle (which again is picturized on Bindu, this time a mujra song and ten years back already a cabaret song picturized on Bindu was posted on the same day), and one song sung by Bhupen Hazarika and K.N.Sharma.

When I saw that there is a song having Bhupen Hazarika’s voice and still to be posted I selected this for they presentation today. The video for this song was already available and I came to know that this is not a full video of the song, but partial video only, when I tried to locate the audio/video of other pending songs from this movie. I find that the full audio song was available.
I think today’s song must be the first song in Hindi movies which was sung by Bhupen Hazarika.

On screen it is lip synced by Bharat Bhushan while the ‘shlokas’ from Bhagwat Geeta are played in the background. Saira Banu is also present during this song which is picturized in a temple where Bharat Bhushan is the priest.

As mentioned above I had not watched this movie earlier and I watched it during the preparation of this article. I must say that the movie is an interesting movie to watch and all the characters shown and the artists performing them seems perfectly fit into it.
(I am avoiding to mention about the story line of the movie to keep intact the interest of those who may want to watch it).
The overall presentation is a balanced one and the movie keeps us engaged till the end.

Its songs are also good, but I think only the song ‘nainon mein darpan hai, darpan mein koyi’ was popular and that song was frequently played at that time on radio. I must have heard it earlier and but watching it now and listening to it again and again was enjoying.

Dialogues of the movie are also very nice and go well with the storyline of the movie and the fight between ‘virtuous’ and the ‘evil’.
I am not aware how this movie fared at the box-office then.

Let us now enjoy today’s song, which grows on us if we listen to it a few times.

Video (Partial)

Audio (Full)

Song-Hey jai Yashodanandan (Aarop)(1974) Singers-Bhupen Hazarika, K N Sharma, Lyrics-Maya Govind, M D – Bhupen Hazarika

Lyrics

hey jai Yashodanadan
hey Mohan Shyaam
hey jai Yashodanadan
hey Mohan Shyaam
jai Yashodanadan
meri laaj raakho prabhu
main to teri sharan
hey Yashodanadan
mujhe aaj laage jeewan jaise maran
hey Yashodanadan
hey Mohan Shyaam
jai Yashodanadan

yadaa yadaa hi dharmasya
glanirbhava ti Bharat
abhyuthaana madharmaysya
tadaatmaanam srijaamyaham

jab jab dharm dooba
tum daude aaye
hey Yashodanandan
saagar mein naiyaa meri
lo doobi jaaye
hey Yashodanadan
hey Mohan Shyaam
jai Yashodanadan

karmanye vaadhikaaraste
ma phaleshu kadaachana
ma karmaphalheturbhurma
tey sangostavaakarmani

hai karma apne vash mein
jeewan pareeksha
hey Yashodanandan
ab to jo ho tu jaane
sab teri ichchhaa
hey Yashodanadan
hey Mohan Shyaam
jai Yashodanadan

hey jai Yashodanadan
hey Mohan Shyaam
jai Yashodanadan
hey jai Yashodanadan
hey Mohan Shyaam
hey jai Yashodanadan
hey Mohan Shyaam

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Devnagri Script lyrics(Provided by Avinash Scrapwala)
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हे जय यशोदानंदन
हे मोहन श्याम
हे जय यशोदानंदन
हे मोहन श्याम
जय यशोदानंदन
मेरी लाज राखो प्रभु
मैं तो तेरी शरण
हे यशोदानंदन
मुझे आज लागे जीवन जैसे मरण
हे जय यशोदानंदन
हे मोहन श्याम
जय यशोदानंदन

यदा यदा हि धर्मस्य
ग्लानिर्भवति भारत
अभ्युत्थान मधर्मस्य
तदात्मानं सृजाम्यहम्

जब जब धर्म डूबा
तुम दौड़े आये
हे यशोदानंदन
सागर में नैय्या मेरी
लो डूबी जाए
हे जय यशोदानंदन
हे मोहन श्याम
जय यशोदानंदन

कर्मण्येवाधिकारस्ते
मा फलेषु कदाचन
मा कर्मफलहेतुर्भुर्मा
ते संगोऽस्त्वकर्मणि

है कर्म अपने वश में
जीवन परीक्षा
हे यशोदानंदन
अब तो जो हो तू जाने
सब तेरी इच्छा
हे यशोदानंदन
हे मोहन श्याम
जय यशोदानंदन

हे जय यशोदानंदन
हे मोहन श्याम
हे जय यशोदानंदन
हे मोहन श्याम

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

Blog Day : 4071 Post No. : 15208

Today’s song is from film Sant Janabai-49.

This was a film made by Prabhat Film Company, Poona. It was produced by S.(Saheb mama) Fattelal and it was directed by a Noted Marathi Director- Goving Ghanekar, who also directed one more Hindi film Shiv Leela-52. Both the films were Bilingual,made in Hindi and Marathi. The lyrics for the Hindi version were written by Pt.Narendra Sharma and the music was composed by Sudhir Phadke. The story of the film and the screenplay was by G.D.Madgulkar – a very famous Marathi writer and poet from Maharashtra. The cast of the film was Hansa Wadkar, Shakuntala, Ganesh Abhyankar, Gauri, Balakram, Javdekar, Kumar Ashok etc.

During the period 30s to mid 40s, Indian Film Industry was dominated by film production giants like New Theatres, Bombay Talkies, Ranjit, Prabhat and Wadia. Films were sold and seen just on the name of the film company. Diverse subjects were handled by these film makers and they contributed to maintaining Indian culture and traditions. This was the period when films with a message were made. Actors and directors had not yet become rule-makers. The studio system had a discipline.

However, after the second world war,lot of money came into the film line and slowly the priorities and values changed. Profits from the films became the major issue and this diverted most producers to make what they thought the audience wanted.The capable and talented film makers separated from their present organisations to have their own set ups. Actors no more stuck to any specific studio and ‘Free-lancing’ became the password. This also prompted the collapse of the studios. New Theatres, Bombay Talkies, Ranjit, Wadia and Prabhat not only split but also closed down, over a period, due to their own reasons.

Prabhat was no exception. It is popularly believed that when Shantaram left Prabhat, that was the point of its disintegration,but it is actually not so. Prabhat shifted from kolhapur to Poona in 1933 and that time all the Five partners had made a rule that in future, if any director/partner falls in love or has an affair with any of the staff members, he will have to leave Prabhat. ( This was initiated, because the Art Director Saheb mama Fattelal had married Gulab aka kamla Devi,an actress of Prabhat, in 1931.She is the same girl who bends backwards and blows the Tutari or Trombone, in Prabhat’s famous Logo) Under this rule, the first to go was Keshavrao Dhaiber, who fell in love with the heroine Nalini Tarkhad and married her in 1937. After his exit, in his place, Prabhat’s long time distributor Baburao Pai was appointed a Partner/Director.

V. Shantaram married Heroine Jaishree (Kamulkar) on 22-10-1941.He was continuously prodded to leave Prabhat. Finally he left and founded his own Rajkamal Kala Mandir. One more director V.Damle died in 1945. Prabhat started crumbling and after its last film Sant Janabai-1949, it stopped production. The studio and the properties were auctioned in 1952, and the company was officially closed on 13-10-1953.

Prabhat had made many films on Marathi saints like Sant Sakhu, Sant Tukaram, Sant Dnyaneshwar, Maya Machhindra, Dharmatma etc .Maharashtra had a rich tradition of Saints. During the period 13th Century to 17th Century, many saints guided the people of Maharashtra. Most saints of Maharashtra were from lower Castes, but they had followers in every section of the society, including Brahmins. There were saints like Namdev-Tailor, Tukaram-Vaishya, Pundalik-Varkari, Goroba-Potter, Janabai-Shudra, Kanhopatra- S.C., Sant Sena- Barber, Savata mali and Chokha Mela – Gardeners, Narhari-Goldsmith and many such more.

Almost every saint film brought in lot of profits to Prabhat. The most famous one was of course Sant Tukaram (Marathi)-1936, which brought money and fame. This film is taught in many Film courses all over the world even today.Its Hindi version came in 1948. No wonder the Prabhat chapter closed with a saint film- Sant Janabai-49.

The story of Janabai is intertwined with the story of Namdev, because Namdev had given her shelter in his home. So, Prabhat first wanted to make this film as a Sant Namdev film. Prabhat’s in house writer Shivram Vashikar wrote the story and Vasant painter was to direct the film. But the plan changed and film on Janabai’s name was decided. Now, G.D.Madgulkar, eminent writer and Poet of Marathi wrote the story. The director was also changed. Govind Ghanekar was the production chief in Prabhat. He was named as the director.Later, he directed and produced many famous and hit Marathi films in 50s and 60s. Earlier actor Ganesh Abhyankar aka Vivek was to become Namdev. In this film also he was retained as Namdev. This actor Vivek, in later years, became one of the most successful actors on Marathi screen. Films used to be sold on his name alone.

While shooting this film, there was a very touching but interesting incident. The last scene of the film Sant Janabai-49 was that Janabai is taken to the Gallows to be hanged on a false accusation of stealing gold ornaments of Lord Vitthal. The shooting was being done in a village near Kolhapur. The big procession of people was going with the handcuffed Janabai in the centre, chanting Vithal Vithal.The people also chanted and some were weeping and falling on her feet (for shooting purpose only). The villagers had gathered in huge numbers, to see the shooting.Many of them thought that this was all real. They too wept and fell on Janabai’s feet. The studio workers had a tough time to remove and restrain them during the shooting.

One name in the cast is that of Gauri. Her real name was Tanibai Dawari. In this film she played Namdev’s mother. She was with Prabhat since its inception and did small roles in silent films. She was totally illiterate and could not read or write. After the advent of the Talkie films, she continued doing small roles in Prabhat films. When film Sant Tukaram was being conceived, Shantaram started searching for an actress to do the role of Tukaram’s wife-Avali…who loved Tukaram but was sort of a shrew because she felt Vithoba bhakti was spoiling Tukaram. Suddenly Shantaram saw Gauri and he called her. Giving a copy of the script to her, he said,” you are selected to do the role of Avali. Now read the dialogues and be prepared.”

Gauri was stunned. She did not know how to react. She could not read. She was sure that now she will be exposed and removed from service, as Prabhat did not employ illiterate people. This was their rule for employment. She took the script and went out of the room. Music Director Keshavrao Bhole found her in a corner, weeping. When he enquired repeatedly, Gauri explained everything frankly. Bhole pacified her and said, ‘ Dont worry ‘. From that day onwards he taught Gauri reading and writing for 8 hours a day for 15 days. Being a sharp student Gauri picked it up very quickly, as it was a Do or Die status for her.

Her role in film Sant Tukaram was lauded by one and all. It was praised even in Venice festival. Prabhat gave her a special award also. Gauri continued with Prabhat till it was making films. Then she retired from films and settled in Poona, doing some household jobs for survival. Unfortunately the Panshet flood debacle in Poona in 1961, washed out everything she had. She returned to her hometown,Kagal,near Kolhapur. In 1964,a film on Tukaram ” Tuka zalase kalas” in Marathi was launched. Sulochana Latkar was to do the role of Tukaram’s wife, Avali. She wanted to take blessings from Gauri-the original Avali. Sulochana went to Kagal and took her blessings. She gave her a Sari and some money too. Soon after this, Gauri aka Tanibai Dawari died.

In spite of good direction, acting and good music by Sudhir Phadke, the film could not escape being the last stone on the samadhi of Prabhat and a Golden Chapter of Hindi cinema came to a close.

