Archive for the ‘Meera Bhajan’ Category
Mohey Laagi Lagan Guru Charanan Ki
Posted on: June 19, 2020
This article is written by Sadanand Kamath, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4354 | Post No. : | 15670 | Movie Count : |
4316 |
Hindi Songs in Bangla Film – 30
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In my last article, I had covered a fictional character, ‘Byomkesh Bakshi’, created by the writer Sharadindhu Bandopadhyay on which TV serials and films have been made. While writing the article, I recalled that Satyajit Roy has written stories on his fictional character, ‘Feluda’ who is also a detective and investigator. He had directed two Bangla feature films based on ‘Feluda’ stories – ‘Sonar Kella’ (1974) and ‘Joy Baba Felunath’ (1979). It will be interesting to note as to how these two detective characters differ in their style of investigations which I will come to it later.
Satyajit Ray had once said that he made a living by writing children’s stories and from their publications rather than earning from his films. His stories of ‘Feluda’ were first published in children’s magazine ‘Sandesh’ and later published as books. He had said that since his childhood, he was hooked to stories of Sherlock Holmes and inspired him to write the Indianised version of Sherlock Holmes- both culturally and temperamentally. Satyajit Roy wrote 35 stories of Feluda which were published between 1965 and 1995.
In all the Feluda stories, there are some characters who are part of almost all the stories. Detective and investigator, Feluda (real name: Prodosh Chandra Mitter) is the Indian equivalent of Sherlock Holmes. Feluda’s cousin, Topshe (real name: Tapas Ranjan Mitra) is equivalent of Dr Watson. Feluda’s friend Jatayu (real name: Lalmohan Ganguly) is a writer of crime thrillers who has often been depicted as a comical character. In addition, there are characters like Maganlal Meghraj, a villain who is an important part in some of the Feluda stories.
I have watched most of Byomkesh Bakshi’s stories on T V serials. So, I have fairly good idea as to how the main characters of Byomkesh and his assistant, Ajit have been depicted on screen. But in regards to Feluda stories, my only exposure is Satyajit Roy’s two films mentioned above. Based on these sources and also reading summaries of few other stories, the some comparison between two detective stories of Byomkesh Bakshi and Feluda is attempted.
- Feluda stories are targeted towards children and teenagers though even the adults may also like. The investigations mostly centre around thefts of manuscripts, antique, artifacts items, kidnapping etc. Byomkesh stories are at a higher level of intelligence in solving cases and therefore meant for adults. The investigations are mainly related to murders arising out of property disputes, greed, revenge, adultery etc. Hence, there will be at least one or more female characters in the story. In Feluda stories, female characters hardly find place.
- Feluda is a tall, handsome and athletic person. He is a bachelor. He carries weapons with him and will not be averse to using strong arm methods. Byomkesh Bakshi is a bespectacled dhoti-clad detective and investigator who likes to be called as ‘Satyanweshi’ (Truth-seekar). He is a married man. He rarely uses weapons or resorts to violent methods during his investigation.
- Most of Feluda stories are set outside Kolkata as he is a travel buff. Byomkesh gets most of the cases of investigation in around Kolkata.
- Feluda is accompanied in his work by his cousin, Thopse, a teenager who helps in recording the events during the investigations. The other accomplish is a writer of detective stories with his penname, Jatayu. He is more into bringing comical reliefs with his jokes gone wrong and with some silly questions. Byomkesh is acccompanied by his wife, Satyabati and Ajit who is also a writer.
Of the two Feluda films which Satyajit Ray directed, I gave preference for ‘Joy Baba Felunath (1979) which was available with English sub-titles. The gist of the story is as under:
Feluda (Saumitra Chatterjee) along with his cousin, Thopse (Siddharth Chatterjee) and the writer-friend, Jatayu (Santosh Dutta) are on a visit to Varanasi for a holiday. While on a stroll to ghats of Varanasi along with the hotel manager, they meet Ambika Ghoshal who is introduced by the hotel manager to Feluda. Ghoshal revealed that the antique idol of Ganesh has been stolen and his father does not want to report the theft to police as he has no faith in police investigation. Feluda agrees to investigate the matter to solve the case.
During the course of his investigations, he visits Ghoshal family house and meets the father of Ambika Ghoshal He finds him and Ambika Ghoshal’s minor son interested in reading detective stories. He also meets Bikash (Biplab Chatterjee), a member of Ghoshal family but no relation to them. He also comes to know that Maganlal Meghraj (Utpal Dutt) who had visited Ghoshal on the previous day to buy the antique Ganesh idol but Ghoshal had refused to sell. Maganlal is actually a trader in antique items and artefacts and the Machhlibaba, the fake sadhu is a front for him in his illicit business. So, Maganlal is the first suspects.
