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

Archive for the ‘Calling the beloved’ Category


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

Blog Day : 4258 Post No. : 15480

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Blog 10-Year Challenge (2010-2020) – Song No. 11
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‘Satyam Shivam Sundaram’ (1978) was directed by Raj Kapoor for his home production RK Films, Bombay. He dedicated this movie to his beloved friend singer Mukeshchandra whom we fondly know as Mukesh.

The cast of the film includes Kanhaiyalal, AK Hangal, David, Hari Shivdasani, Leela Chitnis, Sheetal, Baby Padmini, Baby Komal, Tun Tun, Vishwa Mehra, Mansaram, Pardesi, Shriram Shastry, Nandini, Mona, Seema, Mani, Yasmin, Bina, Subroto Mahapatra and Javed Khan.

The story of this movie was written by Jainendra Jain. Radhu Karmakar was the Director of Photography. Raj Kapoor who produced and directed this movie was also the editor of this movie.

HFGK lists nine songs and one dialogue track released on records of this movie. The total nine songs are including of their parts and the title song is mentioned to be in four parts. There are two more songs (the ‘aarti’ and ‘shlokas’ with the titles, and ‘’Yashomati maiyya se boley…’) in the movie having two parts. Narendra Sharma, Anand Bakshi and Vithhal Bhai Patel wrote the songs for this movie. Music for this movie was composed by Laxmikant-Pyarelal. Lata Mangeshkar, Manna Dey, Bhupinder, Mukesh, and Nitin Mukesh who debuted as a singer in this movie had given their voices to the songs in this movie.

This movie was passed by Censor Board on 22.03.1978 with restricted viewing certificate.

Three songs from ‘Satyam Shivam Sundaram-1978’ posted on the blog earlier are as follows;

Song  Posted On
 Yashomati maiyya se boley Nandlala  07.09. 2008
 Satyam Shivam Sundaram  15.03.2010
 Suni jo unke aane ki aahat …  11.02.2020

I watched this movie much later in nineties (I think so). However, I remember, in my childhood, the two songs from this movie were very much popular viz. the title song “Satyam Shivam Sundaram“and “Yashomati maiyya se boley Nandlala” as they were frequently played on loud speakers and radio. The title song was also the most favorite number of almost all ‘orchestras’ which used to play it during ‘Ganesh Festival’ or other festival programs. However, I didn’t like both these songs then.

Rather I very much like the song “Chanchal Sheetal Nirmal Komal” and the song being presented today, maybe I heard them on radio during those years. Later on, when I bought the album of this movie (an audio cassette in late eighties) the song “Suni Jo Unke Aane Ki Aahat” also become my favorite song from this movie with all other songs.

When I checked the ‘annual Binaca Geetmala’ for the year ‘1978’ I found ‘Yashomati maiyya se…’ (as expected), at number seven and the song was, surprisingly for me, not the title song of the movie but it was “Chanchal Sheetal Nirmal Komal” ranking at number twenty-four of the list.

Well coming back to the ‘Blog ten-year challenge’ today we have two songs posted on this day ten years back as follows;

 Song  Movie title-Year  Remarks
 Satyam Shivam Sundaram  Satyam Shivam Sundaram (1978)  03 of 09 songs posted
 Hai isi mein pyaar ki aabroo  Anpadh (1962)  All Songs posted on the

Blog

As one of the movies i.e. ‘Anpadh’ (1962) is already ‘Yippeeee éd’ on the blog we have ‘Satyam Shivam Sundaram’ to be represented with a song on the blog today. The song I have selected today was noted long time back and was pending for posting. It is sung by Lata Mangeshkar and Bhupendra. I like this song very much and particularly for those few lines sung by Bhupendra Singh which makes this song very very special of course with great singing by Lata Mangeshkar and so greatly composed by Laxmikant-Pyarelal to the beautiful lyrics by Vithhal Bhai Patel.

Let us enjoy this wonderful song now …

(Note: – In the movie, this song appears in two parts. The video of the second part is not available now however full audio of this song is available).

Video (Partial)

Audio (Complete)

Song – Sainyaan Nikas Gaye Main Naa Ladi Thi (Satyam Shivam Sundaram)(1978) Singers – Lata Mangeshkar, Bhupendra, Lyrics – Vithalbhai Patel, MD – Laxmikant Pyarelal

Lyrics (Based on audio link)

rangmahal ke dus darwaaze
rangmahal ke..ae dus darwaaze
naa jaane kaun si khidki khuli thhi
sainyya nikas gaye
main naa ladi thhi
sainyya nikas gaye
main naa ladi thhi
sar ko jhukaaye..ae main to
chupke khadi thhi
sainyya nikas gaye
main naa ladi thhi
sainyya nikas gaye..ae
main naa ladi thhi

piyaa..aa..aa
kaun gali gaye shyaam
piyaa..aa..aa
kaun gali gaye shyaam
mori sudh naa leenhi haaye raam
piyaa..aa..aa
kaun gali gaye shyaam

ang mere gehne
pyaasi umariyaa
ang mere gehne
pyaasi umariyaa
jogan ho gayee
main bin sanwariyaa
haathon mein mere ae
mehndi rachi thhi
mehndi mein mere
ansuwan ki ladi thhi
sainyya nikas gaye
main naa ladi thhi
sainyya nikas gaye
main naa ladi thhi

aa aa aa
aa aa aa

chhod piyaa ghar
nehar jaaoon
chhod piyaa ghar
nehar jaaoon
kaun dehri
ab sees jhukaaoon
kar singaar main
dulhan bani thhi
aisi dulhan se
kunwaari bhali thi
sainyya nikas gaye
main naa ladi thhi
sainyya nikas gaye
main naa ladi thhi

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Devnagri Script lyrics (Provided by Avinash Scrapwala)
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रंगमहल के दस दरवाज़े
रंगमहल के ए दस दरवाज़े
ना जाने कौन सी खिड़की खुली थी ई
सैंय्या निकस गए
मैं ना लड़ी थी
सैंय्या निकस गए
मैं ना लड़ी थी
सर को झुकाए॰॰ए मैं तो
चुपके खड़ी थी
सैंय्या निकस गए
मैं ना लड़ी थी
सैंय्या निकस गए॰॰ए
मैं ना लड़ी थी

पिया॰॰आ॰॰आ
कौन गली गए श्याम
पिया॰॰आ॰॰आ
कौन गली गए श्याम
मोरी सुध ना लीन्ही हाए राम
पिया॰॰आ॰॰आ
कौन गली गए श्याम

अंग मेरे गहने
प्यासी उमरिया
अंग मेरे गहने
प्यासी उमरिया
जोगन हो गयी
मैं बिन सांवरिया
हाथों में मेरे॰॰ए
मेहंदी रची थी
मेहंदी में मेरे
अंसुवन कि लड़ी थी
सैंय्या निकस गए
मैं ना लड़ी थी
सैंय्या निकस गए
मैं ना लड़ी थी

आ आ आ
आ आ आ

छोड़ पिया घर
नैहर जाऊं
छोड़ पिया घर
नैहर जाऊं
कौन देहरी
अब सीस झुकाऊँ
कर सिंगार मैं
दुल्हन बनी ई थी
ऐसी दुल्हन से
कुंवारी भली थी
सैंय्या निकस गए
मैं ना लड़ी थी
सैंय्या निकस गए
मैं ना लड़ी थी


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

Blog Day :

4257 Post No. : 15478 Movie Count :

4266

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Hindi Songs in Bangla Films – 22
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‘Banarasi’ (1962, Bangla film) was produced by Ruma Guha Thakurta and was directed by her husband, Arup Guha Thakurta. The film was based on a story written by novelist Bimal Mitra (he also wrote the story of the film ‘Sahab Bibi Gholam’).  The main actors in the film are Soumitra Chatterjee, Ruma Guha Thakurta, Tulsi Chakraborty, Tarun Kumar, Asha Devi, Maneka Devi, Shyam Laha etc. The film is available on a video sharing platform with English sub-titles.

I had heard of Ruma Guha Thakurta (Ruma Devi for Hindi film audience) as an occasional actor in Hindi films and an ex-wife of Kishore Kumar. Finding her name in the Bangla film under discussion, that too not only as an actor-singer but also as a producer of the film, I thought I need to know more about her than what I had the impression about her in my mind. Fortunately, information about her is available on-line including her interview on Doordarshan.

Ruma Devi (03/11/1934 – 03/06/2019) was born as Ruma Ghosh (later known as Ruma Guha Thakurta after her second marriage) in a family of talented vocalists. She was the niece of Satyajit Ray.

Ruma Devi started as a dancer in Uday Shankar’s troupe in Almora. Later, she shifted to Bombay (now Mumbai) and worked as a child actor in her first film, the Bombay Talkies’ ‘Jwaar Bhata’ (1944). She worked in three more Hindi films – ‘Mashaal’, 1950 (’Samar’ in Bangla), ‘Afsar’ (1950) and ‘Raag Rang’ (1952). She got married to Kishore Kumar in 1951. After the birth of their son, Amit Kumar in 1952, Ruma Devi stopped working in the films.

In 1958, Ruma Devi and Kishore Kumar parted amicably. Ruma Devi shifted to Kolkata and set up Calcutta Youth Choir (CYC) in collaboration with her maternal uncle, Satyajit Ray and Salil Chowdhury. Throughout her life, she was actively involved with CYC. In 1974, she led a troupe of singers and dancers of CYC to participate in Copenhagen Youth Festival where CYC won the first prize.

In 1959, she worked in her first exclusive Bangla language film, ‘Ganga’ (‘The River’, 1960) as a supporting actor. Her role in the film was critically acclaimed. She worked in about 60 Bangla films from 1950 through 1998 during which she was associated with the renowned  directors like Satyajit Ray in ‘Abhijan; (1962) and ‘Ghanashatru’ (1989), with Tapan Sinha in films like ‘Atithi’ (1959) and ‘Nirjon Saikote’ (1963) and with Tarun Majumdar in films like ‘ Palatak; (1963) and ‘Balika Bodhu’ (1967). She also worked in Bangla films as a playback singer and did choreography in a couple of Bangla films. Her last film as an actor was Mira Nair’s English film ‘The Namesake’ (2006).

In 1960, Ruma Devi got married to director Arup Guha Thakurta with whom she has a son, Ayan and a daughter, Sromona Chakroborty who is a singer.

Ruma Devi passed away in her sleep on 03/06/2019 at her Kolkata residence due to old age-related problems.

The story of ‘Banarasi’ (1962) is as under:

Ratan (Soumitra Chatterjee) works as a draftsman in the railways and stays in an old man’s house in Kolkata as a paying guest. The only person with whom he shares his personal matters and who also help him financially in case of need is his close friend, Monty (Tarun Kumar). One day, while returning from watching a play in the theatre, Ratan sees a girl who has stopped her horse driven coach to buy a paan. The girl’s face resembles that of his childhood friend, Sona (Ruma Guha Thakurta) who was kidnapped at the ghats of River Ganga in Banaras. He watches her until she gets down from the coach and enters a building. Ratan wants to meet her but Monty discourages him by saying that the building houses courtesans. But Ratan is anxious to visit her to ascertain whether she is really Sona, his childhood friend to whom he was to marry later.