The Music Director Sudhir Phadke may not have been a notable composer in Hindi films,but he was a big gun in Marathi cinema. Sudhir Phadke ( July 25, 1919 – July 29, 2002) was an accomplished Marathi singer-composer. He was regarded as an icon of the Marathi film industry and Marathi Sugam Sangeet i.e. Bhavgeet (light music) for five decades. Apart from Marathi, Phadke sang and composed songs in several Hindi films as well. Phadke was affectionately known as Babuji (an honorary title given to respected gentlemen in India).

Sudhir Phadke was born in Kolhapur on July 25, 1919. His birth name was Ram Phadke, but he later changed his name to ‘Sudhir’ when he composed a song for HMV because he thought ‘Sudhir Phadke’ sounded more ‘weighty’. Phadke acquired his primary tutelage in vocal classical music from the late Vamanrao Padhye in Kolhapur. After beginning his career with HMV in 1941, he joined the Prabhat Film Company as music director in 1946. During his long career, he composed for many Marathi and Hindi films. He was also an immaculate playback singer. Phadke married his fellow singer Lalita Deulkar. Their son Shridhar Phadke (born 1951) is also a composer and singer.

Geet Ramayana, based on poet G D Madgulkar’s verses, is one of Phadke’s most popular works. The programme ran on All India Radio for a year, 1954-55. Stage performances of the program continue to draw huge crowds even today. Phadke set to music all 56 songs, and they were sung by different singers for radio (Manik Verma, Lata Mangeshkar, Phadke himself, Vasantrao Deshpande etc). All 56 songs were also recorded in Phadke’s own voice.
In last days of his life, Phadke was involved in producing a Hindi film on the life of the Indian freedom fighter Vinayak Damodar Savarkar. The movie Veer Savarkar was funded by public donations. Sudhir Phadke last sang and composed music for this movie.
Phadke was connected with Rashtriya Swayamsevak Sangh for over 60 years. He was the main inspiration and founder member of India Heritage Foundation in the United States.

Sudhir Phadke gave music to 19 Hindi films from 1946 (Rukmini Swayamvar) to 1972 (Daraar). His famous film is Pehli Tarikh -54, in which he had composed the famous Kishore Kumar song- Din hai suhana aaj pehli tarikh hai. He also sang 14 songs in 9 Hindi films. A noteworthy fact about Sudhir Phadke is that during his peak period in Marathi films, he created a World Record. He teamed up with writer/poet G.D.Madgulkar (गदिमा , as he was known fondly in Maharashtra) and director Raja Paranjape. Together, as a team, they gave a total of 11 Hit films,in a row in 18 years- from 1948 to 1966 … a record for a Team.

The story of film Sant Janabai-49, adapted from aumamen.com is…

Jana, a little girl whose mother before dying told her to go to Pandharpur where she will be protected by Lord Vitthal, A merchant who is the father of Sant Namdev accidentally steps on Jana’s hand and asks for her forgiveness. He asks what she was doing in the temple alone, she tells him her story, being a good devotee of Vitthal he adopts her.

Little Namdev likes her from the instant he sees her and accepts her as his elder sister with joy. But the mother of Namdev wasn’t too happy with another person being in the family, but later she too melts to the love and simplicity of the little girl who would become a great saint as we know today.

Jana was assigned the work of washing the clothes by Namdev’s mother. Jana and Namdev hear a group of pilgrims singing in praise of Lord Vitthal and they start singing and dancing. Children in the group who are very thirsty run to Janabai to beg for water from her. “There are many wells in the village, go get your own water” says Namdev. “But we are outcastes, nobody gives us water” says the one of the pilgrims.

Janabai pours them water from her pot, the satisfied devotees bless her for giving them water to drink. She gets scolded and beaten by Namdev’s mother for her act of charity towards the outcastes, which was considered a terrible thing during those times.

Namdev being a very devotional man, always sings and dances and forgets the duties of an householder. Janabai works hard for the food of Namdev’s family (wife and two children). Janabai prays to Vitthal for the food, when Vitthal gives her food she only takes what she needed for a day or two.

Namdev had a big debt to be settled, but he was on a pilgrimage to North India. the wealthy man who had lent him money decides to take Namdev’s property into possession. Jana pleads with him and agrees that she would pay all the money back. Jana works night and day to gather the money she needed.

One night she was very tired and falls asleep while working, but when she wakes up she sees a blanket on her and also sees that the work has been finished. Next night she pretends to be sleeping so that she could catch the person who did it. As soon as she sleeps she sees Lord Vitthal appear and do her work for her.

She catches him while working, from then on Lord Vitthal helps her in her work, he sings for her. He fetches water for her and does many things around

One day Lord Vitthal feels very tired, seeing that Jana puts him to sleep. In the morning when he wakes up, he walks back to the temple with the blanket around his body, his ornament falls from his neck and falls on the floor of Janabai’s house.

In the morning when priests see the statue of Lord Vitthal they come to the conclusion that somebody must have stolen the ornament of Lord. They see a blanket nearby and assume it must belong to the thief. They start questioning everyone to find out to whom that belonged.

Janabai tells them that it belonged to her, priests search her house and when they find the ornament they accuse her of the theft, she tells them that the Lord was sleeping in her house yesterday and he must have left the ornament. People laugh at her, and thinking of her to be a liar, they decide to hang her to death.

They march her on streets, and just before the time to kill her, she prays to Lord Vitthal and he appears.

(Information from book “Santpatanchi Santwani” ( संतपटांची संतवाणी )by Isak Mujawar, sites last.fm, MuVyz,wiki, HFGK and my notes has been used herein, with thanks.)


Song-Ram ras barse re bhai (Sant Janabai)( 1949) Singer-Unknown male voice, Lyrics-Pt Narendra Sharma, MD-Sudhir Phadke
Chorus

Lyrics

Ram ras barse
Ram ras barse
Ram ras barse re bhai
Ram ras barse re bhai

daaku bhi harinaam kare
kyun tarse re bhai
arre kyun tarse se bhai
Ram ras barse
Ram ras barse
Ram ras barse re bhai
Ram ras barse re bhai

nirbal ke bal Ram hamaare
garveele Ravan maare
ho garveele Ravan maare
gautam naari shilaa bechaari
charanan se Raghav taare
charanan se Raghav taare
khaaye jhoothe ber
ho khaaye jhoothhe ber
shabar ke kar se re bhai
shabar ke kar se re bhai
Ram ras barse
Ram ras barse
Ram ras barse re bhai
Ram ras barse re bhai

??
dhanush tod jeeti seeta
ho dhanush tod jeeti seeta
mohan ko ye ardh na roye
hari ne rach daayi geeta
hari ne rach daayi geeta
chamke chakr sudarshan
manuwa harshe re bhai
o manuwa harshe re bhai
Ram ras barse
Ram ras barse
Ram ras barse re bhai
Ram ras barse re bhai

soory vansh jab ??
ho ho ho ho
soory vansh jab ??
gwaal baal ke sang khela
ho gwaal baal ke sang khela

pandurang peetaambhar dhaari
pandharpur prabhu ka mela
pandharpur prabhu ka mela
mukh se bolo Ram
ho
mukh se bolo Ram
kaho to ham sab se bhai
kaho to ham sab se bhai
Ram ras barse
Ram ras barse
Ram ras barse re bhai
Ram ras barse re bhai
Ram wahi jo ghat ghat ramta re ae
Ram wahi jo ghat ghat ramta
?? ko ek hari
?? ko ek hari
Ram Shyam mein sab Narayan
peer deen ki door kare
peer deen ki door kare

jaise man ke saath
ho jaise man ke saath
jaise hari darse re bhai
jaise hari darse re bhai
Ram ras barse
Ram ras barse
Ram ras barse re bhai
Ram ras barse re bhai

daaku bhi hari naam kare kyun
tarse re bhai
arre kyun tarse re bhai
Ram ras barse
Ram ras barse
Ram ras barse re bhai
Ram ras barse re bhai

jai jai vitthal
jai hari vitthal
jai jai vitthal
jai hari vitthal
jai jai vitthal
jai hari vitthal
jai jai vitthal
jai hari vitthal
jai jai vitthal
jai hari vitthal
hari sharnam


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.

My affair with Sadhna started very tiny. The film was ‘Ek Phool Do Mali’ (1969) and the song was “Sainyaan Le Gayi Jeeya Teri Pehli Nazar”. That image of a beautiful Kashmiri village belle, with that charming and becoming smile captured my mind and my heart. She was being blackmailed by Sanjay to sing a song for him, using her recorded voice in a tape recorder, which he threatened to make public. So in a manner of speaking, the song was of the ‘Dance Under Duress’ category. 🙂 She is somewhat letting it on that her song and dance is a make believe effort. But then Hindi films are Hindi films. And a tiny pre-teen mind is quite inexperienced in these matters; and quite easily enamored by that charming smile, and the gestures of endearment, howsoever artificial they may have been.

In the same year (1969), I also got to see ‘Inteqaam’. The storyline therein is a make believe endeavor to deceive a rich man and his son, and so I was not impressed with her presence and her beauty as much. ‘Ek Phool Do Mali’ would be the compass bearing for me for some time, till I got into my next crush. 🙂

Remembering Sadhna on the anniversary of her birth today – 2nd September.

It would be much later that I would realize that I had actually seen her much earlier in ‘Parakh’ (1960), which I had watched on TV. Actually, it would be many years after that TV viewing that I correctly identified the leading lady as Sadhna. For many years at a stretch, I used to believe that Nutan was the heroine in ‘Parakh’. Many years later when this error was set right in my mind, I went back to see this film once again, to make sure that I had finally identified her correctly in that film.

Later on, the mind got to see her other earlier films on the rewind –  ‘Hum Dono’ (1961), ‘Aarzoo’ (1965), ‘Love In Simla’ (1960), ‘Ek Musafir Ek Haseena’ and ‘Asli Naqli’ (1962), ‘Rajkumar’ (1964), and the quintessential ‘Mere Mehboob’ of 1963. This is the listing of films that I got to see earlier; of course the other films like ‘Prem Patra’ (1962), ‘Man Mauji’ (1962), ‘Wo Kaun THi’ (1964), ‘Waqt’ (1965), ‘Mera Saaya’ (1966), ‘Dulha Dulhan’ (1964) also followed, albeit later. The ‘Ek Phool Do Mali’ effect was repeated when I got to see ‘Mere Mehboob’. That scene of the first encounter between Husna (Sadhna) and Anwar (Rajendra Kumar) is one of the most unforgettable cinema moments in my mind. All the un-uttered emotions that were spoken just through the eyes, the only part of the face that is partially visible from within the burqa (veil covering the face), emphatically conveyed much more than any words.

Born this day in 1941, Sadhna would have been 78 today. She was born in Karachi, into a Sindhi family. When the partition happened in 1947, the Shivdasani family moved to Bombay. As she has stated in her interviews, she was interested in dramatics right from childhood, and used to participate in school plays. Her uncle (father’s real brother) Hari Shivdasani, was already an established actor in Bombay. Hari had started his career appearing in films, from 1934 – his first film being ‘Dharam Ki Devi’ (1935). So when Sadhna and her family moved to Bombay, she already had a mentor and a significant link into the film industry.

She was just fourteen, when this filmland connection, got her a bit appearance as one of the chorus dancing girls in the 1955 film ‘Shri 420’. Hari Shivdasani himself had a significant role in the film, as one of the coterie of crooked businessmen. The song is the iconinc “Mud Mud Ke Na Dekh. . .”. Sadhna is one of the chorus dancers, quite easily identifiable, at least in the first half of the song. Hari Shivdasani is himself present in the group of guests at this party. [Note: Another very notable presence in this song is that of Jaikishan, the music director.] There is anecdotal material which says that Raj Kapoor was somewhat offended with Sadhna, on issues relating to hair style and make up etc., and that Sadhna did not complete the shooting of this song.

