Archive for the ‘Club song’ Category
Ye maara wo maara
Posted on: January 13, 2019
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3831 | Post No. : | 14838 |
Today, January 13th 2019 is the 92nd birth anniversary of one of the prominent Hindi film producers-directors who debuted in early 1950s as a director. In the 1960s, he mostly produced and directed romantic and musical films. In the 1970s and thereafter, he produced and directed films with emotional contents. He is Shakti Samanta, a self-made man after struggling for almost a decade to get a firm foothold in Hindi film industry. He had made immense contributions to Hindi film industry.
Shakti Samanta (13/01/1926 – 09/04/2009) was born in Burdwan (now Bardhaman in West Bengal). His father was an engineer who died in an accident while Shakti Samanta was a child. So, he was sent to his uncle’s place in Dehradun where he did the schooling. After completion of his intermediate, he came back to Calcutta (Kolkata) and completed his graduation in 1944.
Shakti Samanta went back to his uncle’s place to help him in his business. During his school days, he had become a fan of films produced by New Theatres and Bombay Talkies for their emotional and romantic contents respectively. So he had a fascination for becoming an singer-actor in Hindi films. Obviously, he spent more time in acting in local drama theatres than in the business work for which he was reprimanded by his uncle. Sometime in early 1947, he decided to leave his uncle’s house for Bombay (Mumbai) to pursue his wish to become a singer-actor. He took a job of a teacher in a Urdu school in Dapoli, about 200 kms from Mumbai to sustain himself while he scouted for acting roles in Mumbai.
Since it was a Muslim-run school, every Friday, Shakti Samanta would visit Mumbai to take a round of studios and return to Dapoli by late evening. There were many Bengalis in the Bombay Talkies which enabled him at least to gain entry into Bombay Talkies studio. Eventually, he got a free-lance job without pay but with free food at the canteen of the Bombay Talkies. Since he was proficient in Hindi and Urdu in addition to Bengali, he got work of translating the scripts written in Bengali into Hindi for director, Phani Majumdar for which he was paid.
One day, he met S D Burman who was composing music for ‘Do Bhai’ (1947), to get a playback singing work. S D Burman told him that though his voice was good, it was not good enough for the playback singing. So he advised Shakti Samanta to look for work in some other departments though he offered to take him for chorus singing. With this, it was the end of his dream of becoming a singer but the acting bug in him remained.
It was Ashok Kumar who told him to forget about becoming an actor and instead concentrate on film direction. In Bombay Talkies, he became the First Assistant to Director, Phani Majumdar. At that time, Guru Dutt was the First Assistant to Director, Gyan Mukherjee. When Phani Majumdar had no assignment, Shakti Samanta used to work as Second Assistant to Gyan Mukherjee. On the other hand, when Gyan Mukherjee had no assignments, Guru Dutt used to work as Second Assistant to Phani Majumdar. So in 1947, Guru Dutt and Shakti Samanta were familiar with each other. While Guru Dutt could get his first directorial assignment for ‘Baazi’ (1951), it was a long wait for Shakti Samanta to make a debut as a director in 1955.
Post-partition, after the initial hiccups due to migration of film artists and technicians, Shakti Samanta got some assignments like assistant to the director Satish Nigam in ‘Sunhere Din’ (1948) and to Phani Majumdar in ‘Tamasha’ (1952) and ‘Dhobi Doctor’ (1954). He wrote script and dialogues for Bombay Talkies ‘Baadbaan’ (1954).
Shakti Samanta’s debut film as a director was ‘Bahu’ (1955) which he got by a sheer luck. The film was produced by Bikram Pahwa which was to be directed by the writer, Vijendra Gaud. However, he had already signed his first directorial venture, ‘Kasturi’ (1954) and Shakti Samanta was his Assistant Director for this film. Vijendra Gurd was under contract not to take up direction in any other film until ‘Kasturi’ 1954) was released. Shakti Samanta got the opportunity to direct his debut film ‘Bahu’ (1955) as director. The film did not do well on the box office.
During the making of the ‘Bahu’ (1955), Shakti Samanta was signed to direct A. A. Nadiadwala’s film ‘Inspector’ (1956) in which his mentor, Ashok Kumar was paired with Geeta Bali. The film became a hit and with this film, Shakti Samanta was tagged as a successful director for the crime thrillers. After directing ‘Hill Station’ 1957 and ‘Sheroo’ (1957), Shakri Samanta floated his own banner, Shakti Films in 1957.
The first film under his banner, Shakti Films was ‘Howrah Bridge’ (1958) in which his mentor, Ashok Kumar was paired with Madhubala. The film was also a crime thriller and became hugely successful in terms of box office. This gave him enough money to produce and direct a film in the genre of social drama, ‘Insaan Jaag Utha’ (1959). The film did the average business despite some excellent song compositions by S D Burman.
Shakti Samanta directed next two successful thrillers, ‘Jalli Notes’ (1960) and ‘Singapore’ 1960) for other producers. His association with Shammi Kapoor and Jaikishan of Shankar-Jaikishan started with the film ‘Singapore’ (1960) and thereafter they became close friends. The trios were known as Shammi, Shakki and Jackie.
With ‘Naughty Boy’ (1962), Shakti Samanta entered into his first romantic comedy genre with Kishore Kumar and Madhubala in the lead roles. When about 10 reels of film were shot, Madhubala fell ill. She was taken to London for treatment. Since there was some uncertainty in her resuming shooting, Shakti Samanta replaced her with Kalpana. All shots of Madhubala were reshot with Kalpana. The film took a long time to complete as Kishore Kumar also got busy with taking care of Madhubala. To make the matter worst, S D Burman, the film’s music director, also fell ill. As a result, except for one song, rest of the songs of the film were recorded by R D Burman and Jaidev.