One day, without the knowledge of Monty, Ratan visits Sona and comes to know that the girl he saw earlier was indeed Sona whose life has now changed after her kidnapping and she has become a courtesan with a new name ‘Banarasi’. Ratan tells her that he wants to marry her and both of them can still start a life afresh by shifting to a place away from Kolkata where no one would know their background. After much persuasion, Sona agrees. Ratan arranges his transfer to a remote village where Railway is lying new tracks. Sona runs away with Ratan in the night.  Both of them get married in a temple at Kalighat and travel by train to their new place of work in a remote village.

The station master of the village railway station accommodates him in his house until he gets the staff quarters. Both Ratan and Sona are happy. However, their happiness is short lived as Ratan comes across a calendar with her picture as a courtesan in a shop. Now Sona’s past haunts him and there is some tension between husband and wife. Their tension is further compounded when one of Sona’s old clients who has halted in the village on a business trip, recognises Sona. She and Ratan are humiliated in the presence of villagers. Sona decides to leave her husband as she feels that it was due to her past that Ratan has to face the humiliation in the society. She leaves the house in the dead of the night. Ratan, on not finding her wife in the house, goes out searching for her. He meets Sona halfway and promises her that no matter what the society says, he would always be with her. With these words, Ratan accompanies Sona to an uncharted place leaving everything behind in the house.

The film was critically acclaimed but did not do well on the box office front. Probably, the theme of the story was familiar. The extent of sympathy which the director of ‘Umrao Jaan’ (1981) created for the character of the courtesan was missing in the character of courtesan in ‘Banarasi’ (1962). However, both Soumitra Chatterjee and Ruma Guha Thakurta have given sensitive performances as per the demand of their respective roles.

By now, I have come to know that Bangla films with courtesan’s theme or scenes have a couple of Hindi songs. In ‘Banarasi’ (1962) also, there are 3 Hindi songs of which two are mujra songs and the third is a partial holi song in Bhojpuri dialect. I am presenting one of the two mujra songs, “Shabnam To Royi Royi” sung by Ruma Guha Thakurta who is singing for herself as a courtesan. The song is written by Nyay Sharma which is set to music by Ustad Ali Akbar Khan.

Song – Shabnam To Royi Royi, Taare Bhi Roye Bairi (Banarasi)(Bangla) (1962) Singer – Ruma Guha Thakurta, Lyrics – Nyay Sharma, MD – Ustad Ali Akbar Khan

Lyrics

shabnam to royi royi
taare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja
shabnam to royi royi
taare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja
 
taare bhi royen
meri raahen bhi royen
nigaahen bhi royen
meri duaa’en bhi royen
taare bhi royen
meri raahen bhi royen
nigaahen bhi royen
meri duaa’en bhi royen
manzil to khoi khoi
saathi bhi khoye bairi
ab to tu aaja aaja
jaanewaale aaja
jaanewaale aaja
 
royen muraaden apni
aanchal nahin hai
samjhi hum jisko saahil
saahil nahin hai
kashti to soi soi
kinaare bhi soye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja

shabnam to royi royi
taare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja
 
palkon ne haar piroye
kis ko pehnaa’en
hichki malhaar gaaye
kis ko sunaa’en
palkon ne haar piroye
kis ko pehnaa’en
hichki malhaar gaaye
kis ko sunaa’en
hasrat to royi royi
nazaare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja. . .
jaanewaale aaja

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Hindi script lyrics (Provided by Sudhir)
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शबनम तो रोई रोई
तारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा
शबनम तो रोई रोई
तारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा

तारे भी रोएँ
मेरी राहें भी रोएँ
निगाहें भी रोएँ
मेरी दुआएं भी रोएँ
तारे भी रोएँ
मेरी राहें भी रोएँ
निगाहें भी रोएँ
मेरी दुआएं भी रोएँ
मंज़िल तो खोई खोई
साथी भी खोये बैरी
अब तो तू आजा आजा
जानेवाले आजा॰॰आ
जानेवाले आजा

रोएँ मुरादें अपनी
आँचल नहीं है
समझी हम जिनको साहिल
साहिल नहीं है
कश्ती तो सोई सोई’
किनारे भी सोये बैरी
अब तो तू आजा आजा
जानेवाले आजा॰॰आ
जानेवाले आजा

शबनम तो रोई रोई
तारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा

पलकों ने हार पिरोये
किस को पहनाएँ
हिचकी मल्हार गाये
किसको सुनाएँ
पलकों ने हार पिरोये
किस को पहनाएँ
हिचकी मल्हार गाये
किसको सुनाएँ
हसरत तो रोई रोई
नज़ारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा


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 : 4205 Post No. : 15395

Memories that are pure gold – the mention of his name brings to mind a limited set of memories. Ah but these memories are pure gold.

Remembering Vijay Anand today, on his birth anniversary. He would have been 86 today.

Without any doubts, the best and the most remarkable sense of visualization of music. Not just thinking of films with Navketan – ‘Nau Do Gyaarah’ (1957), ‘Kaala Bazaar’ (1960), ‘Tere Ghar Ke Saamne’ (1963), ‘Guide’ (1965), ‘Jewel Thief’ (1967), ‘Johnny Mera Naam’ (1970) and more, his films outside of Navketan are also as memorable for their songs. ‘Teesri Manzil’ (1966) being the most popular and loved film for its songs, and their presentation. Of course, no one counters the wholesome effect of “O Haseena Zulfon Waali”. But then, see “O Mere Sona Re Sona Re Sona Re”. The superb performances in this song by both Shammi Kapoor and Asha Parekh are the handiwork of a most capable director, who knows how to bring out the maximum impact of everything that goes into presenting a song – the ambience, the words, the music, the facial expressions, the body language, crafting the merger of actions with music, the give and take between the two protagonists – everything brought together to convey this latent feeling in the heart, bringing it to the lips, and then expressing it with an un-tethered exuberance on the part of the lady, and a coy displeasure (to start with) on part of the gentleman. The end result – as Atul ji has often pointed out – after three stanzas, all is well and the lovers are seen walking hand in hand.

Take ‘Black Mail’ (1973) and the wonderfully soft rendition of a surreal presence of the loved one – felt through the written word, the voice of lover echoing through the letters, and the presence is so real that the lady wakes up with a start having felt the reality of a kiss on her forehead. Yes, the song is “Pal Pal Dil Ke Paas, Tum Rehti Ho”. I am never tired of replaying this song, the video I mean. Just the song itself is great, but its presentation on screen has enhanced its beauty and impact many folds.

Vijay Anand has also appeared in a handful of films. In some of the films that he directed himself, and he is not in the list of actors, one can catch a glimpse of him in very brief cameo appearances. However, he has appeared in bigger roles, and also as a hero. The first film in which he made his debut in a meaty role is ‘Joru Ka Bhai’ from 1955, a comedy film in which the lead pair was Balraj Sahni and Sheela Ramani.

His next major appearance is as the hero of the 1957 film ‘Agra Road’, a cops and robbers type of story. Next we see him on screen along with his two elder brothers, Chetan and Dev, in the 1960 film ‘Kala Bazaar’ which he also directed. In this film he plays the role of the ex-boyfriend of Waheeda Rehman, who has gone for higher studies to France, and returns with his amorous loyalties shifted elsewhere.

After a gap of four years, he is seen once again in a supporting role in ‘Haqeeqat’ (1964), a film that had a large ensemble of main line stars. The next gap is much longer – 7 years. And he makes his screen appearance once again in the 1971 film ‘Tere Mere Sapne’, a film that he has directed himself. His role in this film as Dr. Jagannath Kothari, a famous gynecologist (in film), is very impressive and effective.

The next film is ‘Chhupa Rustom’ in 1973. Dev and himself, are police agents who go undercover to capture a gang of smugglers. Once again, this film is directed by him. His role, masquerading as a shady, brash, small time, two-timing con man brings out the comedian in him – in my opinion one of his best screen appearances. This film is an Indianized version of the famous novel by Alistair MacLean – ‘Fear Is The Key’.

Parallel to ‘Chhupa Rustam’ in 1973, he also appeared in the film ‘Double Cross’. In this, he appears in a double role as the hero and his twin brother who is on the wrong side of the law. He was not yet 40, but he looked quite overage for this twin brothers roles. He appears to be trying very hard to be the role, but was not convincing. The con-man role in ‘Chhupa Rustam’ was a great act, but in ‘Double Cross’ he did not quiet click. It is interesting to note that in the role of the brother on the right side of the law, Vijay is a professional photographer. That rang a bell in my mind and I checked. Very much so, the film ‘Heera Panna’ in which Dev Anand plays the role of a professional photographer also, was released in 1973 itself. As one compares the two performances, they are quite similar in mannerism, attire and body language. Now who was copying from whom? 🙂

In 1973 came another good film, produced and directed by his elder brother Chetan – ‘Hindustan Ki Kasam’. He played the role of a fighter pilot, coming from a family of soldiers and pilots. There is a brief but a great monologue by him in this film – “Saathiyo, Dosto, Hum Hi To Aaj Ke Arjun Hain. . .”. (It can be viewed at 39:40 on the timeline at the link for the film ‘Hindustan Ki Kasam‘.) He presents this monologue, takes to the skies and then does not return. A short role, albeit an impressive one.

A year later he produced the film ‘Chor Chor’ (1974), but did not direct it himself. It is a suspense thriller that did not make it good on the box office, however, it was praised by the critics and reviewers. The film had no songs, and its star cast was very interesting. Vijay had assembled many actors of yesteryears for this film – Trilok Kapoor, Jairaj, and Ranjan. The female lead opposite to Vijay himself is Leena Chandawarkar. I have not seen this film, but it seems interesting enough to merit a view.

In 1974, he appeared in another film, in a very impressive performance once again. The film ‘Kora Kaagaz’, and he is cast with Jaya Bhaduri as the leading pair. The film is about an idealistic romance that transforms into matrimony. And the matrimony cannot withstand the reality of social relations and issues of personal choices – it breaks apart. Alas, there is a happy ending as the estranged spouses meet and make up in railway waiting room. Another very impressive performance.

Then, after a gap of another 4 years, Vijay appeared in another very good role – that of a rich landlord, very well performed. The film is ‘Main Tulsi Tere Aangan Ki’. A gem of a film by Raj Khosla, Vijay is pitted against two seasoned performers – Nutan as his first and legally wedded wife and Asha Parekh as his second companion in life, whom he brings home much to the dislike of the first lady of the house.

In 1981, came the film ‘Ghungroo Ki Awaaz’ – a tale of haunting and intrigues. Once again, Vijay finds himself out of his depth. Is that a reflection of being a very good director and then come to act under the direction of another director who may not be as well capable. Don’t know whether we should draw this comparison. But then this film is not in my list of impressive performances by Vijay.