During her first year at college, producer director TN Bihari approached her for a secondary role in a Sindhi film ‘Abaana’, released in 1958. Sadhna played the role of the younger sister of the heroine, role played by Sheila Ramani. Star struck as she was, the teenaged Sadhna requested Sheila for her autograph when they first met for shooting. Giving her the autograph, Sheila commented that one day will come when she (Sheila) would be taking autograph from Sadhna – a prophecy that realized itself shortly thereafter.

Things moved fast after this. Sadhna photo appeared in ‘Screen’. The photo came to the notice of Shashadhar Mukhrjee, who invited Sadhna to join the School of Acting that he had established in Filmalya, his production studio. Sadhna joined. ‘Dil Deke Dekho’ (1959) was launched, with Nasir Husain as the director. S Mukherjee gave him the option to select a new heroine opposite Shammi Kapoor, and Nasir Husain picked Asha Parekh, also one of the students at the same school. Sadhna had to wait another year for her formal break into films. S Mukherjee announced ‘Love In Simla’ (1960) as the launch vehicle for his son Joy Mukherjee. The director, RK Nayyar, was also making his directorial debut with this film. Given the option by S Mukherjee, RK Nayyar picked Sadhna as the leading lady for the film. Her film career had now formally started.

For about a decade, her career was a rising graph, and her work was very much appreciated. She appeared along with practically all the big names of that era – Dev Aanand, Raj Kapoor, Sunil Dutt, Shashi Kapoor, Shammi Kapoor, Manoj Kumar, Joy Mukherjee, Dharmendra, Biswajit, Sanjay, Kishore Kumar, Feroze Khan, Parikshit Sahni, and yes, Rajesh Khanna – one film they shared credits for – ‘Dil Daulat Duniya’ (1972). About 30 films, in a career span of about 15 years, is the sum total of Sadhna’s body of work.

By the end of the decade of 1960s, Sadhna developed some recurring health problems and her films started getting delayed. 1974 saw the release of ‘Geeta Mera Naam’ and ‘Chhote Sarkar’. In 1975 came ‘Vandana’ and a much delayed ‘Amaanat’. After that, there is radio silence in her career, as she chose to stay away from films. Even earlier than that, HS Rawail opted for Vijayantimala for the leading lady in ‘Sunghursh’ (1968), after first considering Sadhna, and so did Pacchi, when he replaced Sadhna with Rajshri for ‘Around The World’ (1967).

Although Sadhna was the heroine of choice for ‘Love In Simla’, the director RK Nayyar (also her future husband), was quite openly unhappy with her looks. In his opinion, Sadhna’s forehead was wide enough to “. . . land a helicopter”. It was suggested that her hair style be changed. And after some research, the choice came to Audrey Hepburn’s hair style in films like ‘Sabrina’ (1954) and ‘Funny Face’ (1957). Audrey Hepburn sported a few locks of hair that were not brushed back, but were thrown forward so as to partially cover her forehead. The hairstyle was adopted, and yes, it became very popular in India, by the name ‘Sadhna Cut’.

Sadhna passed away in 2015, on 25th December.

Today’s song is solo performance on screen by Sadhna. The film is ‘Ishq Par Zor Nahin’ from 1970. The film is produced under the banner of Twinkle Star, Bombay, and is directed by Ramesh Sehgal. The cast of actors is listed as Sadhana, Dharmendra, Biswajeet, Kamini Kaushal, Abhi Bhattacharya, Jagdeep, Nadira, Leela Mishra, Randhir, Jagdish Raj, Meena, Madhumati, and Uday Chandrika.

There are 8 songs listed for this film, all from the pen of Anand Bakshi. The music is from the mind of SD Burman. Singing voice is that of Lata Mangeshkar.

The story is about two childhood friends, who fall in love with the same lady, who in turns, loves only one of them. The other person is not aware of this reality, and actually tries to get help from his friend to woo the lady. Hmm. . . reminds one of many films – especially ‘Sangam’ (1964). The story progresses on very predictable lines, with sacrifice at the end of the film, by the one who is earlier unaware of his friend’s love, and later regrets after coming to know the truth. However, it is the songs and the music of this film which are something great to write home about. Together, SD Burman and Anand Bakshi have collaborated in about a dozen films and majority of them have wonderful songs that have been hits.

This song is sort of an on stage performance by Sadhna. We can seen Dharmendra, Biswajeet, Abhi Bhattacharya and Nadira in the audience. Biswajeet, the unaware friend, thinks that this song is meant for him, and is quite happy. Dharmendra, who is aware of the triangle, and has been coaxed by Biswajeet to attend this performance, is quite visibly ill at ease during the performance.

I picked this song for the poignant and effective performance by Sadhna, for a song that is somewhat of a somber expression of serious love. The lyrics of this song are adapted from a traditional bhajan originally written by Sant Meerabai.

Lovely song, lovely rendition by a lovely Sadhna. Things can’t get much better than this for the tiny crush in my heart that still sustains.

Song – Main To Tere Rang Raati (Ishq Par Zor Nahin) (1970) Singer – Lata Mangeshkar, Lyrics – Anand Bakshi, MD – SD Burman

Lyrics (Provided by Prakashchandra)

mitwaa. . aaa. . aaaaaa. .
mitwaa. . aa. . aaa. . aaaa. .
mere saathi

main to
tere rang raati
main tere rang raati
mere mitwaa. . aaa. . aaa. .
mitwaa. . aaa. . aaaaaa. .
mere mitwaa
mere saathi
main tere rang raati
main tere rang raati
mere mitwaa
mere saathi
main tere rang raati
main tere rang raati

raana ki
naa banoon main raani
main to hoon kaanha
teri deewani
le ja chupke se meri doli
doli
aa ja chhupke o humjoli
mitwaa. .aaa. . re
le ja chupke se meri doli
aa ja chhupke o humjoli
sang aaye
na aaye
baraati
main tere rang raati
main tere rang raati
mere mitwaa
mere saathi
main tere rang raati
main tere rang raati

main meera
tu mera man meet
haan poorab janam
se hai hamri preet
main meera
tu mera man meet
haan poorab janam
se hai hamri preet
kaise bichhde hamre naina
naina
jab tak hai jeevan raina
mitwaa. .aaa. . re
kaise bichhde hamre naina
jab tak hai jeevan raina
sang jaley
sang bujhey
diya baati
main tere rang raati
main tere rang raati
mere mitwaa. . aa. . aa. .
mitwa. . aaa. .
mere mitwaa
mere saathi
main tere rang raati
main tere rang raati

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

मितवा॰ ॰ आss आsssss
मितवा॰ ॰ आs आss आsss
मेरे साथी

मैं तो
तेरे रंग राति
मैं तेरे रंग राति
मेरे मितवा॰ ॰ आss आss
मितवा॰ ॰ आss आsssss
मेरे मितवा
मेरे साथी
मैं तेरे रंग राति
मैं तेरे रंग राति
मेरे मितवा
मेरे साथी
मैं तेरे रंग राति
मैं तेरे रंग राति

राणा की
ना बनूँ मैं रानी
मैं तो हूँ कान्हा
तेरी दीवानी
ले जा चुपके से मेरी डोली
डोली
आ जा छुपके ओ हमजोली
मितवा॰ ॰ आss रे
ले जा चुपके से मेरी डोली
आ जा छुपके ओ हमजोली
संग आए
ना आए
बाराती
मैं तेरे रंग राति
मैं तेरे रंग राति
मेरे मितवा
मेरे साथी
मैं तेरे रंग राति
मैं तेरे रंग राति

मैं मीरा
तू मेरा मनमीत
हाँ पूरब जनम
से है हमरी प्रीत
मैं मीरा
तू मेरा मनमीत
हाँ पूरब जनम
से है हमरी प्रीत
कैसे बिछड़े हमरे नैना
नैना
जब तक है जीवन रैना
मितवा॰ ॰ आss रे
कैसे बिछड़े हमरे नैना
जब तक है जीवन रैना
संग जले
संग बुझे
दिया बाती
मैं तेरे रंग राति
मैं तेरे रंग राति
मेरे मितवा
मेरे मितवा॰ ॰ आss॰ ॰ आss॰ ॰
मितवा॰ ॰ आsss
मेरे साथी
मैं तेरे रंग राति
मैं तेरे रंग राति


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 :

4054 Post No. : 15185

Jai Sri Krishna.
Jai Govinda Jai Gopala.

The accompanying song is from Vinod Doshi presented 1983 release ‘Nastik’ which was directed by Pramod Chakravarthy. It starred Hema Malini, Nalini Jaywant, Reeta Bhadhuri, Sarika, Amitabh Bachchan, Pran, Amjad Khan, Deven Verma, Madan Puri, Bharat Bhushan, Lalitha Pawar, Jayshree T, Ratanmala, Praveen Paul, Kamal Kapoor, Shammi, Bhagwan, Yusuf Khan, Kamran, Viju Khote, Azaad, Pehalwan, Julian, Jaswant, Habib, Bob Christo, Daljeet, Tom Alter, Jezebel, Ranveer Raj, Darshan, Sehgal, Sunder Taneja, Umesh Khanna, Mehar Singh, Manik, Vaman, Master Raju, Baby Pinky, and Master Rajesh (young landlord grows up to be Amjad Khan).

It was basically an action-drama showcasing Amitabh as a young man (Shankar) who is outraged when his father is killed by the village landlord’s son Tiger (Amjad Khan) who also separates him from his mother and sister. He becomes an atheist – Nastik, and vows revenge on Tiger. Enroute to this destination of his, he encounters two small time crooks in Hema Malini and Pran. Like any masala movie the separated family members rediscover each other, Pran’s daughter regains consciousness to identify the person who tried to rape and kill her. So now Pran and Amitabh join forces and the family reunites in the climax at their village and the wrong doer is brought to book.

This movie had eight songs one of which is there on the blog. Today on the occasion of Sri Krishnashtami or Janmashtami, I present this bhajan, which appears twice in the movie. The movie opens with this bhajan as it is Shri Krishna Jayanti in the movie too. The first part is in the voices of Alka Yagnik and Sadhana Sargam. The bhajan comes again at the climax when Amitabh Bachchan has to deal with an almost dying sister – Reeta Bhadhuri and recollects the bhajan that he had sung with his father, sister etc in his childhood. The second version is in the voices of Mahendra Kapoor and Manhar Udhas (for Bharat Bhushan, Amitabh does not lip sync).