But there are others in the Ghoshal family who could also be suspects. Ambika Ghoshal was in debt as his business was down. He has, therefore, some motivation to sell the Ganesh idol to raise the money. Bikash had planned to go back to his native place as he did not like to stay with Ghoshal family for long doing house-hold chores. However, he did not have money to quit Ghoshal family. Lastly, Feluda meets the aged Shashibabu, an Durga idol maker who is making the idol of Durga in Ghoshal house for the ensuing Durga Pooja.
Feluda suspects the role of Bikash in Ganesh idol theft especially when he is suddenly planned to visit his native place. Feluda confronts Bikash by taking him at gun-point to a secluded place where he spills the beans. Feluda had already kept the police informed who takes him to the custody.
The fact of the case was that while painting the Durga idol, Shahsibabu finds a Ganesh idol falling from the mouth of the tiger’s idol. He takes the idol to Bikash fearing that he would be branded a thief. Bikash comforts him and assure him that he would handle the issue. But instead of handing over the Ganesh idol to Ghoshal family, he sells it to Maganlal for partly sum. Since Shashibabu knows that Ganesh idol has been found, Maganlal gets him killed.
Now it is the turn of Maganlal who has to be caught red-handed. For this, Feluda disguises himself as Machhlibaba and sits on the ghat along with his devotees. As expected, Maganlal comes with the Ganesh idol in the guise of a gift to Machhlibaba and hands over to him. The police team was already watching from the nearby place. He is caught red-handed with the Ganesh idol. He gets arrested. The case is solved. At the outset, there is not much suspense in the story as Maganlal was a suspect from the very beginning.
There is, however, a twist in the story, not about the suspects, but about the end of the story. When Maganlal had visited Ambika Ghoshal for buying the Ganesh idol, he has given him a friendly banter with a tone of a threat that he would have the idol even if Ghoshal does not sell him. This was heard by Ambika Ghoshal’s minor son. So, he reports the matter to his grandfather who asks him as to what he would do under such a circumstance since he is an avid reader of detective stories. The grandson says that he would keep the Ganesh idol in the mouth of the idol of Tiger which Shashibabu is painting. So, in reality, in the beginning, there was no theft of Ganesh idol but it has been safely kept in the mouth of a tiger idol.
There is a further twist in the story. When Feluda is handing over the recovered Ganesh idol, he reveals to the grandfather that the Ganesh idol is a fake one and it will not fetch even 1000 rupees. So where is the real antique Ganesh idol? The grandfather keeps mum. Feluda gives the answer that he knows from his source that the real antique Ganesh idol has been kept in the safe deposit locker of a bank by the grandfather.
Even though this film is a suspense thriller, as is the case with all other films of Satyajit Ray, the film is an audio-visual treat. He has a penchant for details around the scenes of the shooting and creating the period atmosphere. For example, when Feluda visits to meet the father of Ambika Ghoshal, in the background, an old record player is playing a thumri of Kesarbai Kerkar. “Kaahe Ko Daari” (1936). On the second time, a ghazal, “Pee Ke Hum Tum Chale” (1909) sung by Zohrabai Agrewali is played in the background.
The ghats and narrow lanes of Varanasi have been beautifully captured. Of all the main actors, I liked the performance Utpal Dutt the most. He has been projected as a ruthless trader who can go to any extent without having to use strong-arm tactics. His stern warning through his expressions and short dialogue delivery are enough to create fear of him.
‘Joy Baba Felunath’ (1979) has only two songs, one each of bhajans of Meera Bai and Soordas. I am presenting a Meera bhajan “Mohe Laagi Lagan Guru Charanan Ki”. The song is sung by Reba Muhuri which is set to music by Satyajit Ray.
Reba Muhuri (1930 – 15/05/2011) was Hindustani classical vocalist who was born in Krishnanagar in Nadia district of West Bengal. Her father, Amiyanath Sanyal was a musicologist from whom she learnt music during her childhood. At the age of 16, Reba got married to an army officer. But her musical journey continued. She was mainly trained by Badi Motibai in Banaras. She also got guidance from Siddheshwari Devi, Rasoolan Bai and Begum Akhtar. She specialised in Khayal, Thumri and Bhajan. She had given concerts in India and abroad.