In 1984, Chetan Anand produced and directed ‘Hum Rahe Na Hum’ in which Vijay and Shabana Azmi played the lead pair. Then in 2001, he produced and directed ‘Jaana Na Dil Se Door’ in which he and brother Dev played senior roles in a film with an impressive star cast that includes Kamini Kaushal, Mohnish Behl, Moushumi Chatterji, Indrani Bannerjee, Dinesh Hingoo and Vikram Gokhale.

Vijay also appeared in a mini series on TV in 1994, titled ‘Tehkikaat’, in the role of Sam D’Silva, an investigator.

Readers would remember that Alfred Hitchcock always made it point to appear in his own films in a fleeting cameo appearance. That was his signature mark in his films, and the audiences would eagerly await to catch his appearance as they viewed his films for the first time. Vijay Anand has also a similar reputation, albeit we are not sure we have tracked down his cameos in all the films that he directed. A brief list of what I have been able to compile.

He appears in ‘Funtoosh’ (1956) as a young out-of-work writer, who meets Funtoosh (Dev Anand) after he is released from the mental hospital. Funtoosh gifts him a pen to write.

Then in ‘Tere Ghar Ke Saamne’ (1963) he appears in the stairwell of Qutab Minar, wearing spectacles, walking down the stairs with two other persons, as Dev and Nutan are busy with their amorous inclinations singing “Dil Ka Bhanwar Karey Pukaar”.

In ‘Guide’ (1965), we hear his voice, as an unknown stranger is asking about Raju guide on the railway platform. Just a very brief dialogue.

In ‘Jewel Thief’ (1967), we hear his voice on the phone, in a brief conversation with Helen.

In ‘Prem Pujari’ (1970) he appears very briefly in the role of a spy, a fleeting cameo.

Again in 1970 ‘Johnny Mera Naam’, we hear his voice very briefly as an officer of Nepal Police greets Iftekhar at the Kathmandu airport, welcoming him to Nepal.

Here is a very interesting on screen appearance trivia. Hollywood producer and director, Mike Judge of the ‘Beavis And Butthead’ fame, was a great fan of Vijay Anand. In fact, in his animated film ‘Beavis And Butthead Do America’, there is a song being played in a casino in Las Vegas. On stage, among the musicians, there is a guitar player accompanying the singer. Mike Judge had based this character on Vijay Anand. The song in that film is ‘Love Roller Coaster’, available on YouTube; just click on the link.

A brief list of shelved films of Vijay Anand.

After ‘Rajput’ (1982) and before ‘Main Tere Liye’ (1988), Vijay Anand launched ‘Dekha Jaayega’ with Anil Kapoor and Jackie Shroff. Anil backed out at last moment. After a brief gap, the film was planned again with Saif Ali in place of Anil, but was later shelved.

In 1988, he planned the film ‘Dosti Ka Taqaaza’ starring Mithun and Govinda. It was later shelved.

He appeared in the film ‘Insha Allaah’ as the hero opposite to Zarina Wahab. The film was later shelved.

He directed ‘Chura Lenge Ankhon Se Kajal’ (1992) with Akshay Kumar and Kareena Karishma Kapoor. This film was also shelved.

In 1997 he starred in and directed the NFDC (National Film Development Corporation) film ‘Nyaymurty Krishnamurty’. This film also did not see the light of the day.

In the 1990s, he also started working on another film ‘Pal Pal Dil Ke Paas’, which could not be completed, probably did not go beyond the planning stage.

OK, so today’s song. It is contributed by Avinash ji. The film is ‘Ghungroo Ki Awaaz’. The story is of a family conspiracy with shades of reminders from the film ‘Mera Saaya’. The protagonist falls in love, the lady dies in confusing circumstances, then she returns as a ghost to haunt the man. The plot finally nails down another family member, who is attempting to get rid of the protagonist, for the sake of inheritance. There are maybe some more films that are based on this scenario.

The music is by RD Burman, the words are from the pen of Vijay Anand himself and Kishore Kumar is the playback voice.

A heartfelt salute to this celluloid artist who donned many a hat in his career, and had left behind a memorable legacy.

 

Video

Audio

Song – Tere Ghungroo Ki Awaaz  (Ghungroo Ki Awaaz) (1981) Singer – Kishore Kumar, Lyrics – Vijay Anand, MD – RD Burman

Lyrics (Provided by Avinash Scrapwala)

ho o o mere hamraaz
kaisa hai ye raaz
bulaati hai aur kho jaati hain
tere ghunghroo ki aawaaz
tere ghunghroo ki aawaaz

ho o o mere hamraaz
kaisa hai ye raaz
bulaati hai aur kho jaati hain
tere ghunghroo ki aawaaz
tere ghunghroo ki aawaaz

sitaaron ne sajaayee thhi dagar
hawaaon ne jhulaaya bhi magar
hmm hmm hmm
sitaaron ne sajaayee thhi dagar
hawaaon ne jhulaaya bhi magar
jalaa daaley
jalaa daaley
pankh naseebon ne
reh gayee hasrat e parwaaz
tere ghunghroo ki aawaaz
ho o o mere hamraaz
kaisa hai ye raaz
bulaati hai aur kho jaati hain
tere ghunghroo ki aawaaz
tere ghunghroo ki aawaaz

andheron mein chhupi hai kiran
milan hai par ye kaisa milan
hmm hmm hmm
hmm hmm hmm
andheron mein chhupi hai kiran
milan hai par ye kaisa milan
adhura hai
adhura hain
geet jeewan ka
aur toota toota saaz
tere ghunghroo ki aawaaz

ho o o mere hamraaz
kaisa hai ye raaz
bulaati hai aur kho jaati hain
tere ghunghroo ki aawaaz
tere ghoonghroo ki aawaaz
tere ghoonghroo
ki aawaaz

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

हो ओ ओ मेरे हमराज़
कैसा है ये राज़
बुलाती है और खो जाती हैं
तेरे घुँघरू कि आवाज़

हो ओ ओ मेरे हमराज़
कैसा है ये राज़
बुलाती है और खो जाती हैं
तेरे घुँघरू कि आवाज़

सितारों ने सजाई थी डगर
हवाओं ने झुलाया भी मगर
हं हं हं
सितारों ने सजाई थी डगर
हवाओं ने झुलाया भी मगर
जला डाले
जला डाले
पंख नसीबों ने
रह गयी हसरत ए परवाज़
तेरे घुँघरू कि आवाज़
हो ओ ओ मेरे हमराज़
कैसा है ये राज़
बुलाती है और खो जाती हैं
तेरे घुँघरू कि आवाज़

अंधेरों में छुपी है किरण
मिलन है पर ये कैसा मिलन
हं हं हं
हं हं हं
अंधेरों में छुपी है किरण
मिलन है पर ये कैसा मिलन
अधूरा हैं
अधुरा हैं
गीत जीवन का
और टूटा टूटा साज़
तेरे घुँघरू कि आवाज़

हो ओ ओ मेरे हमराज़
कैसा है ये राज़
बुलाती है और खो जाती हैं
तेरे घुँघरू कि आवाज़
तेरे घुँघरू कि आवाज़
तेरे घुँघरू ..
कि आवाज़


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4095 Post No. : 15241

Today, 4th October, is the 88th birthday of Sandhya Mukherjee. The grand old dame is one of the premier playback singers in Bangla cinema. In Hindi films, her contribution is limited to about 30 songs. Her involvement in Hindi films starts with the 1948 film ‘Jhoothi Kasmen’, and her singing assignments are spread over a decade and a half, till the mid 1960s.

A chance encounter with this song prompted the preparation of this post. I came across this song just a few hours ago, and listening to it was love at first hear. Such a lovely melody and arrangement, and such wonderful rendition, this song belongs to that category of unknown and hidden gems, which surprise the listener with their simplicity and beauty. I have listened to it many times since I discovered it earlier in the evening, and I do not seem to be getting enough of it.

The film is ‘Ratnadeep’ from 1952. The film is produced and directed by the legendary Debaki Kumar Bose, for the banner of Chitramaya, Calcutta. The cast of actors is listed as Anuva Gupta, Manju Dey, Molina Devi, Chhaya Devi, Tangamani, Harini, Bakul Ghosh, Abhi Bhattacharya, Pahadi Sanyal, Niteesh Mukherji, Tulsi Chakravarty, Kamal Mishra, Raj Kumar Soni, Sudheer  Chakraborty, Gokul Mukherji, and Gauri Shankar. The film is based on the Bangla novel of the same name, written by Prabhat Kumar Mukherjee.

Eight songs are listed for this film. The music director is Robin Chatterji. Two of the songs are traditional bhajans originally composed by Meerbai and Vidyapati. The remaining six songs have been written by the songwriters Pandit Madhur and Mahendra Pran. However, the lyricist for each individual song is not specifically identified.

We wish Sandhya ji a very happy 88th birthday. May she be blessed with many more years of good health and happiness.

Song – Raat Ne Aa Ke Din Ko Chooma, Saanjh Suhaani Aayi  (Ratnadeep) (1952) Singers – Sandhya Mukherji, Lyrics – [Unattributed], MD – Robin Chatterji

Lyrics

raat ne aa ke
din ko chooma
saanjh suhaani aayi aayi
saanjh suhaani aayi
saanjh suhaani aayi manwa doley
raat ne aa ke
din ko chooma
saanjh suhaani aayi

chanda karey ishaare
koi mujhe pukaare
chanda karey ishaare
kya jaanun main aaj bhala kyon
mann hi mann sharmaai
saanjh suhaani aayi aayi

baalapan ke sapne jaage
jaagi mast jawaani
haaye jaagi mast jawaani
duniya ki har ?? suhaani
?? ban karv itraai
tum ban jaao main o saajan
aawo main tum ban jaaun
ye madmaati saanjh salona
ye madmaati saanjh salona
salona sandesa laai
saanjh suhaani aayi aayi

aankhon se tum dil mein aaye
phir bhi rahe kyon praaye
phir bhi rahe kyon praaye
itna to batla do kyon tum
aaj baney harjaai
saanjh suhaani aayi aayi
saanjh suhaani aayi aayi
saanjh suhaani aayi aayi

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

रात ने आ के
दिन को चूमा
साँझ सुहानी आई आई
साँझ सुहानी आई
साँझ सुहानी आई मनवा डोले
रात ने आ के
दिन को चूमा
साँझ सुहानी आई

चंदा करे इशारे
कोई मुझे पुकारे
चंदा करे इशारे
क्या जानूँ मैं आज भला क्यों
मन ही मन शरमाई
साँझ सुहानी आई आई

बालपन के सपने जागे
जागी मस्त जवानी
हाए जागी मस्त जवानी
दुनिया की हर ?? सुहानी
?? बन कर इतराई
तुम बन जाओ मैं ओ साजन
आवो मैं तुम बन जाऊँ
ये मदमाती साँझ सलोना
ये मदमाती साँझ सलोना
सलोना सँदेसा लाई
साँझ सुहानी आई आई

आँखों से तुम दिल में आए
फिर भी रहे क्यों पराये
फिर भी रहे क्यों पराये
इतना तो बतला दो क्यों तुम
आज बने हरजाई
साँझ सुहानी आई आई
साँझ सुहानी आई आई
साँझ सुहानी आई आई

 


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 : 4039 Post No. : 15164

“Shaheed”(1948) was directed by Ramesh Saigal for Filmistan. The movie had Chandramohan, Dilip Kumar, Kamini Kaushal, Ram Singh, S L Puri, V. H. Desai, Shashi Kapoor, Raj adeeb, Prabhu Dayal etc in it.