Govind Bolo Ke Krishna Kaho,
Shyaam Kaho Ya Murliwala
Matlab To Kanhaiya Se Hai

Haathi Ghoda Palki
Jai Kanhaiyalal ki

Part I

Part II

Song – Sagre Jagat Ka Ek Rakhwaala  (Nastik) (1983) Singer – Alka Yagnik, Sadhna Sargam, Manhar, Mahendra Kapoor, Lyrics – Anand Bakshi, MD – Kalyanji Anandji
Alka Yagnik + Sadhna Sargam
Chorus

Lyrics

Part 1
sagre jagat ka ek rakhwaala

sagre jagat ka ek rakhwaala
mohan murli waala..aa
mohan murli waala
shaam savere..ae
shaam savere jap mann mere
shyam ke naam ki maala..aa
sagre jagat ka ek rakhwaala
mohan murli waala
sagre jagat ka ek rakhwaala

[dialogues]

ho ooo ooooo
sab ka meet hai krishna kanhaiya
krishna kanhaiya
krishna kanhaiya
kanhaiya krishna kanhaiya
oooo oooo
jeewan geet hai krishna kanhaiya
krishna kanhaiya
krishna kanhaiya
kanhiya  krishna kanhaiya
jhoom uthe sab. . .
jhoom uthe tab
bansuriya jab
chhede nand ka lala..aa..aa
sagre jagat ka ek rakhwaala
mohan murli waala
sagre jagat ka ek rakhwaala

[dialogues]

ooo ooooo
woh hi sab ki laaj bachaaye,
laaj bachaaye
krishna kanhaiya
kanhiya krishna kanhaiya
hooo oooo
sabke bigde kaaj banaaye,
kaaj banaaye
krishna kanhaiya,
kanhiya krishna kanhaiya
antaryaami..ee
antaryaami sab ka swami
gokul ka woh gwaala..aa
sagre jagat ka ek rakhwaala

ooo ooooo
oooo ooooooo ooooo ooo
ye sukh dukh ye mann ye jeevan
ye mann ye jeevan
ye sukh dukh ye mann ye jeewan
sab tera sab tere arpan
sab tera sab tere arpan
tu hi sab kuchh dene waala
tu hi lene waala
sagre jagat ka ek rakhwaala
mohan murli waala
sagre jagat ka ek rakhwaala

gopala jai jai gopala
gopala jai jai gopala
ho ooo
gopala jai jai gopala

[dialogues]

gopala jai jai gopala
govinda jai jai Gopala
govinda jai jai gopala
hooo govinda jai jai Gopala
govinda jai jai gopala
krishna kanhaiya
kanhaiya murli wala
krishna kanhaiya
kanhaiya murli wala
krishna kanhaiya
kanhaiya murli wala
kanhiya murli wala
kanhaiya murli wala
kanhaiya murli wala
kanhaiya murli wala
kanhaiya murli wala

Part 2

oooooo oooooooo
tod ke jhoothe bharam ke phande
tod ke jhoothe bharam ke phande
sheesh jhuka kar dekh to bande
sheesh jhuka kar dekh to bande
ho sakta hai ae ae ae
ho sakta hai
teri bhi sun le
sab ki sun’ne waala
sagre jagat ka ek rakhwaala
aaaa aaaaa aaaa aaaa
aaaa aaaaa aaaa aaaa
aaaa aaaaa aaaa aaaa

shyam ki leela main kya jaanu
aaaa aaaa
o o shyam ki leela main kya jaanu
main logon ki baat na maanu
aaaa aaaaa aaaa 
dars dikhaaye
aaaa aaaaa aaaa 
saamne aaye
aaaa aaaaa aaaa 
dars dikhaaye saamne aaye
mujhse chhupne waala..aa..aa
sagre jagat ka ek rakhwaala
mohan murli waala
sagre jagat ka ek rakhwaala


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 :

4031 Post No. : 15152

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 41
——————————————————————————————

1st August of 2009, ten years ago. Five songs had been posted that day. As many as 4 movies opened their accounts on the blog that day – the four debut movies being ‘Shin Shinaki Boobla Boo’ (1952), ‘Sabse Bada Rupaiya’ (1955), ‘Duniya Rang Rangeeli’ (1957) and ’Laakhon Mein Ek’ (1971). The fifth film – ‘Bhabhi’ from 1957 had its 5th song posted that day.

The current status of these five films is that two of them – ‘Bhaabhi’ and ‘Duniya Rang Rangeeli’ have since been yippeee’d. for the remaining 3 films, two songs are pending for each one of them. The following table gives the complete status, as of just prior to this post today. The second last column gives info about the film status as of ten years ago, and the last column gives the status, as of today.

Ruk Jaa Re Piyaa Sabse Bada Rupaiyya 1955 Deb 7 of 9
Tie Lagaa Ke Maana Janaab Ban Gaye Hero Bhaabhi 1957 5th Yippeee’d
Tum Kyaa Jaano Tumhaari Yaad Me Ham Kitna Roye Shin Shinaaki Bubbla Boo 1952 Deb 5 of 7
Sainyaa Kyon Aaye Mujhe Angdaayi Duniya Rang Rangeeli 1957 Deb Yippeee’d
Jogi O Jogi Arre Pyaar Me Kyaa Hogaa Laakhon Mein Ek 1971 Deb 3 of 5

Getting on to Ten-Year Challenge, I looked up the pending songs from the three films that are still awaiting yippeee status, and I have picked this song from the film ‘Shin Shinaki Boobla Boo’ of 1952.

This film is produced and directed by PL Santoshi, under his home banner of Santoshi Productions. The main cast of actors is listed as Rehana, Ranjan, Sadhana Bose, Veera, Baby Tabassum, Radha Kishan, Mumtaz Ali, Tiwari, Samson, Indu Pal, Shama Gulnar, Prabhu, Sarosh, Bingu, Goldstein, Mehmood, Senoor (parrot), Titi (cat).

The film has 7 songs which are penned by PL Santoshi and the music is composed by C Ramchandra. In the earlier posts, our dear Arun ji has dealt with the theme of the picture, its main artists and the issue of the film being banned by the govt, inspite of getting a ‘U’ certificate from the Censors. Interested readers may refer to the detailed posts by Arun ji, for the following songs – “Arey Baba. . Ye Hansi Baba. . Ye Khushi Baba. .” and, “Kuchh Chuhalen Hon Kuchh Charche Hon”.

Interesting to note that 1998, a TV serial with title ‘Cincinnati Bublaa Boo’ was telecast by Star Plus, over a period of 25 weeks – yes, ‘Shin Shinaaki’ and ‘Cincinnat’ sound very suspiciously close to each other. Cincinnati is a city in the US, and Shin Shinaaki is the name of the female lead in this fantasy story.

The song is crafted like a bhajan, and has very very philosophical flavor. Actually, the theme of this song is surprisingly quite profound – telling about a thief who lives inside, and does not allow the individual person to light the lamp of devotion. Tied with the bonds of karma, the person is not able to resist as this thief plunders the treasures of good will and bhakti, and keeps the self entangled in the web of this world. This thief is ‘maaya’, the illusory misconceptions and wrong understanding of this world, which hides the truth about this world, the self and the devotional relationship to the Almighty.

The verses of this song have a deep meaning, and are very well crafted. The singing voice is of Lata Mangeshkar. A song that needs some attention as one listens to it.

With this song, the film ‘Shin Shinaki Boobla Boo’moves one step closer to Yippeee status. Now only one more song of this film remains to be posted here.

Song – Sai Re, Sai Re. . . Ghar Ghar Mein Ik Chor Sai  (Shin Shinaki Boobla Boo) (1952) Singer – Lata Mangeshkar, Lyrics – PL Santoshi, MD – C Ramchandra
Chorus

Lyrics

saai re
saai re

saai re saai re
saai re saai re
ghar ghar mein ik chor
saai ghar ghar mein ik chor
saai ghar ghar mein ik chor
saai re saai re
saai re saai re
ghar ghar mein ik chor
saai ghar ghar mein ik chor
saai ghar ghar mein ik chor
saai re. . .

tu bhakti ka diya jalaawye
chor bujhaavye baati
ho oo oo oo
oo oo oo oo
tu bhakti ka diya jalaawye
chor bujhaavye baati
loot jaaye sab maal khazaana
din dekhe na raati re
din dekhe na raati
haath kisi ke aavye na wo
haath kisi ke aavye na wo
laakh kare koi zor
saai ghar ghar mein ik chor
saai ghar ghar mein ik chor
saai re saai re
saai re saai re
ghar ghar mein ik chor
saai ghar ghar mein ik chor
saai ghar ghar mein ik chor
saai re. . .

oo oo
tere dekhte ghar mein aaya. . .
ghar mein aaya
tere dekhte doley
kaisa jaadu daala tujh pe
tu kuchh bhi na boley re
tu kuchh bhi na boley
tan mann baandh liye hain dono
tan mann baandh liye hain dono
baandh karam ki dor
saai ghar ghar mein ik chor
saai ghar ghar mein ik chor
saai re saai re
saai re saai re
ghar ghar mein ik chor
saai ghar ghar mein ik chor
saai ghar ghar mein ik chor
saai re. . .

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

साईं रे
साईं रे

साईं रे साईं रे
साईं रे साईं रे
घर घर में इक चोर
साईं घर घर में इक चोर
साईं घर घर में इक चोर
साईं रे साईं रे
साईं रे साईं रे
घर घर में इक चोर
साईं घर घर में इक चोर
साईं घर घर में इक चोर
साईं रे॰ ॰ ॰

तू भक्ति का दिया जलावये
चोर बुझावये बाती
हो ओ ओ ओ
ओ ओ ओ ओ
तू भक्ति का दिया जलावये
चोर बुझावये बाती
लूट जाये सब माल खज़ाना
दिन देखे ना राति रे
दिन देखे ना राति
हाथ किसी के आव्ये ना वो
हाथ किसी के आव्ये ना वो
लाख करे कोई जोर
साईं घर घर में इक चोर
साईं घर घर में इक चोर
साईं रे साईं रे
साईं रे साईं रे
घर घर में इक चोर
साईं घर घर में इक चोर
साईं घर घर में इक चोर
साईं रे॰ ॰ ॰

ओ ओ
तेरे देखते घर में आया॰ ॰ ॰
घर में आया
तेरे देखते डोले
कैसा जादू डाला तुझ पे
तू कुछ भी ना बोले रे
तू कुछ भी ना बोले
तन मन बांध लिए हैं दोनों
तन मन बांध लिए हैं दोनों
बांध करम की डोर
साईं घर घर में इक चोर
साईं घर घर में इक चोर
साईं रे साईं रे
साईं रे साईं रे
घर घर में इक चोर
साईं घर घर में इक चोर
साईं घर घर में इक चोर
साईं रे॰ ॰ ॰


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 : 4028 Post No. : 15144

Today, 29th July, is the 66 birthday for Anoop Jalota, the renowned singer of classical and semi-classical music. Known as the Bhajan Samrat, his forte is in the arena of religious bhajans and devotional songs. Here is wishing him many many happy returns of this day.

Anoop was born this day in 1953, in Nainital. His late father, Purushottam Das Jalota has also been a renowned singer of devotional songs himself. Anoop got his initial education in classical music at the Bhatkhande Music Institute in Lucknow. He started his singing career as a chorus singer at All India Radio. Over the years, he has sung popular sugam sangeet and ghazals also. But he has not been as famous and successful in that area. He started singing devotional songs and for that, he has become very popular. He was honored with the award of Padam Shri in 2012.

His songs in Hindi films are quite limited, although I do find two songs by him already on our blog. Today’s song is from the 1977 film ‘Shirdi Ke Sai Baba’. This song is written by Pandurang Dixit and its music is also composed by him. On screen, this song is performed by Manmohan Krishan.

The film is produced by the Sarla Charities Trust, and is directed by Ashok V Bhushan. It is a screen adaptation of the biographical book on Sai Baba by the late Shri Govindrao Dhabolkar. The cast of actors includes Sudhir Dalvi in the title role, Manmohan Krishan, Raj Mehra, B M Vyas, Usha Chauhan, Beerbal, Nazeer Kashmiri, C S Dubey, Gurbachan Singh, Jyotsana Kirpekar, Preetam Balley, Vatsala Deshmukh, Ratanmala Pandit, Bhawna, Master Teeto, and Master Raju. The film has many special and guest appearances, viz., Rajendra Kumar, Hema Malini, Shatrughan Sinha, Premnath, Manoj Kumar, Madan Puri, Sachin, Dhiraj Kumar, Paintal, Krishan Dhawan, Satish, and Kuljeet.

Geet Kosh lists 9 songs for this film. Some are traditional, and the remaining are penned by Dev Krishan, Manoj Kumar and Pandurang Dixit. The latter is also the music director  for this film. One song of this film is already showcased here on our blog.

In this song, the on screen performer is Manmohan Krishan. He is leading a few others, including some police personnel and taking them to the place where Sai Baba resides.

This song was recorded in 1977, when Anoop would have been just 24 years of age. One can make out the difference in the quality of the voice – in this song and his singing 40 years hence, in the current period.