The song picturization situation is that while strolling on the Varanasi ghats, Feluda and his two associates find a gathering of devotees where one of the devotees is singing while there are visitors taking blessing of Sadhu Machhlibaba who is in fact a conduit for Maganlal for smuggling antiques and artefacts out of India.
The audio clip contains the full bhajan while the bhajan on the video clip is interrupted by dialogues. Hence the continuity of the song on the video clip is lost.
It is better to listen to the audio clip to get a spiritual feelings.
Audio
Video
Song – Mohey Laagi Lagan Guru Charnan Ki (Joy Baba Felunath) (1979) Singer – Reba Muhuri, Lyrics – Meerabai, MD – Satyajit Ray
Lyrics
aa aa aa aaaaaa
aa aa aa aaaa
mohe laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
guru charanan ki
guru charanan ki
mohe laa..gi lagan guru charanan ki
guru charanan ki
guru charanan ki
charan bina ab kachhu nahi bhaawe
charan bina ab kachhu nahi bhaawe
jag maaya sab sapanan ki
laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
guru charanan ki
guru charanan ki
guru charanan ki
bhav saagar sab sukh gayo hai……..ai…..ai
bhav saagar sab sukh gayo hain
fikar nahi mohe
fikar nahi mohe taranan ki
guru fikar nahi mohe taranan ki
guru fikar nahi mohe taranan ki
guru charanan ki
laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
meera ke prabhoooo…oo
meera ke prabhu giridhar naagar
meera ke prabhu giridhar naagar
giridhar naagar
meera ke prabhu giridhar naagar
aas wahi guru charanan ki
aas wahi guru charanan ki
laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
meera ke guroooooooo
giridha…r naagar
giridhar naagar
meera ke guru giridhar naagar
aas wahi guru charanan ki
aas wahi guru charanan ki
laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
guru charanan ki
charanan ki
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Hindi script lyrics (Provided by Sudhir)
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आ आ आ आsssss
आ आ आ आss
मोहे ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
गुरु चरणन की
गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
गुरु चरणन की
गुरु चरणन की
चरण बिना अब कछु नहीं भावे
चरण बिना अब कछु नहीं भावे
जग माया सब सपनन की
ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
गुरु चरणन की
गुरु चरणन की
गुरु चरणन की
भव सागर सब सूख गयो है॰॰ए॰॰ए
भव सागर सब सूख गयो है
फिकर नहीं मोहे
फिकर नहीं मोहे तरणन की
गुरु फिकर नहीं मोहे तरणन की
गुरु फिकर नहीं मोहे तरणन की
गुरु चरणन की
ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
मीरा के प्रभु॰॰उ॰॰उ
मीरा के प्रभु गिरधर नागर
मीरा के प्रभु गिरधर नागर
गिरधर नागर
मीरा के प्रभु गिरधर नागर
आस वही गुरु चरणन की
आस वही गुरु चरणन की
ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
मीरा के गुरु॰॰
गिरधर॰॰र नागर
गिरधर नागर
मीरा के गुरु गिरधर नागर
आस वही गुरु चरणन की
आस वही गुरु चरणन की
ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
गुरु चरणन की
चरणन की
Main To Tere Rang Raati
Posted on: September 2, 2019
- In: Bhajan | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Krishn Bhajan | Lata solo | Lata song | Lyrics by Prakashchandra | Lyrics contributed by readers | Meera Bhajan | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1970 | stage dance | Stage song | Yearwise breakup of songs
- 2 Comments
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.
Audio
Video
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
Mhaane chaakar raakho jee
Posted on: December 23, 2018
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.
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Blog Day : |
3810 | Post No. : | 14806 | Movie Count : |
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My first article was posted on this Blog on 1-10-2012. Before that, for almost an year and a half, I used to post my comments on the songs posted on the Blog. In those comments, I used to give information about not only the songs, but also about the film, the cast, story. MD, Lyricist and in general any matter connected with the film or the song. For example, while commenting on a song from film Chandralekha-48, I had mentioned how Vasan made more than 100 prints of the film for its All India release and how the famous ‘ Nagara’ dance was choreographed etc etc.
Other readers gave me lot of support by liking and appreciating my informative comments. This and Atul ji encouraged me and I started writing posts on the Blog with great enthusiasm. I have always believed that Knowledge increases by sharing and indeed it did. Within a week’s time I brought up my first series on ” Less Known Singers”. Looking at the welcome it received from people in the Blog and the visitors, I continuously ran as many as 26 series of songs on selected themes.