This song, now regarded as a landmark movie, had seven songs in it. Five of these songs have been covered in the past.

Here is the sixth song from “Shaheed”(1948) to aappear in the blog. This song is sung by Geeta Dutt (then Geeta Roy) who was then very young. Her fresh and raw voice sounds so refreshing even today !

Raja Mehdi Ali Khan is the lyricist. Music is composed by Ghulam Haider.

The song is lip synced by Kamini Kaushal. Dilip Kumar is also briefly visible in the picturisation. Another lady (or is it Kamini Kaushal herself ?) is also seen. I request our kowledgeable readers to help identify her.


Song-Aaja bedardi baalma koi ro ro pukaare (Shaheed)(1948) Singer-Geeta Dutt, Lyrics-Raja Mehdi Ali Khan, MD-Ghulam Haider

Lyrics

aaja bedardi baalma
koi ro ro pukaare
aaja bedardi baalma
koi ro ro pukaare
main to bisaaroon zaalma
mera dil na bisaare
aaja bedardi baalma
koi ro ro pukaare

meri duniya bas kar ujad gayi
ujad gayi
meri duniya bas kar ujad gayi
ujad gayi
bulbul thhi
bulbul thhi main
phoolon se bichhad gayi
bichhad gayi
taqdeer ne aaker loot liye armaan hamaare
main to bisaaroon zaalma
mera dil na bisaare

barbaad hoon main
barbaad hai dil
o jaane waale phir aa mil
phir aa mil
o jaane waale phir aa mil
phir aa mil
mere dil ki
mere dil ki bagiya jaaye khil
phir aa mil
haay taras gaye teri ek jhalak ko nain bechaare
main to bisaaroon zaalma
mera dil na bisaare
aaja bedardi baalma
koi ro ro pukaare

main
do din ki mehmaan piya
main
do din ki mehmaan piya
mohe chhod chale hain praan piya
praan piya
mohe chhod chale hain praan piya
praan piya
aaya gham ka
aaya gham ka ik toofaan piya
toofaan piya
haay deepak ban ke
kaanp rahe hain praan hamaare
main to bisaaroon jaalma
mera dil na bisaare
aaja bedardi baalma
koi ro ro pukaare
aaja aaja


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 :

3999 Post No. : 15098

Saga Of Sleepless Nights – 5
– – – – – – – – – – – – – – –

un aankhon mein neend kahaan
jin aankhon se preetam door basey. . .

It was October of 2017, a year and 8 months ago. The previous episode of this series was posted then. After that – this long gap. There have been many a sleepless nights in the intervening months. Yet, somehow I could not get back into the groove with this series. And actually, and inadvertently I should say, two songs that I was saving for this series, got posted otherwise, depleting my list of song. Anyhow, not an issue – the wealth of the Hindi film song still will reveal more songs for this category. 🙂

‘Ek Masoom’, a film from 1969, appears to be a film that likely took some time to get going, get completed and released. This film was rare and unavailable for decades, and it has been recently unearthed and then made available in public domain.

It is a lesser known film of Tanuja, who is paired opposite to a gentleman named Salim Durrani. Yes, the name sounds very familiar, but this gentleman is not the India’s cricketing great, as even I had jumped to conclude first time when I read this name. The cricketer Salim Durrani has appeared in one film – BR Ishaara’s ‘Charitraheen’ (1973). The Salim Durrani appearing in ‘Ek Masoom’ is a different person. From checking the Geet Kosh, it seems that this film is the only one in which this non-cricketer Salim Durrani has appeared, just like his cricketing namesake.

The story of this film is the theme of same-face-confusion. A mix up is caused when two individuals who look exactly alike, happen to inadvertently wander into the life space of one another. One of the characters has links to the world of crime. And so, the mix up results in some predictable situations, where one individual is arrested for the crimes of the other. The matters reach the court, and are finally settled when both of them eventually reach the courtroom at the same time, come face to face with each other, and mix up is sorted out.

Of course, in the interim, the lives of the people connected with this same-face duo, become topsy turvy. The gentleman who is the straight and shareef person, is the love interest of Tanuja. But when the suspicions are cast on his actions and his character, misunderstandings are created, bringing agony to the lady.

This song is the result of that agony Tanuja is undergoing, spending sleepless nights – awaiting for some sign of good hope that may dispel her apprehensions, and clear the air around the man she loves.

And so the refrain from the poet –

jo na poore hon un armaanon ne soney na diya
dil mein uth’te huye toofaanon ne soney na diya

 The sleepless nights bother those hearts that are torn asunder with the storms of emotions and anxiety. These storms will keep one awake. Thoughts of what could have been and what may possibly happen, rage through the mind. And the sleep – it is far, far away from the eyes.

Another sleepless night. And another song of sleepless nights.

Song – Jo Na Poore Hon Un Armaanon Ne Soney Na Diya  (Ek Masoom) (1969) Singers – Asha Bhosle, Lyrics – Fareed Tonki, MD – N Dutta

Lyrics

jo na poore hon un armaanon ne soney na diya
jo na poore hon un armaanon ne soney na diya
dil mein uth’te huye toofaanon ne soney na diya
jo na poore hon un armaanon ne soney na diya
jo na poore hon

har ghadi tere khayaalon ne rulaaya mujhko
har ghadi tere khayaalon ne rulaaya mujhko
din to kya shab ko bhi
deewaanon ne soney na diya
dil mein uth’te huye toofaanon ne soney na diya
jo na poore hon un armaanon ne soney na diya

jo na poore hon

yaad jab bhi teri aai to phir aati hi gayi
yaad jab bhi teri aai to phir aati hi gayi
lakh chaaha magar afsaanon ne soney na diya
dil mein uth’te huye toofaanon ne soney na diya
jo na poore hon un armaanon ne soney na diya
jo na poore hon

jo tadapte hain wo tadpa bhi diya karte hain
jo tadapte hain wo tadpa bhi diya karte hain
raat bhar shamma ko parwaanon ne soney na diya
dil mein uth’te huye toofaanon ne soney na diya
jo na poore hon un armaanon ne soney na diya
jo na poore hon

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

जो ना पूरे हों उन अरमानों ने सोने ना दिया
जो ना पूरे हों उन अरमानों ने सोने ना दिया
दिल में उठते हुये तूफानों ने सोने ना दिया
जो ना पूरे हों उन अरमानों ने सोने ना दिया
जो ना पूरे हों

हर घड़ी तेरे ख्यालों ने रुलाया मुझको
हर घड़ी तेरे ख्यालों ने रुलाया मुझको
दिन तो क्या शब को भी
दीवानों ने सोने ना दिया
दिल में उठते हुये तूफानों ने सोने ना दिया
जो ना पूरे हों उन अरमानों ने सोने ना दिया
जो ना पूरे हों

याद जब भी तेरी आई तो फिर आती ही गई
याद जब भी तेरी आई तो फिर आती ही गई
लाख चाहा मगर अफसानों ने सोने ना दिया
दिल में उठते हुये तूफानों ने सोने ना दिया
जो ना पूरे हों उन अरमानों ने सोने ना दिया
जो ना पूरे हों

जो तड़पते हैं वो तड़पा भी दिया करते हैं
जो तड़पते हैं वो तड़पा भी दिया करते हैं
रात भर शम्मा को परवानों ने सोने ना दिया
दिल में उठते हुये तूफानों ने सोने ना दिया
जो ना पूरे हों उन अरमानों ने सोने ना दिया
जो ना पूरे हों


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 :

3964 Post No. : 15046 Movie Count :

4126

 

Today’s song is from an obscure film ‘Ye hai Zindagi’ from 1947.

Very few people must have heard about this film. That is probably because, it was made in 1947- the year of India’s Partition. As the year 1947 began, news was circulating about the partition. Like many other industries, film industry was also worried. There was an air of uncertainty. Who will stay and who will migrate was hotly debated in the privacy of homes, studios and clubs. People looked at each others with suspicion. Muslims were worried about their safety in India, in spite of the assurances by Gandhi and Nehru.

Crores of rupees were invested in films. After the second world war started in 1939, lot of black money was generated and much of it came into film industry. Investors, financiers and producers were worried about half made films. Everybody seemed to be in a hurry to finish his assignment on hand. Due to this, the quantity of films increased, sadly at the cost of quality. 1947 saw a record number of films made in 1947- 181 Hindi films, the highest ever since films were made. It took another 40 years to break this record in 1988, when 185 films were made.

Almost 75 to 80 % films of 1947 were obscure and forgotten within a short time.Films like ‘Aisa Kyun’, ‘Atom Bomb’, ‘Barrister’, ‘Beete Di’n, ‘Chalte Chalte’, ‘Chandrahaas’, ‘Dehati’, ‘Daulat Ke Liye’, ‘Extra Girl’, ‘Farz’, ‘Gaurav’, ‘Gudiya’, ‘Heera’, ‘Janata’, ‘Jhalak’, ‘Khandaani’, ‘Lalat’, ‘Manmaani’, ‘Mere Bhagwan’, ‘Mohan’, ‘Nai Baat’, ‘Pehla Pyar’, ‘Paro’, ‘Riwaaz’, ‘Shabari’, ‘Shahkaar’, ‘Tohfa’, ‘Toote Dil’, ‘Veerangana are some of the films made in 1947. How many of us even know about them? Actually, some of these were films in which well known and major stars of the times had acted. For example, ‘Mohan’ had Dev Anand as hero, ‘Lalat’ was the debut film of Usha Kiran (as Usha Marathe), Prem Adib and Vanmala had acted in ‘Chandrahaas’ etc.

Not that ALL films were bad. Certainly some famous and excellent films providing some milestones of Hindi cinema  were also made in 1947, like ‘Aapki Sewa Mein’ (first Hindi playback song of Lata Mangeshkar), ‘Bela’ (all 10 songs by Zohrabai Ambalawali), ‘Dard’ (Debut song of Uma Devi), ‘Elaan’ (a bold Muslim social film by Mehboob Khan), ‘Jugnu’ (the only film of Dilip kumar and Noorjehan), ‘Meera’ ( all 18 songs by MS Subbulaxmi), ‘Mirza Sahibaan’ (last film of Noorjehan in India), ‘Neel Kamal’ (debut of Raj kapoor and Madhubala as lead pair), ‘Parwana’ (last film of KL Saigal), ‘Shaadi Se Pehle’ (first duet of Rafi and Lata) and ‘Shehnai’ (epoch making music by C Ramchandra).