The Bhajan itself is written and composed very beautifully. Exhorting the listener to meditate on the universality of the message of brotherhood, and the underlying unity and commonalities of all the religions and beliefs. That is the message of Sai Baba – ‘Sab Ka Maalik Ek’ – that the Supreme One is the One and same for all people.

Song – Sumar Manwa. . . Sumar Re Panchtatva Suvichaar  (Shirdi Ke Sai Baba) (1977) Singer – Anup Jalota, Lyrics – Pandurang Dixit, MD – Pandurang Dixit
Chorus

Lyrics (Provided by Avinash Scrapwala)

sumar manwaa aa aa aa aa aa
sumar manwaa aa aa aa aa aa
sumar manwaa

sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar
ghat ghat bheetar jag mein nirantar
naad brahma saakar
sunlo pranav ki divya pukaar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

mera mera
kuchh nahin tera
chhod do ahankaar
paalo shaashwat soukhya apaar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

taaran aur phal
karm bhaagya ka
smar lo baaram baar
sunlo dharm chakra jhankaar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

chandra kor ka achal sahaara
kare sitaara ek aadhaar
maano shradhha ka ye saar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

aao jalaado
yagya agni mein
ye katu vishay vikaar
karlo daivi saakshaatkaar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

ye stup aikya ka
prem dharm ka
satya shaanti ka dwaar
sandesh bhavya de
mantra divya de
sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar

jai jai sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar

———————————————————-
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————-
सुमर मनवा आ आ आ आ आ
सुमर मनवा आ आ आ आ आ
सुमर मनवा

सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्व सुविचार

सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्व सुविचार
घट घट भीतर जग में निरंतर
नाद ब्रह्म साकार
सुन लो प्रणव की दिव्य पुकार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्व सुविचार

मेरा मेरा
कुछ नहीं तेरा
छोड़ दो अहंकार
पा लो शाश्वत सौख्य अपार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्व सुविचार

तारण और फल
कर्म भाग्य का
स्मर लो बारं बार
सुन लो धर्म चक्र झंकार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्त्व सुविचार

चन्द्र कोर का चल सहारा
करे सितारा एक आधार
मानो श्रद्धा का ये सार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्त्व सुविचार

आओ जला दो
यज्ञ अग्नि में
ये कटु विषय विकार
कर लो दैवी साक्षात्कार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्त्व सुविचार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्त्व सुविचार

ये स्तूप ऐक्य का
प्रेम धर्म का
सत्य शान्ति का द्वार
सन्देश भव्य दे
मंत्र दिव्य दे
साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार

जय जय साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार



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 : 3982 Post No. : 15069

In some cases, it is the voice – some people will impress you, attract you with their voice. Girish Karnad’s voice has one of the most relaxing sound quality that I have heard. And his presence, his demeanor, his being in a scene, on screen or on stage, always had the same expression of comfort and relaxation as his voice. Seeing him, listening to him, one could never imagine if this person could be moved to a hasty or an impatient action.

He passed away, the day before. The news said that he was 82. I was surprised, it couldn’t be. Over the years since I had first seen him live in a drama in Delhi – almost a millennium ago, and then through films and media images, he always seemed to be the same, never changing, nor ageing. Be it the memories and images from the 60s, 70s, or even recent. He always appeared to be the same.

So when I read this one line in a media news item, I was very taken aback. Sure, I had not seen him active for the past few years, but the thought process probably had never projected far enough to make believe that he was past his 80th. In fact, as I reviewed his filmography in preparation for this article, I find that 5 of his upcoming films are slated for released through the rest of 2019.

Mid 1960s to 70s was an era for the theatre in India. One sees an upsurge in the quality of drama, the subject matter handling by the playwrights and the abilities of the dramatists. If it was Badal Sircar in Bangla (east), it was Vijay Tendulkar in Matathi (west); if it was Mohan Rakesh in Hindi (north), it was Girish Karnad in Kannada (south). These playwrights brought in some very incisive, some very timeless creations, that brought a completely fresh air, breaking new grounds in understanding the human psyche – how the humans interact, with each other and within themselves, how the social influences mould the individual behaviors, and in reverse, how the human expressions manipulate the social conduct. And together, how they shape the movement of history.

Girish K broke out a very crisp and a surprisingly innovative line of enquiry, with his very first play – ‘Yayati’. Most of the readers will be familiar with this episode from the epic, Mahabharat. Yayati is a king in the lineage of the Chandravansh, the lineage of Chandra, the Moon God. He is portrayed as an irresponsible king, consumed by his obsession with young age and the pleasures to be derived from it. He is afraid of getting old. His wife is Devyani, daughter of Rishi Shukracharya. Sharmishtha is the name of one of the ladies in waiting of Devyani. Actually a princess herself from another kingdom, Sharmishtha becomes a bounden server to Devyani due to certain events. As the events unfold furhter, Yayati has an extra marital affair with Sharmishtha, who bears three sons for him. Devyani too has three children, one daughter and two sons. Devyani complains to her father, who is the purohit (high priest) of the demon clan. Incensed by the behavior of his son-in-law, he curses him to a premature and a prolonged old age.

Yayati is shattered. He goes to Shukracharya, begs for forgiveness and removal of the curse. Shukracharaya tells him that his curse cannot be reversed, but it can be transferred to a person willing to take on such a curse. Yayati is overjoyed, but the joy is short-lived as he finds out that no one is ready to accept his curse. Finally, one of his sons, Puru, agrees to take on the curse of his father, wanting to bring peace to his father. Yayati enjoys another one thousand years of youth, donated by his son Puru.

This is a well known tale, and it has its own share of interpretations, analysis and philosophical discourse in literary critique over the ages. Girish K stepped in and asked a question that was never asked for many a millennia. What about Chitralekha?

It is not clear whether this character by this name exists in the annals of Mahabharat. Girish K is alluding to, and enquiring about Puru’s wife. A man goes ahead and takes on the curse of old age for a thousand years. There is name and fame, for this sacrifice. But no one ever asked, what about his wife? What happened to her life and her time, and whether and how did she endure this abnormally changed circumstance foisted upon her. With certain modifications to the original plot, Girish K is the first scholar to ask this question.

This play came about during Girish K’s journey to England by ship in 1960. The version of Mahabharat by C Rajagopalachari was published in 1951. This version of the epic influenced Girish K, and he went on to create two great plays based on themes from this epic. By his own account, ‘Yayati’ came so naturally to him, almost as if someone was dictating and he was just transcribing. The writing of this play was completed on this sea voyage of three weeks. He was traveling to London, having been awarded the Rhodes Scholarship at the Oxford University. During his stay and studies, he completed a triple MA, simultaneously in philosophy, politics and economics. The second play, that was born out of the influence of Mahabharat, sat in his mind for almost three decades, and then was born as ‘Fire and Rain’, which was staged first time in 1995.

His other most celebrated theatrical creation is another view into the history of India. Titled ‘Tuglaq’, this play took the theatre world, the audiences and the socio-political commentators by storm when it was first staged in 1966. In 1972, this play was enacted by the National School of Drama, directed by Ebrahim Elkazi, and presented on the ramparts of the Old Fort (Purana Qila) in Delhi. Using the ruins of the Old Fort as the backdrop, the play was enacted, to a very critical acclaim. Personally, that was my first introduction to Girish K. Quite enchanted by the theatre scene in Delhi, I have seen this enactment of the play while I still was in school.

The play covers the last 5 years of the reign of Mohammed Bin Tuglaq. The protagonist, is portrayed as having great ideas and a grand vision, but his reign was an abject failure. He started his rule with great ideals of a unified India, but his kingdom degenerated into anarchy. His proclamation to move his capital from Delhi to Daulatabad, resulted in a massive exodus that brought misery and sorrow to a huge population. This was seen by the commentators as an allegory to the Partition of the country in 1947, and mass movement of people from both sides of the border.

In his later discussions, Girish K has revealed that the play was not originally written with an intent to comment on the then current political scenario in the country. Writing about the commentary on his play, Girish K has stated – “I did not consciously write about the Nehru era, I am always flattered when people tell me that it was about the Nehru era and equally applies to development of politics since then. But, I think, that is a compliment that any playwright would be thrilled to get, but it was not intended to be a contemporary play about a contemporary situation.”

Girish K started his theatre career in Madras, with a drama group called the Madras Players. Starting with ‘Yayati’ we see the development of a multi-faceted career that has lasted for almost six decades – author, teacher, playwright, director, stage actor, film actor, director of FTII Pune, chairman of the Sangeet Natak Academy – there is so much in his career to write and tell about.

His association with the cinema begins with ‘Samskaara’ (1970) and ‘Vamsh Vriksh’ (1972), both in Kannada, and both well recognized and well awarded films. Girish K was also the co-director of ‘Vamsh Vriksh’. The storylines for both films are a very strong statement on the evolving nature of human relationships, as each individual passes through his or her own pleasures, travails, dreams and anguish. The stories tell of compelling human emotions that drive human beings, to behave in manners that are quite out of the ordinary expectations. In ‘Samskaara’, Praneshcharaya (role played by Girish K), a devout Brahmin, is so convinced of moksha being the ultimate goal of life, and being so focused to achieve it, marries an invalid, so he can remain a celibate all his life. His antithesis is life is Narayanappa, a Brahmin who has given up the traditions – he eats meat and lives with Chandri, a lady of lower standing in the society. As the events unfold, Narayanappa passes away. His final rites become a controversy – a non-Brahmin cannot perform his rites, and no Brahmin in the village is ready to perform the rites for one who has fallen from the tradition. In the midst of all this, Praneshcharya one night wakes up in the lap of Chandri. Unable to reconcile with his own actions, he leaves the village in despair. Chandri secretly performs the last rites of Narayanappa and leaves the village too. In the last scene, Praneshcharya is seen returning to the village. Did he confess and atone for his actions? – the question remains unanswered.

‘Vamsh Vriskh’ is a complex narrative of the progression in a family, the interrelationships, the hidden connects and the invisible knowns. The protagonist, Srinivasa Shrotri, goes through many a tribulation in life, and tries to keep his mental peace intact. Having lost or settled all his affairs, he finally renounces householder’s life to become a sanyaasi.

In 1974, Girish K appeared in a children’s film ‘Jaadu Ka Shankh’. Not much more information about this film is locatable.

In the next three years, we see Girish K in three films that are outstanding statements of the new-wave cinema. In 1975, we see him in ‘Nishaant’ as the timid but principled schoolmaster, whose wife is abducted by the brothers of the landlord. The film has a kind of idealist ending, with the schoolmaster fatally attacking the landlord during a religious celebration and the entire village rising up against the landlord and lynching him and his entire family. In 1976 came ‘Manthan’ – the story of the white revolution in India. Girish K has played the role of Dr Rao, a chemist assigned in the rural areas, to help villagers determine the quality of their milk and to help free them from the clutches of the milk contractors by establishing co-operative societies. In 1977, we see Girish K in ‘Swami’, assaying the role of Ghamshyam, an upright and principled eldest son in the family, after passing away of his father, handling the family matters and his own personal life very maturely and with wisdom, in the presence of a hostile step mother.

In the next four decades , Girish K has appeared in almost 100 films, in Hindi, Kannada, Telugu, Tamil, Malyalam and Assamese. I remember seeing him in ‘Man Pasand’ (1980), playing the role of Kashinath, a close friend of Pratap, the protagonist (role played by Dev Anand). Later, I have seen him in ‘Aasha’ (1980), ‘Ek Baar Chale Aao’ (1983), ‘Tarang’ (1984), till the waning interest in newer films kept me away. Ah yes, he was part of the dear ‘Malgudi Days’ series on the television, playing the role of Swami’s father. In his other directorial outings, he has directed ‘Godhuli’ (1977) and ‘Utsav’ (1984), films that have earned a lot of critical acclaim. He has also made a number of documentaries, like one on the Kannada poet DR Bendre (1972), ‘Kanaka-Purandara’ (English, 1988) on two medieval Bhakti poets of Karnataka, Kanaka Das and Purandara Das, and ‘The Lamp in the Niche’ (English, 1989) on Sufism and the Bhakti movement in India. Many of his films and documentaries have won several national and international awards.