Some themes were my favourites, like ‘ Flavour of the 30’s ‘, ‘ The vibrant 40’s ‘, ‘ Vintage Naushad “, ‘ Bhajan Mala ‘, ‘Gems from the Migrators’, and ” songs from the Artiste name films”.
One of the series was ” The Great souls of India”, which ran from 1-11-2013 to 15-11-2013, covering 10 songs. In this series I had selected songs from films on Sant Kabir, Sant Tulsidas, Sant Surdas, Sant Tukaram, Sant Dnyaneshwar, Bhakt Dhruv, Bhakt Prahlad, Narsi Bhagat, Sri Chaitanya Mahaprabhu and Jagadguru Shankaracharya.
That time I regretted that I could only include 10 ‘ Great souls ‘ in the series, when another 8 to 10 were left out. I felt particularly sad that Sant Meerabai was left out. I am making amends to that lapse now. DER AAYE DURUST AAYE. It is never too late to repair the damage. So, today’s song is from a film ” Meerabai”-47. There was yet another film ” Meera’ in 1947. Two songs from that film were already discussed here, therefore I have selected this film, which makes a Debut here.
There was one thing common in these two films on Meerabai. Both films had songs predominantly sung by just One Singer. In the film ‘Meera’-47, 17 songs out of the 18 songs were sung by its Heroine M.S.Subbulakshmi. In the film ‘ Meerabai’-47, all the 13 songs were sung by Sitarabai Kanpuri. While Meera was originally a Tamil film of 1945, dubbed in Hindi in 1947, Meerabai was a fresh film made in Hindi only. In Meera, it was a feast and delight to listen to M.S. in Hindi. Her conspicuous Hindi pronunciations were never a barrier in savouring her divine rendering. Most bhajans in her film had the traditional tunes, but in film Meerabai, the MD S.K.Pal had tried newer tunes to these Bhajans. To his credit, I must say that his attempts were praiseworthy. Just listen to today’s song and you will agree with me.
Mirabai was a great saint and a devotee of Sri Krishna. Despite facing criticism and hostility from her own family, she lived an exemplary saintly life and composed many devotional bhajans. Historical information about the life of Mirabai is a matter of some scholarly debate. The oldest biographical account was Priyadas’s commentary in Nabhadas’ Sri Bhaktammal in 1712. Nevertheless, there are many oral histories, which give an insight into this unique poet and saint of India.
Mira was born around the start of the 16th Century in the Chaukari village in Merta, Rajasthan. Her father was Ratan Singh a descendant of Rao Rathor, the founder of Jodhpur. When Mirabai was only three years old, a wandering Sadhu came to her family’s home and gave a doll of Sri Krishna to her father. Her father saw this as a special blessing but was initially unwilling to give it to his daughter, because he felt she would not appreciate it. However, Mira had, at first sight, become deeply enamoured with this depiction of Lord Krishna. She refused to eat until the doll of Sri Krishna was given to her. To Mira, this figure of Sri Krishna embodied his living presence. She resolved to make Krishna her lifelong friend, lover, and husband. Throughout her turbulent life, she never wavered from her youthful commitment.
On one occasion, when Mira was still young, she saw a wedding procession going down the street. Turning to her mother, she asked in innocence, “Who will be my husband?” Her mother replied, half in jest, half in seriousness. “You already have your husband, Sri Krishna.” Mira’s mother was supportive of her daughter’s blossoming religious tendencies, but she passed away when Meera was only young.
At an early age, Mira’s father arranged for her to be married to Prince Bhoj Raj, who was the eldest son of Rana Sanga of Chittor. They were an influential Hindu family and the marriage significantly elevated Mira’s social position. However, Mira was not enamoured of the luxuries of the palace. She served her husband dutifully, but in the evening she would spend her time in devotion and singing to her beloved Sri Krishna. While singing devotional bhajans, she would frequently lose awareness of the world, entering into states of ecstasy and trance.
Her new family did not approve of her piety and devotion to Krishna. To make things worse, Mira refused to worship their family deity Durga. She said she had already committed herself to Sri Krishna. Her family became increasingly disproving of her actions, but the fame and saintly reputation of Mirabai spread throughout the region. Often she would spend time discussing spiritual issues with Sadhus, and people would join in the singing of her bhajans. However, this just made her family even more jealous. Mira’s sister-in-law Udabai started to spread false gossip and defamatory remarks about Mirabai. She said Mira was entertaining men in her room. Her husband, believing these stories to be true, tore into her room with sword in hand. However, he saw Mira only playing with a doll. No man was there at all. Throughout these hysterical slanders, Mirabai remained unmoved by both the criticism and praise of the world.