Nevertheless partition did have an impact on the film industry, due to the migration of artistes from both countries. LAHORE, an important city in the undivided Punjab in the pre-independence days was one of the major film making centres in India. Talented actors and musicians from all Punjab and Sindh area tried their luck in the Cine Industry at Lahore. Nevertheless, the biggest centre of film production was Bombay and it was every aspiring artiste’s dream to go to Bombay and shine there.

Film ‘Ye Hai Zindagi’ (1947) was made in Lahore by Narang Productions – owned by SD Narang, actor, producer, director, studio owner, writer and lyricist too. The life story of Narang is simply fascinating. To know that such a highly qualified and educated person worked in films is in itself unbelievable. Here is his life story.

Here is a story which is stunning and unbelievable ! A young man was born on 18-6-1918, at Lyallpur, Punjab. He studied hard and got high education. First he did B.Sc., then completed M.B.B.S. and became a medical doctor. Later he submitted a thesis and got his Ph.D. All this from Lahore Medical College. He also wrote some research papers and 2 books. With this sparkling education, he could have had a luxurious living, but he chose to join the uncertain film world. True to his wont, he succeeded here too and became a hero, producer, director, studio owner, a lyricist and a writer.

Yes, in the early era of the late 30s,when educated people were a rarity, this highly qualified young man came into films. His name was SATYA DEV NARANG or simply, SD Narang (18-6-1918 to 25-1-1986 ). Here are some highlights of his life, adapted from site sdnarangsfan.com,

  1. During his life, from 1918 to 1986, he had served the Indian Film Industry, at three capitals of this industry, Lahore (1936 to 1946), Kolkatta (1947 to 1951) and Bombay (1952 to 1980), as hero, producer, director, writer and studio owner.
  2. He had the distinction of being the highest educated man in the film industry. He was B.Sc., M.B.B.S and Ph. D from Lahore Medical College.
  3. He had the credit of being the debut making leading man of ‘Khazaanchi’ which was the first Indian film to celebrate the Platinum Jubilee.
  4. He was the youngest leading man in Lahore, who played the lead in ‘Khazaanchi’, ‘Raavi Paar’, ‘Zamindar’, ‘Patwaari’, ‘Gawaandi’, ‘Thekedar’, ‘Sahara’, ‘Ye Hai Zindagi’ (his first venture as producer-director) and ‘Kamini’.
  5. In Kolkotta he produced ‘Chittagong Armoury Raid’, which was India’s ‘First Revolutionary Film’. He also produced ‘Nai Bhabhi’, ‘Ek Raat’,  ‘Aprajitha’, and ‘Chiner Putuland’, and also played the leading roles in these films. Apart from his own movies, he played the lead in ‘Iran Ki Ek Raat’ and ‘Kajari’, which were produced by outside producers.
  6. After partition, he had to leave Lahore, like a refugee, leaving all his assets and immovable property behind him. With his hard work and experience once again he was able to establish himself as the hero, producer, director, writer and studio owner at Delhi. But the studio proved disaster in disguise for him. Being a soft hearted person, he was giving credit to the producers, who used to shoot their films in his studio. They duped him and he had to suffer heavy losses. With this bitter experience he left the city  and entered the City of Dreams and the capital of entertainment, Bombay, in 1952.
  7. Being a passionate movie maker, SD Narang was able to get himself settled in Bombay, within a very short span of time. He had already dedicated himself for the service of silver screen. Once again he arose alive from his own ashes, like a phoenix.
  8. He made his presence felt in a big way in the big City of Bombay.
    He produced and directed many films with big stars. In ‘Tanhaai’ and ‘Darbaan’ he played the leading role himself. Some of the important films produced by him in Mumbai include, ‘Arab Ka Saudagar’, ‘Yahudi Ki Ladki’, ‘Dilli Ka Thug’, ‘Sagaai’, ‘Babul Ki Kaliyan’, ‘Do Thug’, ‘Ram Kasam’, ‘College Girl’, ‘Do Ustad’, ‘Kismatwala’ and ‘Nishaanebaaz’. He had also produced ‘Shehnai’, which was India’s first Air-Force film.
  9. He was also the producer of ‘Bombay Ka Chor’, which was India’s first ‘Holiday-on-Ice’ movie.
  10. He has also the credit of producing India’s first under-water movie, ‘Anmol Moti’ – a Jeetendra and Rekha starrer.
  11. The movie maker with Midas touch, Dr. SD Narang, had spent his 50 golden years of his cinematic profession, in the service of Silver Screen (1936-86).
  12. Before venturing into film industry as the leading man, SD Narang, had an aptitude for research and while studying in Lahore Medical College, he did research on ‘Binocular Theory Of Vision’, which was published in his college Magazine. He bagged the Ph. D and became the Doctor of Philosophy, though he was already a Doctor of Medicine.
  13. Apart from being the author of a novel ‘Hippy Aur Yogi and ‘Human Psychology, he had written a most praiseworthy book, ‘An Introduction To The Theory Of Bio-Economics’. It was actually a new approach to diagnosis and cure of inflation and poverty. If applied this theory on  present global financial crisis, it can change face of fiscal fate of the world.
  14. In 1960 he got married to  actress of his time Smriti Biswas, with whom he had played the lead in many films. After her marriage she stopped to sign new films, and decided to play the roles of faithful wife and caring mother. She preferred to prepare food for his beloved sons Rajiv Narang and Satyajeet Narang.

The cast of this film consisted of M Ismail, Kalavati, Begum Parveen, Roofi, Abu Shah, MA Mirza, Bina, Ibrahim, Narang and others. Most of these migrated to Pakistan. The hero of the film was M Ismail.

M.Ismail was born in 1902 in a jeweller family of Lahore.  He was a very good designer and calligrapher.

M. Ismail was a resident of the Inner Bhati Gate in Lahore. Well built and fair complexioned, Ismail had blue eyes, and was quite attractive. Mian Abdul Rasheed Kardar (the famous AR Kardar), also belonged to the same area in Lahore. M Ismail used to work as a golden calligrapher, while Kardar was involved in sketching and illustration.

They went to Bombay in 1927, and according to Ismail, he and Kardar played the role of Kaedoo and side hero respectively, in Imperial Company’s ‘Heer Ranjha’. But conditions weren’t helpful, and the two young men had to return to Lahore. Fortunately, for them, during 1928, Premier Film Company started a film called ‘Daughters Of Today’. Both Kardar and Ismail were inducted into the cast, but the film remained incomplete.

Later, Kardar learned production and became well known as a brilliant technician. Kardar established his own film making firm in 1930, called United Players Corporation, and cast Ismail in his early silent movies like ‘Mysterious Eagle’ aka ‘Husn Ka Daku’, which also had Kardar in a central role. Others in the cast were Gulzar Begum, Ghulam Qadir, Ahmed Deen and an American actress, Aeris Crawford. Ismail also acted in Kardar’s film, ‘Safdar Jang’, and both these early silent films were very successful. This led Kardar to cast him in ‘Shepherd King’ (‘Gadarya’) and ‘Golden Dagger’ (‘Sunehri Khanjar’). In those days, every film used to have an English title and an Urdu one.

After ‘Alam Ara’ (1931) opened the way for talkies, Ismail became even more popular. In Kardar’s ‘Hoor e Punjab’, an adaptation of Heer Ranjha, Ismail again played the role of Kaedoo, the intriguing ice uncle of Heer, which he repeated yet again later, in film ‘Heer Siyal’, with his characteristic style. His other films in India include ‘Alif Laila’, ‘Dekha Jaega’, ‘Mast Faqeer’, ‘Raja Gopi Chand’, ‘Prem Pujari’, ‘Watan Parast’, ‘Sohni Mahiwal’, ‘Laila Majnoon’, ‘Zamindar’ and others.

In 1948, M Ismail came to Pakistan, and immediately got offers from seniors like Nazir, whose films, ‘Pherey’, ‘Laarey’, ‘Anokhi Dastaan’ and ‘Shehri Babu’ included him in their cast. His first film here was ‘Hichkole’ (1949). Observing his work, another promising and experienced director, Anwar Kamal Pasha offered him some good roles. His films – ‘Ghulam’, ‘Gumnaam’, ‘Qatil’, ‘Inteqam’ and others were the earliest hits of Pakistan. Luqman also cast him in ‘Patan’, and ‘Mehbooba’ was another one that was appreciated.

Similarly Nazeer Ajmeri’s ‘Qismat’ and ‘Paigham’, Munshi Dil’s ‘Hasrat’ and ‘Ishq e Laila’ and SM Dar’s ‘Saltanat’ and ‘Dulla Bhatti’ were also amongst his famous movies. His other films were ‘Darwaaza’, ‘Subah Kaheen Sham Kaheen’, ‘Patey Khan’, ‘Piya Milan Kee Aas’, ‘Jameela’, ‘Bada Aadmi’, ‘Zehr e Ishq’ and many others.  M Ismail was a charming person, with a rural simplicity and a very forgiving disposition. Endearingly called Bhaiyya jee in the industry, M Ismail’s roles of good hearted, forgetful, careless and sometimes cynical man were the best that he did. But, in many films, he performed a perfect villainish role, including the earlier mentioned, ‘Hoor e Punjab’, which had a historic role of Kaedoo. This one was only bettered later, by that most sterling artiste, Ajmal, who made Kaedoo legendary with his gestures in Khwaja Khurshid Anwar’s ‘Heer Ranjha’.

In ‘Yamla Jat’ and ‘Khazaanchi’, in India, he did very fine title roles, while K Asif’s ‘Phool’ portrayed him as an old hakeem from Turkey, which he did to perfection. As a villain in Indian film, ‘Wamiq Azra’, he presented an individual style, with his full facial expressions. By full facial expressions means  that most artistes use the eyes and the forehead, but M Ismail, with a tremendous mobility of his motor mouth, his sagging cheeks and his prominent and protruding jowls, used a tremendous expanse of his face, which aided him in doing old men’s roles very early in his career.

In those days, there was much importance of finding a characteristic face for films and not handsome or beautiful faces, which is the trend today. That was the reason that more such fine artistes were available to the screen. In Nazeer Ajmeri’s ‘Qismat’, he played a unique role of a man, who is too forgetful to even remember his own name. It was a most hilarious performance from a truly talented actor of his times. M Ismail got a Presidential Award for this role in ‘Qismat’.

His last film in Pakistan was ‘Maan Jawaani Da’ (1976) – released after his death. He died on 22-11-1975 at Lahore.

The music was composed by Baba GA Chishti, who too migrated to Pakistan. Unlike many others, he became a successful composer in Pakistan. He spent his last years as a Faqir.