Girish K’s accomplishment as an actor is simply his complete comfort with being the character he is playing. Watching him on the screen, one has this confidence that he knows all the ins and outs of the character he plays, and that in some incarnation he has lived that role himself. The authenticity of portrayal is simply magnificent.

In 1985, he appeared in the role of Pandit Shiv Shankar Shastri in the film ‘Sur Sangam’. The film, and his portrayal of the senior patriarchic exponent of classical music, are my all time favorite. I have written about this film in an earlier article with the song “Aaye Sur Ke Panchhi Aaye”. The film revolves around classical music and the story of Pt Shiv Shankar Shastri, one of the greatest living exponents of this art form. The story line brings in Tulsi (role played by Jayaprada), who is musically inclined and who reveres Shastri ji. The turn of events brings a certain unexplainable element – Tulsi is sexually assaulted, and the man responsible also throws down the portrait of Shastri ji. In a fit of violent anger, Tulsi slays the man with a shard of glass from broken portrait, runs off into the night, and boards a train departing from the local station. As destiny would have it, she barges into a first class coupe whose sole occupant is Shastri ji, who is traveling for participating in an out of town program. The two travel together, and return. Tulsi starts living in the same house as Shastri ji. He is a widower and has a girl child. Slowly, Tulsi becomes a part of the household. Being inclined for classical music, she also starts to practice while staying at Shastri ji’s home. One night, there is a special celebration at the temple of Lord Shiv. Shastri ji is to perform. Tulsi accompanies him, as usual. With the performance about to begin, Shastri ji motions Tulsi to pick up and play the taanpura in accompaniment. At this, all his participating disciples become incensed and leave the stage one by one. Tulsi rushes back home (and then leaves the household for good), the audience leaves and Shastri ji is the sole person left in the temple. In the absence of any accompaniment and musical support, he resolves to make his musical presentation regardless, to the Lord. And he presents this song, alone in a deserted temple, to Lord Shiv.

I picked this song specially, to highlight one aspect of Girish K’s artistic expressions, which was probably hidden until then. An accomplished performer, he has performed the dance steps as part of this song. Every review of the film at that time, commented on the dancer in Girish K. He revealed in an interview that he had taken on special dance training to prepare for this song. You can see the performance for yourself. It is no less than an accomplished and well trained dancer, presenting these steps in unison with the music.

This one song, in my humble opinion, is the best artistic performance that I have seen from Girish K. See the manner in which he starts his dialogue with the Lord. His singing, his facial expressions, his gestures and movements, all coalesce into a fluid expression of a conversation with Lord Shiv. No one else is present so this is a very private conversation, in which Shastri ji is telling the Lord to listen to His own sound coming from inside him. This entire clip is a one wonderful performance by Girish K that probably has not been surpassed.

It is a sad goodbye that we bid today. The person, the artist, and a scholar – it is truly a great loss to the cultural landscape of this sub continent that may never be made up.

One commentator has written about Girish K’s creations, that “. . . Girish Karnad allowed his characters to ask the questions, to struggle with the inconclusive, and hence his stories truly never ended.” Yes, that is the legacy of this multi-faceted artist – his creations, his stories, his characters – all still have a lot be explored for. That “struggle with the inconclusive” is so appropriate a passage dealing with the complex realities and relationships in the course of a human life. His stories have not really ended. And neither has his legacy.

Girish K – Rest in Peace. . . Enduring Peace

 

Song – Hey Shiv Shankar, Hey Karunakar  (Sur Sangam) (1985) Singer – Rajan-Sajan Misra, Lyrics – Vasant Dev, MD – Laxmikant Pyaarelal

Lyrics (Provided by Prakashchandra)

hey..ey..ey shiv shankar
hey..ey..ey karunakar
parmanand maheshwar

hey shiv shankar
hey karunakar
hey shiv shankar
hey karunakar
parmanand maheshwar
mere bheetar tum gaate ho
mere bheetar tum gaate ho
sun lo tum apna ye swar
hey shiv shankar
hey karunakar
parmanand maheshwar

maun gaan ka dhyaan jamaaya
maun gaan ka dhyaan jamaaya
yog raag ko hi maana
tum hi baney ho taan praan ki
tum hi baney ho taan praan ki
mere tan mann ko paawan kar
hey shiv shankar
hey karunakar
parmanand maheshwar

rudra been jhankar tumhaari
rudra been jhankar tumhaari
shudra janon se rahi ansuni
dhanya tumhi ho jaavo sureshwar
dhanya tumhi ho jaavo sureshwar
apne mukh se sun apna swar
hey shiv shankar
hey karunakar
parmanand maheshwar [

nabh chaaya ghan ghor bijuriya damke jhamke
adharon ki muskaan tumhaari cham cham chamke
aaaa aaaaa aaaaa aaaaaa aaaaaa
ghir ghir aaye megh bhayankar garaj garajte
goonja nupur naad tumhaara thirak thirkate
jhuk gaya matha ki tum ne haan kaha jis pal umapati
sheesh ki ganga dharaa par utar aayi chhal-chhalaati
ga ga re ni re ga ma
dha ni re ga re sa
geet ki har lehar par tum jhoom kar naacho nateshwar
aaj is anand varsha mein nahaao tum maheshwar
aaa aaaaaa aaaaaaj is anand varsha mein
nahaa..aavoo tum maheshwar
shiv shankar
maheshwar
shiv shankar
aaaa aaaaa aaaaaaa

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

हे॰॰ए॰॰ए शिव शंकर
हे॰॰ए॰॰ए करुणाकर
परमानन्द महेश्वर

हे शिव शंकर
हे करुणाकर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर
मेरे भीतर तुम गाते हो
मेरे भीतर तुम गाते हो
सुन लो तुम अपना ये स्वर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर

मौन गान का ध्यान जमाया
मौन गान का ध्यान जमाया
योग राग को ही माना
तुम ही बने हो तान प्राण की
तुम ही बने हो तान प्राण की
मेरे तन मन को पावन कर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर

रुद्र बीन झंकार तुम्हारी
रुद्र बीन झंकार तुम्हारी
शूद्र जनों से रही अनसुनी
धन्य तुम्हीं हो जावो सुरेश्वर
धन्य तुम्हीं हो जावो सुरेश्वर
अपने मुख से सुन अपना स्वर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर

घन छाया घनघोर बिजुरिया दमके झमके
अधरों की मुस्कान तुम्हारी चम चम चमके
आsss आssss आssss आsssss आsssss
घिर घिर आए मेघ भयंकर गरज गरजते
गूँजा नूपुर नाद तुम्हारा थिरक थिरकते
झुक गया माथा कि तुमने हाँ कहा जिस पल उमापति
शीश कि गंगा धरा पर उतार आई छल-छलाती
ग ग रे नि रे ग म
ध नि रे ग रे स
गीत की हर लहर पर तुम झूम कर नाचो नटेश्वर
आज इस आनंद वर्षा में नहाओ तुम महेश्वर
आ आ आ॰॰आज इस आनंद वर्षा में
नहा॰॰आवो तुम महेश्वर
शिव शंकर
महेश्वर
शिव शंकर
आsss आssss आssssss


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

Blog Day : 3881 Post No. : 14905

I wish all our readers a very Happy and cosmic MAHASHIVRATRI, to be celebrated today, i.e. 4th March 2019.

This is the one day in the entire year (barring Shravan Somvars) on which I become more religious and engage in pooja, listening to Shiv Bhajans and also do fasting. Our family was very religious. My father was a Sanskrit Scholar and had spent some time in Banares, giving religious sermons in the Kashi Vishveshar Temple during 1948-49. This was the time when he had gone underground to avoid arrest, as most Hindu Mahasabha leaders were arrested along with Savarkar, after Gandhi ji’s death. He was finally arrested and freed by the court “ba-izzat“. We came down to Hyderabad and he started practicing as a Lawyer as he was BA LLB.

Very soon we moved into our spacious bungalow, adjacent (within our compound) to which he constructed a Mahadev Mandir. It was open to public also. Every Shrawan Somvar and Mahashivaratri, there used to be big celebrations, a pooja by 101 bramhins and playing of Shiv Bhajans throughout the day. All this has been etched deep on my mind and I too became a Shiv Bhakta. Now also I do poojas on these days, but I miss all those days’ enjoyment as a growing teenager.

I have read the Shiv Puraan completely (and also other Puraans). The marriage of Shiv-Parvati has been described very minutely in this Puraan. They are believed to have married on the midnight of Mahashivratri. During the period upto early 70s, I never missed any Hindi/ Marathi/ Telugu/ Kannada Shiva film. I have also seen this film – ‘Shankar Parvati’ (1943).

‘SHANKAR PARVATI’ was quite a successful movie in those days, as it appealed to the religious minded Indians, who have grown up listening to mythological stories. I remember seeing this movie in its second run, as there was an attraction of trick scenes in this movie. The story is about how Sati (Sadhona Bose) the daughter of King Daksha, goes to attend Yagnya by Daksha, uninvited and gets insulted for her husband – Shankar (played by Arun Kumar Ahuja- father of actor Govinda). She jumps into the fire and dies and on hearing this, Shankar is very angry and does the Tandav Nritya. Sati is reborn as Parvati, who, to regain her love back, dances and wins Shankar. Their elder son Kartikeya ,destroys Tarakasur etc.

Sadhana Bose was an internationally acclaimed dancer and acted in some Hindi and several Bengali movies in the 1940s and 1950s.
Her most famous film was ‘RAJNARTAKI’ (1941), opposite Prithviraj Kapoor and it was made in Hindi, English and Bengali at the same time. Though a box office failure, it had fabulous dances by her.

There are few songs sung by Sadhana Bose in ‘Shankar Parvati’ and ‘Paigham’ (1942). According to Timir Baran, these are not sung by her, but by Suprabha Ghosh. However, famous music Historian Kamalakar Pasupuleti says that Sadhana Bose was an accomplished dancer and singer too. In her all time favourite ‘ALIBABA’ in Bengali she, as Marjina, and her director husband Madhu Bose, as Abdulla in the film, sang many duets which are popular even today in Bengal.

Arun Mukherji, Music Director of ‘Parineeta’ (1953), had literally translated one song from ‘Alibaba’ in Hindi “Aye Baandi, Tum Begum Bani….’ sung by Kishore and Asha in ‘Parineeta’ (1953).

The film was directed by Chaturbhuj Doshi. During the early era of talkie films, till the 1960s, there was a horde of Gujarati directors and producers. Bhatts, Trivedi, Thakur, Shahs, Desais, Pancholi, Doshi, Daves were some names frequently found directing various genres. Usually they specialised in certain class and type of films. The Bhatts (Shankar and Vijay) liked to do Mythological films, Ramnik Shah handled stunt, action, fantasy films, Jayant Desai was social film oriented etc.

Chaturbhuj Doshi (1894–1969) was a Hindi and Gujarati writer-director of Indian cinema. He was one of the top Gujarati screenplay writers, who helped script stories for the Punatar productions. He is stated to be one of the leading figures who launched the Gujarati film industry with work on notable films like ‘Gunsundari’ (1948) and ‘Nanand Bhojai’ (1948). He was ‘well known’ for his family socials and had become ‘a celebrity in his own right’. He made a name for himself as a journalist initially and was referred to as the ‘famous journalist’ & publicist by Baburao Patel, editor of Filmindia.