After this experience, her family continued to torture her. They restricted her movements and sought to make her life as uncomfortable as possible. In the face of all these trials and tribulations, she remained detached from her physical suffering. There was nothing that could disturb her inner connection to Giridhara (epithet of Sri Krishna as young cowherd boy). It is said that twice her family tried to kill her, once through a venomous snake and once through poisonous drink. On both occasions, it is said Mirabai, protected by the Grace of Sri Krishna, came to no ill harm.
However, the relentless torments and hostility interfered with her life of devotion and contemplation on Krishna. She sought the advice of learned men and saints. They advised her to leave the palace and return to Brindaban. Secretly, with some followers, she slipped out of the palace and escaped to the holy city of Brindaban. In Brindaban Mirabai was free to worship Giridhara to her heart’s content. She would spend her time in singing bhajans and in ecstatic communion with Krishna. Like a true Bhakti, she worshipped God wholeheartedly. The riches of the world offered no attraction to Mirabai; her only satisfaction came from her single-minded devotion to Sri Krishna. Her soul was ever yearning for Krishna. She considered herself to be a Gopi of Vrindaban, mad only with pure love for Sri Krishna.Her devotion and spiritual magnetism were infectious.
Even learned Sadhus would come to her for inspiration. There is a story of one respected Spiritual Master, who refused to speak to Mirabai because she was a woman. Mirabai replied there was only one real man in Brindaban, Sri Krishna; everyone else was a Gopi of Krishna. On hearing this, the spiritual Master accepted the wisdom of Mirabai and agreed to talk to her. Later, Mirabai would become his student.
Much of what we know about Mirabai comes from her poetry. Her poetry expresses the longing and seeking of her soul for union with Sri Krishna. At times, she expresses the pain of separation and at other times the ecstasy of divine union. Her devotional poems were designed to be sung as bhajans, and many are still sung today.
Mirabai was a devotee of the highest order. She was immune to the criticism and suffering of the world. She was born a princess but forsook the pleasures of a palace for begging on the streets of Brindaban. She lived during a time of war and spiritual decline, but her life offered a shining example of the purest devotion. Many were inspired by her infectious devotion and spontaneous love for Sri Krishna. Mirabai showed how a seeker could attain union with God, only through love. Her only message was that Krishna was her all.
It is said in her death she melted into the heart of Krishna. Tradition relates how one day she was singing in a temple when Sri Krishna appeared in his subtle form. Sri Krishna was so pleased with his dearest devotee that he opened up his heart centre, and Mirabai entered leaving her body while in the highest state of Krishna consciousness. (free adaptation from biographyonline.net, with thanks)
Film Meerabai-47 was made by Shalimar Pictures, Poona. Its direcor was W.Z.Ahmed. Lyrics were by Meerabai and MD was Suryakant aka S.K.Pal ( he was the nephew of another MD Ramchandra Pal of Bombay Talkies). The cast of the film consisted of Neena, Masood Pervez, Neelam, Tiwari, Shyama (Dulari), Ramavtar, Noorjehan sr. etc etc.
There is a general and wrong feeling among some movie buffs in India that, artistes who opted to migrate to Pakistan after partition had failed there and died in penury and misery. While some such cases indeed were there unfortunately, but not ALL had failed. On the contrary, I feel most of the Directors, Music composers and Heros succeeded in Pakistan. This was because they were all ready made available to Pakistan industry. Many of them like Khursheed Anwar, Inayat Hussain or G.A.Chisti were regarded as pioneers of Pak film industry. Same case with directors like Dawood Chand, M Sadiq, Shaukat Husaain Rizvi etc who became pillars of Pak film industry. unfortunately, once the crop of artistes who migrated from India ended their careers, their film industry had a premature death. This was because, there was no second line of artistes to take over.
The Hero of the film Meerabai-47, Masood Pervez was also one such migrant who succeeded in Pakistan. He was born in 1918 in Amritsar, Punjab, India. He passed his M.Sc. and joined films. His first film as a Hero was Punjabi film ” Mangati “-42, which became a Golden Jubilee film. He further worked in film Gulami-45 and Meerabai-47. After Partition, he went to Pakistan.