Today’s song is sung by an unknown female voice and chorus. The lyricist is also not known. Actually there were 3 Lyricists in this film, namely Arsh Lakhnavi, GA Chishti and Pandit Madhur. However, HFGK does not provide any information on singer or the Lyricist.

(I am thankful to Narang’s site, Cineplot, Film Directory-1946, and my notes for information used herein.)

Song – Mann Mandir Mein Aa Ja Sajanva Aa Ja (Ye Hai Zindagi) (1947) Singer – Unattributed, Lyrics – Unattributed, MD – GA Chishti
Chorus

Lyrics

mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja

tere bina mann doley
haan doley
tere bina mann doley
bhed na kholey
kachhu na boley
aaa aaa aaa
tere bina mann doley
bhed na kholey
kachhu na boley
mann ki dheer bandha ja
sajanva aa ja
haaaaaan aaaaaaaa
mann ki dheer bandha ja
sajanva aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja

kyon tu ne mukh moda
haan moda
kyon tu ne mukh moda
mera dil toda
saath kyon chhoda
haaaaaan aaaaaaaa
kyon tu ne mukh moda
mera dil toda
saath kyon chhoda
itni baat bataa jaa
sajanva aa ja
haaaaaan aaaaaaaa
itni baat bataa jaa
sajanva aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja

joban par din aaye
haan aaye
joban par din aaye
jiya ghabraaye
aap na aaye
haaaaaan aaaaaaaa
joban par din aaye
jiya ghabraaye
aap na aaye
aa ja mere raja
sajanva aa ja
haaaaaan aaaaaaaa
aa ja mere raja
sajanva aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja

mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja

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

मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा

तेरे बिना मन डोले
हाँ डोले
तेरे बिना मन डोले
भेद ना खोले
कछु ना बोले
आ आ आ
तेरे बिना मन डोले
भेद ना खोले
कछु ना बोले
मन की धीर बंधा जा
सजनवा आ जा
हाँ आ
मन की धीर बंधा जा
सजनवा आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा

क्यों तूने मुख मोड़ा
हाँ मोड़ा
क्यों तूने मुख मोड़ा
मेरा दिल तोड़ा
साथ क्यों छोड़ा
हाँ आ
क्यों तूने मुख मोड़ा
मेरा दिल तोड़ा
साथ क्यों छोड़ा
इतनी बात बता जा
सजनवा आ जा
हाँ आ
इतनी बात बता जा
सजनवा आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा

जोबन पर दिन आए
हाँ आए
जोबन पर दिन आए
जिया घबराए
आप ना आए
हाँ आ
जोबन पर दिन आए
जिया घबराए
आप ना आए
आ जा मेरे राजा
सजनवा आ जा
हाँ आ
आ जा मेरे राजा
सजनवा आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा

मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3963 Post No. : 15044

Songs Repeated in Hindi Films – 1
– – – – – – – – – – – – – – – – – –

Reading the title of the post, you must be wondering – “ये क्या हो रहा है?” (“What is this going on?”). This song – who says this song is not yet posted. Goodness, this film is yippeee’d long back. So why are we re-posting this song? Sudhir seems to have taken up certain vice (or vices) with unlikeable after effects. 😀 😀

Well, no and yes. No – I have not taken up any such vices 🙂 that may impair my abilities to make decisions about posting songs. And yes – this song, from film ‘Madhumati’ of 1958, is already posted here on our blog. The film ‘Madhumati’ made its debut here on 1st May, 2009. The eleven songs of this film made their appearances over the subsequent four plus years, and film was yippeee’d on 4th Jul, 2013. This song originally appeared on 3rd May, 2009. ‘Madhumati’ is a done deal.

Of course your question still remains – “ये क्या हो रहा है?”. The answer to that follows.

I will try to make the long story short. Beginning of this month, Bakshi ji and I were in Bombay, to attend the annual two day seminar titled ‘Cine Music Beyond Entertainment’, which is arranged by our friend Shri Kushal Gopalka, every year. In one of the post session discussions, I came to know about a very interesting anecdote. The session was on the life and work of music director Vasant Desai.

The anecdote is about the 1971 film ‘Guddi’. The Geet Kosh lists three songs for this film,

The first two songs are penned by Gulzar. The third is a traditional bhajan, written by Meerabai, one of the greatest saints of the Bhakti Movement in India, which originated in India in the eighth century AD. Meerabai, who belonged to the royal family of Mewar (in Rajasthan) spent her time here on this sub continent, in the fifteenth century AD. Music for these three songs is composed by Vasant Desai. All three songs are in the voice of Vani Jairam. When the film released in theaters, it had only these three songs in it.

Now, one of the supervisory activities that the producer and distributor staff undertake, especially in the first one or two weeks of the film exhibition, is that they go to select cinema halls where the film is being shown. They will be present in the hall as the film is being shown, and they will also mingle with the crowd during intermission and at the end of the film. The objective is to pick up and gather live feedback about the film from the audience. It helps them to make some choices and educated decisions about the future exhibition plans.

One thing that happened during this exercise was that the team gathered feedback that sounded negative. One part was the use of only one playback voice, and that too a very fresh debut. Plus the overall summary of live audience feedback sounded disheartening and negative. Immediate discussions happened involving Hrishikesh Mukherji, the producers (Rupam Chitra) and the distributors. One recommendation that came out of these discussions was to somehow modify the mix of songs in the film. It was felt that the bhajan song (of Meerabai) should go. What should replace it? How to create a new song for the film at a short notice? Please note that this description of events is for the very first one or two days after the release of the film.

One of the recommendations from the distributors was to include another song, preferably by Lata Mangeshkar. After quick discussions, it was decided to re-use the song of ‘Madhumati’. I really wonder how fast the decision and action taken process worked. Approvals were sought and taken – Bimal Roy’s estate, Salil Chowdhury et al. The team was reassembled, and the song was picturised. Apparently, the Meera bhajan was in the same setting in the film. At the party, Jaya Bhaduri is performing the Bhajan by Meerabai – “Hari Bin Kaise Jiyun Ri” – an expression of her waiting for Samit to come to the party. This song from ‘Madhumati’ fitted the emotional-expression criteria to the T.

The song was picturzed, it was edited into the film, replacing the bhajan, the censor certificate for revision to the film was applied for and taken. Multiple copies of the revised reel of the film was quickly processed and produced on emergency basis, and distributed to the theatres for immediate change to the film being shown. How fast this whole process worked – one may gauge the speed and success of this whole exercise from the fact that the revision appeared in the theatres before the first week of exhibition was complete, i.e. within the first 5 or 6 days only.

Now, interestingly, Vasant Desai was away from Bombay at that time. Important point to note is that this whole decision making and replacement process happened without the involvement of Vasant Desai, the music director.

Possibly many of our learned friends in this musical bandwagon may already be aware of this. I was not, so this was a startling discovery for me. I must add hurriedly that yes, I have seen this films, possibly more than once, but somehow I do not carry any memory of this song being present in this film.

The booklets of the film do not contain this song. And hence, the Geet Kosh also does not list this song. This song does not appear on the EPs/LPs of this film. This song has no other status in relation to this film, except that yes, it is included in the film. The credits at the beginning of the film remain unchanged. Vani Jairam is the only playback voice, and Vasant Desai is the sole music director. And so, the video of this song is the only evidence that this song is present in the film.

A very, very interesting episode. For me, it brought into very sharp focus, an idea that songs from earlier films are at times, re-used in later films. Before this discussion happened in Bombay, I was aware of one or two such instances. They were just interesting trivia in the mind. After this discussion highlighted this activity so sharply, an idea started to form in my mind. I started to search for more such instances. I searched through my own memory, I researched the remarks and footnotes in the Geet Kosh, and I discussed this with friends and collectors in our group and in my circle, trying to gather more information about such re-use of songs. And when I am able to gather a sizeable list, the thought came to the mind – this is a new series to discuss this very interesting facet of the Hindi film music.

As I am gathering information about such instances, I also became aware af the various modes of re-use. Yes, the re-use happens not only just ‘as is’, but there even are further variations on how this re-use may occur. As we proceed with the series, I will be highlighting and discussing these different re-use ‘styles’. It does make for a very interesting discussion.

And so, here is the first offering of this series. The song from ‘Madhumati’ of 1958 is re-used – as is, ditto, no change – 13 years later in ‘Guddi’ of 1971. Ah, I must correct myself. One change does happen. The original song in ‘Madhumati’ has three stanzas. The re-use version in ‘Guddi’ has only two stanzas. The first stanza of the ‘Madhumati’ version is left out.

This is the very first re-use ‘style’ – the song has been directly used and copied as is. No alterations, no additions, no other changes. Just get approvals, and simply insert the earlier song, as it fits into the storyline. This is the simplest form of re-use. I will be presenting more such instances moving forward.

So view this associated video clip, and listen to the original recording of this song, now being lip synced by Jaya Bhaduri. The scenario is so utterly different. The original setting in ‘Madhumati’ is mountains, forests, river and waterfall. The entire natural surroundings seem to be participating in the earlier picturization of the song. In this later ‘Guddi’ incarnation, this is just a song being sung at a party. The performer, very naturally, is just standing still, as the audience simply watches and waits for the song as it progresses. Absolutely minimal activity and movement in this scene.

Besides Jaya, we can also see Sumita Sanyal, Utpal Dutt and Vijay Sharma in the clip, as family members watching the impromptu performance. Samit Bhanj, for whose benefit and in whose wait, this song is being performed, is seen arriving at the party, just as the song gets started, and he thoughtfully waits just outside the entrance to the room, listening to the song being performed. Amongst the guests at the party, there are many familiar faces – of junior artists that are part of such scenes in films. But their names remain obscure.

Before I close this write-up, another very interesting aside. The film ‘Guddi’ has already been yippeee’d on our blog, as of 20th March, 2013. That is, as per the Geet Kosh list of songs. But now, we have one more additional song from this film. A repeat, but nonetheless another song that is part of this film, performed by the actor(s) in this film. Another cateogry called for – ‘yippeee+‘ – finding more songs in a film that are officially listed for the film. 😀 😀 I am sure there are more than one such instances earlier also, when songs for certain films have been posted that do not appear in the official list of songs.

So. . . starting this interesting journey of repeat songs in Hindi films. I hope this thread will interest you.