His debut film as a director was ‘Gorakh Aya’ (1938), produced by Ranjit Movietone, though he joined Ranjit in 1929, as a scriptwriter. In 1938, he directed another film for Ranjit, a social comedy, ‘The Secretary’, and both films were box-office successes for Doshi. His forte was socials, regularly adapting stories and novels for films. He worked initially on comedies like ‘Secretary’ and ‘Musafir’ (1940), but then ‘shifted to more significant films’.

Chaturbhuj Anandji Doshi was born in 1894 in Kathiawad, Gujarat, British India. He was educated at the University of Bombay, after graduation he started work as a journalist for a daily, Hindustan (1926), working for editor Indulal Yagnik. His entry into films was working as a scenarist in the silent era for directors like Jayant Desai, Nandlal Jaswantlal & Nanubhai Vakil. He joined Ranjit Movietone in 1929, and wrote stories and screenplay for several of Ranjit films.

Film ‘Gorakh Aya’ (Gorakh has come) in 1938, was the first film directed by Doshi. It was produced by Ranjit Movietone with screenplay by Gunvantrai Acharya & dialogues by PL Santoshi. The music, termed ‘good’ was composed by Gyan Dutt. ‘The Secretary’ (1938), was a “riotous comedy”, starring Madhuri, Trilok Kapoor. Charlie. The music was composed by Gyan Dutt, became a regular in most of the films directed by Doshi. Musafir in 1940 was a comedy costume drama, which had Charlie playing a prince.

‘Bhakta Surdas’, a devotional film directed by Doshi in 1942, is stated to be the “most famous” of the several versions made. It starred KL Saigal and Khursheed “the singing idol(s) of millions”, winning “unprecedented popularity” everywhere.

‘Mehemaan’ (1942) starred Madhuri, Ishwarlal, Shamim and Mubarak. Music director Bulo C. Rani had come to Bombay in 1942, and joined Ranjit Studios assisting Khemchand Prakash in music direction.

Doshi helped enormously in the development of the Gujarati cinema. During 1948-49 he directed three successful Gujarati films which “brought immense success to the industry”. The success of the Gujarati film ‘Kariyavar’ in 1948, directed by Chaturbhuj Doshi from a story by Shaida, called Vanzari Vaav, helped establish the Gujarati film industry along with other films like ‘Vadilo Ne Vanke’ (1948) by Ram Chandra Thakur and ‘Gadono Bel’ (1950) by Ratibhai Punatar. His next Gujarati film was ‘Jesal Toral’ (1948) based on folk-lore, which proved a big box-office success. In 1949, Doshi directed another Gujarati film, ‘Vevishal’, an adaptation of Meghani’s novel of the same name.

He also wrote stories, and one of his stories ‘Pati Bhakti’ was used in the Tamil film ‘En Kanawar’ (1948) produced by Ajit Pictures, which starred the Veena maestro, Sundaram Balachander, who was also the debut director and music composer for the film. In all he directed 24 Hindi films. His last Hindi film was ‘Sanskar’ (1958). He had also written few songs in film ‘Maya Bazaar’ (1932).

Chaturbhuj Doshi died on 21 January 1969 in Bombay, Maharashtra, India. Filmography

1932: Narasinh Mehta (Writer), 1934: Sitamgarh (Writer), 1938: Gorakh Aya, Secretary, 1939: Adhuri Kahani, 1940: Musafir, 1941:Pardesi, Sasural, 1942: Bhakta Surdas, Dhiraj, Mehmaan, 1943: Chhoti Maa, Shankar Parvati (Director, Writer), 1944: Bhartrahari, 1945:Murti, 1946: Phulwari, 1947: Bela, Kaun Hamara, 1948: Jesal Toral, Kariyavar (Director, Writer), Sati Sone, 1949: Bhakta Puran, Vevishal, 1950: Akhand Saubhagya, Kisi Ki Yaad, Ramtaram, 1954: Aurat Teri Yahi Kahani, 1956: Aabroo, Dashera, Dassehra, 1957: Khuda Ka Banda, Shesh Naag, 1958: Sanskar, 1960: Mehndi Rang Lagyo (Writer, Lyricist).

The cast of the film was Sadhona Bose, Arun Ahuja, Mahipal, Rewa Shankar, Narbada Shankar etc. The MD was Gyan Dutt. Today’s song is sung by Rewa Shankar Marwadi. This is only the second song of Rewa Shankar on this blog. About 3 years ago, our Sadanand Kamath ji had given a complete biography of the actress dancer Sadhona Bose, while discussing the song – “Ganga Kinaare Mohe Bagiyaa Lagaa Do Sainyya“, of this film, hence I will not repeat it.

Sadhana Bose was responsible for the names of at least 2 actresses in Bombay. Actress Sadhana Shivdasani’s mother was very much impressed with the dancing skills of Sadhana Bose. She was her fan and saw her films repeatedly. When she was carrying for Sadhana, she had decided that if she gets a girl, her name would be Sadhana only. Thus Bombay Sadhana got the Calcutta Sadhana’s name.
Secondly, actress/dancer Kumkum’s real name was Zebunnisa. When she was selected by director Shahid Lateef, for his film ‘Sheesha’ (1952), first time for debut, there was already an actress Zebunnisa existing. What’s more, this Zebunnisa was also in the same film, so Shahid was thinking for a new name for the newcomer. He remembered that his favourite Sadhana Bose had acted in a film by the name ‘Kumkum-the Dancer’ (1940), so he selected the name Kumkum for this new dancer and Kumkum got her name.
After Sadhna stopped her dance films as a heroine, she resumed her work as a choreographer. In the early 50s, she choreographed in films like ‘Bhola Shankar’ (1951), ‘Nandkishore’ (1951), ‘Shinshinaki Boobla Boo’ (1952). She used to do bit roles too in these films to earn money. It is very sad that she died in penury and neglect, but artistes in the 40s and 50s-many of them- had similar stories.

I tried very hard to get some information about today’s singer Rewa Shankar Marwadi, who was an actor, lyricist, singer and also music director  in the 1930s and 1940s. However I could not get anything concrete. Anyway I found a note on this multi talented artist of the early era, written by Shri Dhananjay Naniwadekar aka Nani, on the old RMIM forum, some 15 years ago and adapted by me for this article.

Some of Ranjit Movietone’s earliest talkie films had music by Ustad Jhande Khan. Next came the trio of Banne Khan, Ganga Prasad Pathak and Rewa Shankar Marwari. None of that music was ever released on 78 rpm records. From 1938-39, the great duo of Jnan Dutt and Khemchand Prakash took over the charge of Ranjit’s music, later to be joined by Bulo C Rani. It was only around 1938 that Ranjit started releasing its film music on 78-rpm records.

Rewa Shankar Marwari’s association with Ranjit Films and films produced or directed by ex-Ranjit hand Jayant Desai continued in the
1940s. While it is a pleasant surprise that imdb.com has a page for an obscure name like ‘Rewashankar Marwadi’ at all, it is not surprising
that his filmography has been put together for the site by people who are far from competent at that sort of thing. He acted in 27 films, till 1955, sang 12 songs in 9 films and gave music to 21 films from ‘Veer Babruwahan’ (1934) to ‘Matrubhoomi’ (1949).

Rewa Shankar sang a beautiful classical composition ‘Jai Jai Shankar’ in the film ‘Shankar Parvati’ for composer Jnan Dutt. It is available with only few collectors, and is a rare instance of film music using Raag Shree.

Song – Jai Jai Shankar Gangadhar Shiv Sukhkaari  (Shankar Parvati) (1943) Singer – Rewa Shankar, Lyrics – Pt Indra, Music – Gyan Dutt

Lyrics

jai jai shankar gangadhar shiv sukhkaari
jai jai shankar gangadhar shiv sukhkaari
jai ajar amar anandroop bhayahaari
jai ajar amar anandroop bhayahaari
jai jai shankar gangadhar shiv sukhkaari

jai indu bhaal ur vyaal maal hitkari
jai indu bhaal ur vyaal maal hitkari
jai ashutosh har dosh rog tripurari
jai ashutosh har dosh rog tripurari
jai jai shankar gangadhar shiv sukhkaari
jai ajar amar anandroop bhayahaari
jai ajar amar anandroop bhayahaari
jai jai shankar gangadhar shiv sukhkaari
jai jai shankar gangadhar
jai shankar gangadhar shiv sukhkaari
jai ajar amar anandroop bhayahaari
jai jai shankar gangadhar
jai shankar gangadhar
jai shankar gangadhar shiv sukhkaari
jai jai

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

जय जय शंकर गंगाधर शिव सुखकारी
जय जय शंकर गंगाधर शिव सुखकारी
जय अजर अमर आनन्दरूप भयहारी
जय अजर अमर आनन्दरूप भयहारी
जय जय शंकर गंगाधर शिव सुखकारी

जय इन्दु भाल उर व्याल माल हितकारी
जय इन्दु भाल उर व्याल माल हितकारी
जय आशुतोष हर दोष रोग त्रिपुरारी
जय आशुतोष हर दोष रोग त्रिपुरारी
जय जय शंकर गंगाधर शिव सुखकारी
जय अजर अमर आनन्दरूप भयहारी
जय अजर अमर आनन्दरूप भयहारी
जय जय शंकर गंगाधर शिव सुखकारी
जय जय शंकर गंगाधर
जय शंकर गंगाधर शिव सुखकारी
जय अजर अमर आनन्दरूप भयहारी
जय जय शंकर गंगाधर
जय शंकर गंगाधर
जय जय शंकर गंगाधर शिव सुखकारी
जय जय


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 :

3827 Post No. : 14832 Movie Count :

4056

#the Decade of Seventies – 1971 – 1980 #
———————————————————–—
# Bhoole-Bisre Geet # 78 # Singer – Mahendra Kapoor #
—————————————————————————-

Today 9th January is the birth anniversary of Singer Mahendra Kapoor (9 January 1934 – 27 September 2008). Had he been alive today he would have been eighty-five years old.

On today’s occasion here is a song from the 1972 movie ‘Maalik’ sung by Mahendra Kapoor and composed by Kalyanji -Anandji. Lyrics are by Rajinder Krishan.

I have vague memories of watching this film on ‘Doordarshan’ and do not remember it now. In my childhood I had been hearing this song ‘Kanhaiyya Kanhaiyya Tujhe Aana Padega’ on loud speakers during the ‘Janmashtami’ festival. This song was very popular in those years. And after watching this movie ‘Maalik’ on ‘Doordarshan’ around 1983-1985, I came to know it was from this movie. However today on the occasion of birth anniversary of Singer Mahendra Kapoor, I am presenting herewith another Krishna song from the same film.

‘Maalik’ was directed by A Bhim Singh for Bharat Movies, Madras. It was produced by Vasu Menon. It had Sharmila Tagore, Rajesh Khanna, Deven Verma, Sonia Sahni, Bipin Gupta, Shivraj, Umesh Sharma, NS Bedi, Prem Kumar, Kabir Kumar, Baby Pinki and Ashok Kumar (in a special appearance). Story for this movie was written by Balamurugan. Dialogues of this movie were written by Rajinder Krishan (who also wrote the lyrics for all songs in this movie). Editing of this movie was done by A Paul Doraisingam. NS Bedi was also the dialogue director of this movie. This movie was passed by the Censor Board on 26.10.1972.

Rajesh Khanna played a different role in this movie from what was expected from him then and that too when he was on the peak of his career. May be because of that the movie didn’t fare well at the box-office, and may be because people might not have like to watch Rajesh Khanna in this type of role.