His first film as a Director in Pakistan was ‘ Beli’-50 It had a moderate success. His big breakthrough came with film ‘ Intezar ‘-56, which was a colossal hit. He directed 23 films between 1950 and 1982. he is considered to be one of the pioneers of Pak films. He directed 3 Folk stories Mirza Jat-67, Heer Ranjha-70 and again Mirza Jat-82, all very successful. he died on 11-3-2001 in Lahore. He was the nephew of Saadat Hassan Manto.
Film Meerabai-47 had 13 songs, most of them quite good. The original Meera Bhajans were translated in plain Hindi by Pt. Bharat Vyas. With this song the film makes its Debut on this Blog.
Song-Mhaane chaakar raakho jee (Meera Bai)(1947) Singer-Sitarabai Kanpuri, Lyrics-Meera bai, MD-S K Pal
Lyrics
mhaane chaakar raakho ji ee
chaakar raakho ji
sanwariyaa aa
mhaane chaakar raakho ji
mhaane chaakar raakho ji ee
chaakar raakho ji
saanwariyaa
mhaane chaakar raakho ji
chaakar rah toon baag lagaa doon
nis-din darshan paa toon
brindaawan ki kunj-galin mein
brindaawan ki kunj-galin mein
teri leelaa gaa toon
teri leelaa gaa toon
maane chaakar raakho ji
chaakar raakho ji
saanwariyaa
mhaane chaakar raakho ji
unche unche mahal banaaun
jis bich raakhoon baari
saanwariyaa ke darshan paaun
saanwariyaa ke darshan paaun
jaaun tan man vaari
jaaun tan man vaari
mhaane chaakar raakho ji
chaakar raakho ji
saanwariyaa
mhaane chaakar raakho ji
jogi aayaa jog karan koon
jogi aayaa jog karan koon
tap karne sanyaasi
hari-bhajan ko saadhu aayaa
bindraaban ke waasi
kaahe neer jhare nainan se
kaahe neer jhare nainan se
dheer dharo ji meeraa
aadhi raat prabhu darshan de hai
aadhi raat prabhu darshan de hai
prem nadi ke teeraa aa
prem nadi ke teeraa
mhaane chaakar raakho ji
chaakar raakho ji
saanwariyaa
mhaane chaakar raakho ji
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3747 | Post No. : | 14709 |
“Gopinath”(1948) was produced by Brij Kishore Agrawal and directed by Mahesh Kaul for Shanti Lok Chitra Production, Bombay. The movie had Raj Kapoor, Tripti Mitra, Nand Kishore, Latika, Sachin Ghosh, Anwari Bai, Feroz, Niranjan Tiwari, Mahesh Kaul, Randhir, Baby Zubeida etc in it.
This “social” movie had nine songs in it that were penned by three lyricists namely Soordas, Meerabai and Rammurty Chaturvedi. Two of the three “lyricists”, viz Soordas, Meerabai lived hundreds of years ago and their influence on Indian music scene can be seen from the fact that lots and lots of songs used in HFM and elsewhere were their creations.
Two songs from the movie have been covered in the past.
Here is the third song from “Gopinath”(1948) to appear in the blog. This song is sung by Meena Kapoor. Meera bai (1498-1546), who lived more than four hunndred years ago is credited as the lyricist. This is the 37th song in the blog that is “penned” by Meera Bai !
Music is composed by Ninu Majumdar.
Picturisation shows this song being lip synced by Tripti Mitra, who was the wife of Shombu Mitra- well known as director of “Jaagte Raho”(1956). The young girl visible in the picturisation should be baby Zubeida.
Audio
Video
Song-Main birhan baithhi jaagoon jagat sab sowe ri aali (Gopinath)(1948) Singer-Meena Kapoor, Lyrics-Meera Bai, MD-Ninu Majumdar
Lyrics
main birhin baithhi jaagoon
jagat sab sowe ri aali
main birhin baithhi jaagoon
jagat sab sowe ri aali
dulhan baithhi rang mahal mein
motiyan ki lad pove
dulhan baithhi rang mahal mein
motiyan ki lad pove ae
ik dulhan hum aisi dekhe
ik dulhan hum aisi dekhe
ansuwan maala pove ri
main birhin baithhi jaagoon
jagat sab sowe ri aali
main birhin baithi jaagoon
jagat sab sowe ri aali
taare gin gin rain bihaani
sukh ki ghadi kab aave
taare gin gin rain bihaani
sukh ki ghadi kab aave ae ae
meera ke prabhu giridhar naagar
meera ke prabhu giridhar naagar
jab unhen darash dikhaave ri
main birhin baithhi jaagoon
jagat sab sowe ri aali
main birhin baithi jaagoon
jagat sab sowe ri aali
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