Song – Aaja Re Pardesi Main To Kab Se Khadi Is Paar  (Guddi) (1971) Singers – Lata Mangeshkar, Lyrics – Shailendra, MD – Salil Chaudhry

Lyrics

aa jaa re. . . ae ae ae
pardesi

main to kab se khadi is paar
ye ankhiyaan thak gayin panth nihaar
aa jaa re. . . ae ae ae
pardesi
main to kab se khadi is paar
ye ankhiyaan thak gayin panth nihaar
aa jaa re. . .  pardesi

tum sang janam janam ke phere
bhool gaye kyun saajan mere
tum sang janam janam ke phere
bhool gaye kyun saajan mere
tadpat hoon main saanjh sawere oo oo
aa jaa re main to kab se khadi is paar
ye ankhiyaan thak gayin panth nihaar
aa jaa re. . . ae ae ae
pardesi

main nadiya phir bhi main pyaasi
bhed ye gehra baat zara si
main nadiya phir bhi main pyaasi
bhed ye gehra baat zara si
bin tere har saans udaasi oo oo
aa jaa re main to kab se khadi is paar
ye ankhiyaan thak gayin panth nihaar
aa jaa re. . . ae ae ae
pardesi

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

आ जा रे॰ ॰ ॰ ए ए ए
परदेसी

मैं तो कब से खड़ी इस पार
ये अखियाँ थक गईं पंथ निहार
आ जा रे॰ ॰ ॰ ए ए ए
परदेसी
मैं तो कब से खड़ी इस पार
ये अखियाँ थक गईं पंथ निहार
आ जा रे॰ ॰ ॰ ए ए ए
परदेसी

तुम संग जनम जनम के फेरे
भूल गए क्यों साजन मेरे
तुम संग जनम जनम के फेरे
भूल गए क्यों साजन मेरे
तड़पत हूँ मैं साँझ सवेरे ओ ओ
आ जा रे मैं तो कब से खड़ी इस पार
ये अखियाँ थक गईं पंथ निहार
आ जा रे॰ ॰ ॰ ए ए ए
परदेसी

मैं नदिया फिर भी मैं प्यासी
भेद ये गहरा बात ज़रा सी
मैं नदिया फिर भी मैं प्यासी
भेद ये गहरा बात ज़रा सी
बिन तेरे हर सांस उदासी
आ जा रे मैं तो कब से खड़ी इस पार
ये अखियाँ थक गईं पंथ निहार
आ जा रे॰ ॰ ॰ ए ए ए
परदेसी


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 :

3948 Post No. : 15023 Movie Count :

4118

Missing Films of 1960s – 106
– – – – – – – – – – – – – – –

Today, we bring on board the 1968 film ‘Balram Srikrishna’. We are now down to some of the most obscure films on this list of pending films of 1960s. However, the film itself is available, and the video clip of this song is uploaded. As the name suggests, it is a mythological / historical film based on our scriptures. It depicts some of the episodes from the stories related to the Sri Krishna avataar of the Supreme Lord. And Balram is the name of the elder brother of Sri Krishna in this incarnation.

The film is produced under the banner of Joy Films, Bombay and is directed by Chandrakant. The star cast listed for this film is very very impressive – Dara Singh, Shahu Modak, Premnath, Nana Palsikar, Randhawa, Azad, Ashish Kumar, Gemini Ganesh, Prithviraj, Savitri, Jaishri Gadkar, Geetanjali, Madhumati, Bela Bose, Padma Rani, Sushma, Uma Khosla, Aruna Irani, Sulochana Chatterjee, Babu Raje, Sherry, BM Vyas, Anand Joshi, Arvind Pandya, Bhale Rao, Radheshyam, and Pal Sharma.

There are nine songs listed for this film. All songs are from the pen of Kavi Pradeep. The music composition is by C Ramchandra. This song is rendered by Asha Bhosle, supported by a chorus of voices.

On screen this song is performed by Geetanjali, accompanied by a group of sahelis. I have not seen this film, but my intuition tells me that Geetanjali is playing the role of Rukmani, the daughter of Bhishmaka, the king of Vidarbha. As per the descriptions in the Puranas, Rukmani is the incarnation of Goddess Lakshmi. In this incarnation, she is born on this earth as the daughter of Bhishmaka. At a young age, she learns about Lord Krishna, His beauty and His virtues. She starts to love Him in Her heart, and takes a vow that She would be married only Him. As is logical even, for Goddess Lakshmi cannot be betrothed to anyone other than the Supreme Lord Vishnu himself, because they are the Eternal Couple.

The later part of the stories tell about how Her brother Rukmi announces Her betrothal to Shishupal, the crown prince of Chedi. This is to please Jarasandh, the King of Magadh. Jarasandh is a sworn enemy of Krishna, as he is the father-in-law of King Kamsa of Mathura, whom Krishna had slain in hand-to-hand combat. The detailed stories are quite intricate. Suffice to say that Rukmini becomes aware of Rukmi’s plans to get Her married to Shishupal. Having made a personal vow to Herself, that She would marry Krishna only, She sends a message to Him through a brahmin. On receiving the message, Krishna, who is now the King of Dwarka, sets out in His chariot to reach Vidarbha at the earliest. Balram, His elder brother, follows him with the army, quite correctly anticipating trouble, when Krishna would reach Vidarbha.

Bhishmaka, Rukmani’s father, is in favor of his daughter marrying Krishna, but is helpless in the face of Rukmi’s arrogant insistence. On the morning of the wedding day, Rukmani goes to the temple for prayers. Krishna is waiting there, all set with His chariot and horses. They elope from the temple, and start Their journey towards Dwarka. When Rukmi learns about this elopement, gathers his army and sets out in chase of the fleeing Couple. The two armies catch up. While Balram with his army vanquishes the army of Rukmi and Jarasandh, Krishna engages in a duel with Rukmi and defeats him. He is just going to behead him, when Rukmani begs that Her brother be forgiven. Krishna relents and spares Rukmi’s life.

As mentioned earlier, the complete description is very detailed and intricate. Only a brief summary has been presented above to establish the context. This song, from the lyrics and the performance, is most likely from the time when Rukmani has realized Her love for Krishna in Her heart, and She is pining to meet Him and see Him. The verses tell of the depth of Her anxious eagerness to meet Him.

A very melodious song, that I have heard for the first time, as I prepare for this post. A lost gem that should have been better known. Listen and enjoy.

Song – Jis Ki Sohni Hai Soorat, Mann Mohini Hai Moorat  (Balram Srikrishna) (1968) Singer – Asha Bhosle, Lyrics – Kavi Pradeep, MD – C Ramchandra
Chorus

Lyrics

aa aaa aaaa aaaaa

koi bata do
pata piya ka
kahaan mera chit chor
main wo prem deewaani
jis ka preetam
nand kishore

jis ki sohni hai soorat
mann mohni hai moorat
aise saanwariya se jaane kab hoga milan
aise saanwariya se jaane kab hoga milan

jis ki sohni hai soorat
mann mohni hai moorat
aise saanwariya se jaane kab hoga milan
aise saanwariya se jaane kab hoga milan

door disha mein muraliya boley
taan taan par jiya mera doley
door disha mein muraliya boley
taan taan par jiya mera doley
muraliya boley
jiyara doley
jis ka naam bansi waala
jis ne chhup chhup jaadu daala
aise natkhat se mere kab ladenge nayan
aise natkhat se mere kab ladenge nayan
jis ki sohni hai soorat
mann mohni hai moorat
aise saanwariya se jaane kab hoga milan
aise saanwariya se jaane kab hoga milan

jaane kis din
aayenge sainyaan
pyaar se meri
pakdenge bainyaan
jaane kis din
aayenge sainyaan
pyaar se meri
pakdenge bainyaan
aayenge sainyaan
pakdenge bainyaan
jin ka sunder hai badan
jin ka roop mann mohan
aise prabhu mujhe denge kab darshan
aise prabhu mujhe denge kab darshan
jis ki sohni hai soorat
mann mohni hai moorat
aise saanwariya se jaane kab hoga milan
aise saanwariya se jaane kab hoga milan

jab jab nabh mein
baadal chhaate
mujhe ghan shyaam mere
bade yaad aate
jab jab nabh mein
baadal chhaate
mujhe ghan shyaam mere
bade yaad aate
baadal chhaate
yaad wo aate
jis ko maana mann hi mann
maine apna jeevan dhan
aise piya ji ki main kab banungi dulhan
aise piya ji ki main kab banungi dulhan
jis ki sohni hai soorat
mann mohni hai moorat
aise saanwariya se jaane kab hoga milan
aise saanwariya se jaane kab hoga milan

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

आ आss आss आssss

कोई बता दो
पता पिया का
कहाँ मेरा चित चोर
मैं वो प्रेम दीवानी
जिसका प्रीतम
नन्द किशोर

जिसकी सोहनी है सूरत
मन मोहनी है मूरत
ऐसे साँवरिया से जाने कब होगा मिलन
ऐसे साँवरिया से जाने कब होगा मिलन

जिसकी सोहनी है सूरत
मन मोहनी है मूरत
ऐसे साँवरिया से जाने कब होगा मिलन
ऐसे साँवरिया से जाने कब होगा मिलन

दूर दिशा में मुरलीया बोले
तान तान पर जिया मोरा डोले
दूर दिशा में मुरलीया बोले
तान तान पर जिया मोरा डोले
मुरलीया बोले
जियरा डोले
जिसका नाम बंसी वाला
जिस ने छुप छुप जादू डाला
ऐसे नटखट से मेरे कब लड़ेंगे नयन
ऐसे नटखट से मेरे कब लड़ेंगे नयन
जिसकी सोहनी है सूरत
मन मोहनी है मूरत
ऐसे साँवरिया से जाने कब होगा मिलन
ऐसे साँवरिया से जाने कब होगा मिलन

जाने किस दिन
आएंगे संईयां
प्यार से मेरी
पकड़ेंगे बंईयां
जाने किस दिन
आएंगे संईयां
प्यार से मेरी
पकड़ेंगे बंईयां
आएंगे संईयां
पकड़ेंगे बंईयां
जिनका सुंदर है बदन
जिनका रूप मन मोहन
ऐसे प्रभु मुझे देंगे कब दर्शन
ऐसे प्रभु मुझे देंगे कब दर्शन
जिसकी सोहनी है सूरत
मन मोहनी है मूरत
ऐसे साँवरिया से जाने कब होगा मिलन
ऐसे साँवरिया से जाने कब होगा मिलन

जब जब नभ में
बादल छाते
मुझे घन श्याम मेरे
बड़े याद आते
जब जब नभ में
बादल छाते
मुझे घन श्याम मेरे
बड़े याद आते
बादल छाते
याद वो आते
जिसको माना मन ही मन
मैंने अपना जीवन धन
ऐसे पिया जी की मैं कब बनूँगी दुल्हन
ऐसे पिया जी की मैं कब बनूँगी दुल्हन
जिसकी सोहनी है सूरत
मन मोहनी है मूरत
ऐसे साँवरिया से जाने कब होगा मिलन
ऐसे साँवरिया से जाने कब होगा मिलन


This article is written by Prakash Chandra, 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 :

3931 Post No. : 15004 Movie Count :

4108

= = = = = = = = = = = = = = = = = = = = = = = =
Atul Song-A-Day 15K Song Milestone Celebrations – 13
– – – – – – – – – – – – – – – – – – – – – – – – – – – – –

Usually one chooses songs full of happiness and celebration for these types of occasions to celebrate, but as usual, I choose this haunting song, to celebrate. 🙂

The song is from the 1983 film ‘Sansani – The Sensation’. I have watched this movie one late night for the sake of this haunting song by Asha Bhosle. The movie was just a masala / murder mystery, where at the end the noble characters like Dr. Shriram Lagoo and Jayashree Gadkar turn out to be characters with grey shades. If you are a die-hard fan of Hindi movies of  70`s and early 80`s like me, you may enjoy this  pot-boiler, but watch the movie at your own risk. 🙂

But listen to this song, you may like it audio-wise.