Our group of friends then who were the fans of Rajesh Khanna, did not like this movie much when we watched it on ‘Doordarshan’ then in 1983-85. And I remember next day we had discussed this movie and Kaka’s role in it at length. (But that is the matter for another article on Rajesh Khanna series. 🙂

The brief about this movie ‘Maalik-1972’ as given on IMDB is as below;

Rajesh and Savitri are in love, and soon they get married. They soon realize that they have a number of differences, the main one being that while Rajesh is a devout Hindu and worships Lord Krishna, Savitri does not believe in God. This leads to a number of arguments, yet both continue on with their married life. Soon a child is born to them. Unfortunately, the child is born without hands and legs. Both are anguished by this, and decide to placate God by visiting various places of worship all over India, little knowing that the truth lies elsewhere.

This movie has total thirteen songs as listed in HFGK Vol-V (1971-1980). Out of these thirteen songs, the singer’s name has not been mentioned for one song. Out of the remaining twelve songs we have one solo sung by Kishore Kumar, one solo by Lata Mangeshkar, three solo songs sung by Mahendra Kapoor and seven duets of Mahendra Kapoor with Lata Mangeshkar. That way, including the multiple version songs we have Mahendra Kapoor’s voice in as many as ten songs in this movie.

There was one movie made with the same title as ‘Maalik’ in ‘1958’. Five songs from this 1958 movie are already posted on our blog.

Today ‘Maalik’ of 1972 makes its debut on the blog. Here is this first song from this movie appearing here which is sung by Mahendra Kapoor and chorus.

Let us now listen to the today’s song in the voice of Mahendra Kapoor and chorus.

Radhe Krishna bol mukh se
tero kya laage re mol

Song – Radhe Krishna Bol Mukh Se (Maalik) (1972) Singer – Mahendra Kapoor, Lyrics – Rajendra Krishna, MD – Kalyanji Anandji

Lyrics

aaaa aa aa aa
radhe krishna bol mukh se ae
radhe krishna
bol mukh se
radhe krishna bol
tero 
kya laage re mol
tero
kya laage re mol
tero
kya laage re mol
ho ho o o o
radhe krishna bol mukh se
radhe krishna bol tero
kya laage re mol
tero
kya laage re mol

(western dance music)

pee le shyam naam ka pyaala
aa aa aa aa
pee le shyam naam ka pyaala
aur ho ja saancha matwaala
aur ho ja saancha matwaala
girdhar ke rang mein rang ja
re rang ja
tero
kya laage re mol
tero
kya laage re mol
tero
kya laage re mol

(western dance music)

natwar se preet lagaa le
ae ae ae ae
natwar se preet lagaa le
chhavi sundar man mein basaa le ae
chhavi sundar man mein basaa le
bansi ki dhun mein kho ja re kho ja        
tero
kya laage re mol
tero
kya laage re mol
ho ho o o
radhe krishna bol mukh se
radhe krishna bol mukh se
radhe krishna bol
mukh se re
radhe krishna bol

(western dance music)

radhe krishna bol
radhe krishna bol
radhe krishna bol
radhe krishna bol

(western dance music)

radhe krishna bol
radhe krishna bol

(western dance music)

radhe krishna bol
radhe krishna bol
radhe krishna bol
radhe krishna bol

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

आ आ आ आ
राधे कृष्ण बोल मुख से ए
राधे कृष्ण
बोल मुख से
राधे कृष्ण बोल
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल
हो ओ ओ ओ
राधे कृष्ण बोल मुख से
राधे कृष्ण बोल
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल

(पाश्चात्य संगीत)

पी ले श्याम नाम का प्याला
आ आ आ आ
पी ले श्याम नाम का प्याला
और हो जा सांचा मतवाला
और हो जा सांचा मतवाला
गिरधर के रंग में रंग जा
रे रंग जा
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल
 
(पाश्चात्य संगीत)

नटवर से प्रीत लगा ले
ए ए ए ए
नटवर से प्रीत लगा ले
छवि सुन्दर मन में बसा ले ए
छवि सुन्दर मन में बसा ले
बंसी कि धुन में खो जा रे खो जा
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल
हो हो ओ ओ
राधे कृष्ण बोल मुख से
राधे कृष्ण बोल मुख से
राधे कृष्ण बोल
मुख से रे
राधे कृष्ण बोल

(पाश्चात्य संगीत)

राधे कृष्ण बोल
राधे कृष्ण बोल
राधे कृष्ण बोल
राधे कृष्ण बोल

(पाश्चात्य संगीत)

राधे कृष्ण बोल
राधे कृष्ण बोल

(पाश्चात्य संगीत)

राधे कृष्ण बोल
राधे कृष्ण बोल
राधे कृष्ण बोल
राधे कृष्ण बोल


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 :

3822 Post No. : 14823

‘PANCHAM-RAFI’ Jodi’s Variety Songs – 4
– – – – – – – – – – – – – – – – – – – – –

Today 4th January is the twenty fifth ‘Remembrance Day’ (27th June’1939- 04th January’1994) of the ‘versatile genius’ RD Burman or our beloved Pancham Da. One cannot believe that it is twenty five years now since Pancham Da left us. His songs are a daily routine for me and maybe many like me, and so it never appears that he is not there. He is always there with us – the music lovers.

I wish to send an article with other song composed by Pancham for this occasion, however could not finish that article hence I for today’s occasion I am sharing herewith one of my already pending article under the series ‘Pancham-Rafi Jodi’s variety songs. We already have the following songs earlier in this series posted on the blog;

Jaag devta naag devta

Raqqaasa mare naam

Maine kab chaaha ke doolha banoonga

So coming back after a long gap in this series, today we have song composed by RD Burman from the movie ‘Takkar’ (1980). Today’s song of ‘Pancham – Rafi Jodi Songs’ is a melodious devotional song.

‘Takkar’ is a Padmalaya Films Production. produced by GA Sheshagiri Rao and directed by K Bapaiyaa. The movie had Sanjeev Kumar, Zeenat Aman, Jeetendra, Jayaprada, Vinod Mehra (double role), Bindiya Goswami, Ranjeet, Mac Mohan, Ashok Kumar, Kamini Kaushal, Sujit Kumar, Jeevan, Mukri, Asrani, Shivaraj, Leela Chitnis, Komila Virk, Jalal Agha, Mohan Choti, Master Bittoo, A. Abdul Hameed, Mac Mohan, Umesh Sharma, Swaraj Gupta, Anand Mohan, Umesh Khanna, K N Reddy, Pawan Babu, Asha Sachdev, Prema Narayan etc. in it.

As per HFGK this movie was passed by Censor Board on 07.04.1980. It had total seven songs in it wherein Asha Bhonsle, Kishore Kumar, Lata Mangeshkar, Mahendra Kapoor, and Mohd Rafi gave their voices to the songs in this movie. Lyrics for this movie were written by Anand Bakshi and Music was composed by R.D. Burman.

I do not remember to have heard this song till this post. Also from the list of other songs of this movie they don’t seem familiar to me. Though I am aware that there was this movie in those days, but have not watched it then and even till date. This is the second song from this film to appear on the blog.

Here is the brief about this film that Atul ji mentioned while posting the first song from this film (on 09.09.2013) – Moorty Ganesh Ki Andar Daulat Desh Ki.

In today’s song Sanjeev Kumar and Zeenat Aman are lip syncing in Mohd Rafi and Asha Bhonsle’s voice respectively on the screen. Ashok Kumar, Kamini Kaushal, Jeevan, Bindiya Goswami and others are seen in the song.

From the video of the song one can assume that Zeenat Aman looks for her ‘Shyam’ in Sanjeev Kumar and Ashok Kumar seems to find the spiritual one, few seem to be interested in Kanhaiyya’s moorty itself and Sanjeev Kumar preparing to take on the evils or he too wants to get this ‘moorty’. Only those who have watched this movie can help us.

But the song is a nice hummable one. As mentioned above lyrics of this song are by Anand Bakshi and it is composed by RD Burman.

Let us now enjoy this interesting song.

Song – Maakhan Chor Nandkishore Manmohan Ghanshyam Re (Takkar) (1980) Singer – Mohammed Rafi, Asha Bhonsle, Lyrics – Anand Bakshi, MD – RD Burman
Mohammed Rafi + Asha Bhonsle

Lyrics

maakhanchor nandkishore
manmohan ghanshyam re
kitne tere roop re
kitne tere naam re

arey maakhanchor nandkishore
manmohan ghanshyam re
kitne tere roop re
kitne tere naam re

devki maa ne janam diya aur
maiyya yashoda ne paala aa aa aa
devki maa ne janam diya aur
maiyya yashoda ne paala aa
tu gokul ka gwaala
bindraban ka bansari waala aa

ho aaj teri bansi phir baaji
mere mann ke dhaam re
kitne tere roop re
kitne tere naam re

ho maakhanchor nandkishore
manmohan ghanshyam re
kitne tere roop re
kitne tere naam re

kaali naag ke saath ladaa tu
zaalim kans ko maara aa aa aa
kaali naag ke saath ladaa tu
zaalim kans ko maara aa aa
baal awasthaa mein hi tune
khela khel ye saara

tera bachpan
tera jeewan
jaise ek sangraam re
kitne tere roop re
kitne tere naam re

o maakhanchor nandkishore
manmohan ghanshyam re
kitne tere roop re ae
kitne tere naam re ae

tu ne sabka chain churaaya
o chitchor kanhaiyya aa aa aa
tu ne sabka chain churaaya
o chitchor kanhaiyya
o o o
o jaane kab ghar aaye dekhe
raah yashoda maiyya
arey vyaakul radha dhoondhe shyam
na aaya ho gayi shaam re
kitne tere roop re
kitne tere naam re

o maakhanchor nandkishore
manmohan ghanshyam re
kitne tere roop re
kitne tere naam re ae …


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

माखनचोर नंदकिशोर
मनमोहन घनश्याम रे
कितने तेरे रूप रे
कितने तेरे नाम रे

अरे माखनचोर नंदकिशोर
मनमोहन घनश्याम रे
कितने तेरे रूप रे
कितने तेरे नाम रे

देवकी माँ ने जनम दिया और
मैय्या यशोदा ने पाला आ आ आ
देवकी माँ ने जनम दिया और
मैय्या यशोदा ने पाला आ
तू गोकुल का ग्वाला
बिंद्राबन का बंसरी वाला आ

हो आज तेरी बंसी फिर बाजी
मेरे मन के धाम रे
कितने तेरे रूप रे
कितने तेरे नाम रे

हो माखनचोर नंदकिशोर
मनमोहन घनश्याम रे
कितने तेरे रूप रे
कितने तेरे नाम रे

काली नाग के साथ लड़ा तू
ज़ालिम कंस कों मारा आ आ आ
काली नाग के साथ लड़ा तू
ज़ालिम कंस कों मारा आ आ
बाल अवस्था में ही तुने
खेला खेल ये सारा

तेरा बचपन
तेरा जीवन
जैसे एक संग्राम रे
कितने तेरे रूप रे
कितने तेरे नाम रे

ओ माखनचोर नंदकिशोर
मनमोहन घनश्याम रे
कितने तेरे रूप रे ए
कितने तेरे नाम रे ए

तुने सबका चैन चुराया
ओ चितचोर कन्हैय्या आ आ आ
तुने सबका चैन चुराया
ओ चितचोर कन्हैय्या
ओ ओ ओ
जाने कब घर आये देखे
राह यशोदा मैय्या
अरे व्याकुल राधा ढूंढें श्याम
न आया हो गयी शाम रे
कितने तेरे रूप रे
कितने तेरे नाम रे


ओ माखनचोर नंदकिशोर
मनमोहन घनश्याम रे
कितने तेरे रूप रे ए
कितने तेरे नाम रे ए …


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15200 song posts by now.

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