This is an obscure mystery movie produced by Kavita Seth, who is also billed in the credits as “KAVITA – Introducing” as an actress. She is one of the principal lady characters in the movie. She appears wearing a white saree, roaming in the graveyards, and crying for her beloved Shailendra Singh (the playback singer, who got billing as “Friendly Appearance”). Shailendra Singh appears only at the climax, and also in a photograph in front of which the actress cries and sings this haunting song. But he did not get a playback singing chance, which is his original forte.

There is some confusion about the year of release of this movie, LP image of this movie shows the year 1979, censor certificate clearly shows the date 23-6-1983. According to HFGK-6, 1983 is the release of this movie.

The movie was “Dedicated to Late Director Irshad Afzal”, (I guess before the release of the movie the director must have passed away). The movie was produced under the banner of Panorama Pictures. The producer of the movie is Kavita Seth, who also makes her acting debut with this movie. The director’s name is mentioned differently in different sites as Irshad / Irshad Afzal / A Irshad.

The star cast of the movie includes Vinod mehra, Bindiya Goswami, Prem Chopra, Dr Shriram Lagoo, Shailendra Singh (Special Appearance), Kavita (Introducing), Jagdeep, Jayashree T, Jayashree Gadkar, Keshto Mukherjee, Jagdish Raj, Coca Cola, TP Jain, Ali Masood, Nilima, Meena T, Raj Kishore, Amal Sen, M Baig, Amarnath, Dutta Bhatt, Viraj, Gopal, Dina Pathak, Gulshan Grover, Viju Khote etc.

Songs of this film are written by Irshad (who was also the director). Music is composed by Hemant Bhosle. It has been mentioned in the credit sequences of the movie that the assistants to music director are Kersi Lord and Uttam Singh. These two genius composers cum arrangers also contributed to the musical score of this movie to a great extent. Kersi Lord has also done a lot of work with RD Burman.

The musical compositions of the movie are sung by playback singers like Asha Bhosle, Amit Kumar, Bhupender, Varsha Bhosle, and Hemant Bhosle. This movies has got following sound tracks

  1. Asha Bhosle : Phir Teri Yaad
  2. Asha Bhosle, Amit Kumar, Bhupinder & Varsha Bhosle : Patthar Ka Hai Sanam
  3. Asha Bhosle, Hemant Bhosle & Chorus : Sansanikhez Koi Baat
  4. Asha Bhosle, Varsha Bhosle : Saqiya Tu Koi
  5. Asha Bhosle, Amit Kumar : Ab Kahaan Jayenge Hum (Happy)
  6. Amit Kumar : Ab Kahaan Jayenge Hum (Sad)
  7. Hemant Bhosle : Theme music

Records of the movie were issued by The Gramophone Company of India Ltd. (aka His Master`s Voice). The movie was shot at outdoor locations of Madras, Bangalore, and Tamilnadu.

On screen this song has been divided into 3 parts. The first stanza features Dina Pathak, Shailendra Singh (i.e. appears in a photograph) and Kavita Seth aka Kavita . The 2nd stanza features Kavita Seth, Dr.Sriram Lagoo, and Vinod Mehra. And the 3rd stanza features Kavita Seth, Vinod Mehra and Jayashree Gadkar.

About the Music Director: Hemant Bhosle is the late son of Asha Bhosle. He passed away on September 28th of 2015. I like his musical compositions of the songs of ‘Taxi Taxie’ (1977). Given below is an incomplete filmography for him. If at all any additions or deletions are there in this regard, please let me know.

  • Taxi-Taxie (Polydor-1977)
  • Jadu Tona (Polydor-1977)
  • Anpadh (Polydor-1978)
  • Damaad (Polydor-1978)
  • Sansani (HMV-1980/Irshad)
  • Sweety (Music India-1980)
  • Nazrana Pyar Ka (Polydor-1980)
  • Shradhanjali (HMV-1981/Anjan)
  • Barrister (HMV-1982/Yogesh)
  • Teri Meri Kahani (TV Movie 1982/Anjaan,B.R.Chopra)
  • Doosra Kinara (1982)
  • Beta (1982/HMV/Anjaan)
  • Bandhan Kachchey Dhaagon Ka (HMV-1983)
  • Raja Jogi (1983)
  • Bachchon Ka Khel (1983/Gulshan Bawra)
  • Dharti Akash (TV Movie 1983)
  • Dharam Shatru (T-series,Super-1985/1988)
  • Bhaago Bhoot Aaya (1985)
  • Aakhiri Sanghursh (1987/1997)

Hemant Bhosle also provided music for some Marathi songs.

About the Lyricist Irshad:  I searched for lyricist Irshad`s other works, but got confused with Irshad who has connection with the Kishore Kumar camp, and has written songs for films such as ‘Door Ka Rahi’ (1971 – which has the famous song “Beqaraar Dil, Tu Gaaye Jaa”), ‘Badhti Ka Naam Dhadi’ (1974) ‘Shabaash Daddy’ (1978) and ‘Chalti Ka Naam Zindagi’ (1982). Irshad also written songs for other movies like ‘Naag Pooja’ (1971), ‘Pattharon Ka Shaher’ (1972) – both for Usha Khanna. Also for ‘Alibaba’ (1976) – Dara Singh starrer with Hansraj Behl as the music director.

I got further confused when I watched the movie credit sequences which displays the photo with garland and agarbatti and lines like “Dedicated to our beloved director – Irshad Afzal”, and further in the credits – “Lyrics, written and directed by IRSHAD”.

I doubt whether all the above Irshads are one and the same. I request our more knowledgeable readers and friends to please help clarify this possible ‘same name confusion’.

One of the comments related to the song in some site is as follows: “Phir Teri Yaad” is a completely mental slice of Indian psych/funk”. I failed to understand this comment, I request someone to please elaborate about this comment.

I will conclude my endless banter here 🙂

Congratulations and best wishes to our blog on its MEGA CELEBRATION. I love everything and everyone related to our blog. Visiting and reading the blog posts gives me immense joy.

Video

Audio

Song – Phir Teri Yaad Aa Gayi (Sansaani) (1983) Singer – Asha Bhosle, Lyrics – Irshad, MD – Hemant Bhosle

Lyrics

aaaaaa aaaaaaa aaaaaaaa aaaaaaa aaa
aaaa aaaaa aaaaaaaaa aaaaaa aaaa aaaaaa
aaaa aaaaaaa aaa
aaa aaaaa aaaaa

phir teri yaad aa gayee
gham ki ghataa.. chhaa gayee
raaton ki
veeraani
hum ko..
rula gayee
phir teri yaad aa gayee
gham ki ghataa.. chhaa gayee
raaton ki
veeraani
hum ko..
rula gayee
phir teri yaad aa gayee. . .

kabhi guzar ho
bahaar ka ab
to dil ke zakhmon ko
chhooke guzaregi
koi jo aaye
phuhaar ki rut
to baadalon se
bhi aag barsegi
tere bina ab
mere humdum
hai maut zindagi
phir teri yaad aa gayee
gham ki ghataa.. chhaa gayee
raaton ki
veeraani
hum ko..
rula gayee
phir teri yaad aa gayee. . .

hai zinda laashein
ye dil ke armaan
tere hi gham ke
kafan mein hain lipte
janaazaa uthne
ko hai tu aa jaa
safar aakhiri
to kar len tai mil ke
varnaa ye
rooh pyaasi
pyaasi hi reh jaayegi
phir teri yaad aa gayee
gham ki ghataa.. chhaa gayee
raaton ki
veeraani
hum ko..
rula gayee
phir teri yaad aa gayee. . .

chiraag-e-dil bhi
hai bujhne ko ab
panap rahey hain
andheron ke saaye
sulag rahi hain
tadapti saansein
maseehaa ban ke
koi to aa jaaye
sholaa hai
har dhadkan
gham ki chithaaon ki
phir teri yaad aa gayee
gham ki ghataa.. chhaa gayee
raaton ki
veeraani
hum ko..
rula gayee

phir teri yaad aa gayee
gham ki ghataa.. chhaa gayee
raaton ki
veeraani
hum ko..
rula gayee
phir teri yaad aa gayee. . .

———————————————————-
Hindi script lyrics (Provided by Prakash Chandra)
———————————————————-

आsssss आssssss आsssssss आssssss आss
आsss आssss आssssssss आsssss आsss आsssss
आsss आssssss आss
आsss आsssss आssss

फिर तेरी याद आ गयी
ग़म की घटा॰॰ छा गयी
रातों की
वीरानी
हमको॰॰
रुला गयी
फिर तेरी याद आ गयी
ग़म की घटा॰॰ छा गयी
रातों की
वीरानी
हमको॰॰
रुला गयी
फिर तेरी याद आ गयी॰ ॰ ॰

कभी गुज़र हो
बहार का अब
तो दिल के ज़ख्मों को
छूके गुज़रेगी
कोई जो आये
फुहार की रुत
तो बादलों से
भी आग बरसेगी
तेरे बिना अब
मेरे हमदम
है मौत ज़िन्दगी
फिर तेरी याद आ गयी
ग़म की घटा॰॰ छा गयी
रातों की
वीरानी
हमको॰॰
रुला गयी
फिर तेरी याद आ गयी॰ ॰ ॰

हैं ज़िंदा लाशें
ये दिल के अरमान
तेरे ही ग़म के
खफन में हैं लिपटे
जनाज़ा उठने
को है तू आ जा
सफर आखिरी
तो कर ले तय मिलके
वरना ये
रूह प्यासी
प्यासी ही रह जायेगी
फिर तेरी याद आ गयी
ग़म की घटा॰॰ छा गयी
रातों की
वीरानी
हमको॰॰
रुला गयी
फिर तेरी याद आ गयी॰ ॰ ॰

चिराग ए दिल भी
है बुझने को अब
पनप रहे हैं
अंधेरों के साये
सुलग रही हैं
तड़पती सांसें
मसीहा बन के
कोई तो आ जाए
शोला है
हर धड़कन
ग़म की चिताओं की
फिर तेरी याद आ गयी
ग़म की घटा॰॰ छा गयी
रातों की
वीरानी
हमको॰॰
रुला गयी

फिर तेरी याद आ गयी
ग़म की घटा॰॰ छा गयी
रातों की
वीरानी
हमको॰॰
रुला गयी
फिर तेरी याद आ गयी॰ ॰ ॰


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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 more than 15500 song posts by now.

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

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

Total number of songs posts discussed

15501

Number of movies covered in the blog

Movies with all their songs covered =1193
Total Number of movies covered =4270

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