The delay in the completion of the film put Shakti Samanta in financial difficulties. He approached his good friend, Shammi Kapoor for finance who advised him to produce a new film in which he would act and partly finance the film. So ‘China Town’ (1962) was conceived. The film was released in August 1962 and became a box office hit. With money flowing in from the success of ‘China Town’ (1962), Shakti Samanta completed ‘Naughty Boy’ (1962) and got released in November 1962. The film failed at the box office.
After the debacle of ‘Naughty Boy’ (1962), Shakti Samanta seems to have shifted the focus on producing and directing the genre of romantic and musical films. He had with him now Shammi Kapoor and Jaikishan to support such a genre of films. The film ‘Kashmir Ki Kali’ (1964) was conceptualized with his two friends in mind. He had roped in a new comer, Sharmila Tagore whose parents were the family friend of Shakti Samanta, to act opposite Shammi Kapoor. It was a foregone conclusion that Shankar-Jaikishan would be the music director.
When O P Nayyar came to know about the new film, he requested Shakti Samanta to at least listen to his tunes before deciding on the music director. He also invited Shammi Kapoor for a musical sitting. Both were so much impressed with some 40 odds tunes O P Nayyar churned out, that both Shakti Samanta and Shammi Kapoor decided to take O P Nayyar as music director for ‘Kashmir Ki Kali’ (1964) and selected 12 tunes out of which 9 tunes were used in the film and remaining 3 tunes were used in ‘Saawan KI Ghata’ (1966). The film was a blockbuster on the box office chart.
Shakti Samanta had lined up 3 films with Shammi Kapoor and Jaikishan combination. The first film, ‘Evening In Paris’ (1967) was a high budget film which were partly shot abroad. The film became successful at the box office. The second film ‘Pagla Kahin Ka’ (1970) was directed by Shakti Samanta for Ajit Chakravarty. The film was an average success. The third film, ‘Jaane Anjaane’ (1971) was in the planning stage when Shakti Samanta felt that Shammi Kapoor needed to reduce his weight before he started shooting for the film. He gave Shammi Kapoor six months’ time to reduce his weight. In the interregnum, Shakti Samanta decided to produce and direct a low budget social film ‘Aradhana’ (1969) which was his favourite genre inspired from the films of New Theatre. The saga of making of ‘Aradhana’ (1969) is interesting one.
Sometime in early 1960s, Sachin Bhowmik, the story, screen-play and dialogue writer had read out the story of Aradhana to Shakti Samanta. While he liked the story very much, he did not venture to make a film on the story as he felt that it would be difficult to get the lead actors to the roles envisaged in the story. This was also the views of Hrishikesh Mukherjee when Sachin Bhowmik had read out the story to him also. Since Shakti Samanta had now time to make a low budget film, he recalled the story of Aradhana and decided to make a low budget film.
Sharmila Tagore who was introduced in Hindi films by Shakti Samanta and Rajesh Khanna who was the discovery of United Producers-Filmfare Talent Contest (1965) in which Shakti Samanta was one of the judges, were taken for the lead roles. Sharmila Tagore was apprehensive of doing the mother’s role in her early filmy career. Rajesh Khanna had felt that his role had considerably lesser length than that of Sharmila Tagore whose presence in the film was from first to last frames. Shakti Samanta had to do a hard work to convince both the actors to remove their apprehensions as the roles were challenging from the acting point of view.
Since the story of the film was akin to the Bengali type of stories with emotional contents, Shakti Samanta was keen on S D Burman to take up the music direction of the film. However, here also he had to convince S D Burman to take up the music direction for the film. S D Burman rued that Shakti Samanta had so far engaged him as a music director only for his low budget films.
Just a day before ‘Aradhana’ (1969) was to start shooting, Surinder Kapoor, the producer of ‘Ek Shriman Ek Shrimati’ (1969) starring Shashi Kapoor and Babita invited Shakti Samanta to see rushes of the final climax of his film. He was shocked to see that the climax was the same as that was written for Aradhana. This was possible because both films were written by Sachin Bhowmick. The next day, Shakti Samanta had made up his mind to scrap Aradhana and asked Gulshan Nanda to work on his story, ‘Kati Patang’. But Gulshan Nanda along with another writer, Madhusudan Kalelkar convinced him that instead of scrapping the film, let there be some changes the second half of the story. Both of them reworked the second half of Aradhana in the next few hours and saved the film being scrapped.
When everything was set to start the shooting ‘Aradhana’, film distributors were not happy with casting the lead roles. They were of the view that the audience would not accept Sharmila Tagare in the role of mother who had so far done the glamorous roles. They also felt risky to give a new comer Rajesh Khanna the double role in the film. Again, Shakti Samanta was required to convince them that the lead actors would justify their roles.
‘Aradhana’ (1969) was completed in less than 6 months and was released sometime in October 1969. I had watched this film during the first week of its release as tickets were easily available. However, the box office collections of the film picked up from the second week onward mainly through words of mouth publicity. The film became the top grosser among the Hindi films released in 1969. The box office success of this film and later of ‘Bandhan’ (1969) and ‘Do Raaste’ (1970) made Rajesh Khanna a super star. In a print media interview, Shakti Samanta had acknowledged that from the gramophone record sales of ‘Aradhana’ only, he produced next five films. The records were dubbed and released in 5 languages, and were hits in every language.
With the success of ‘Aradhana’, Shakti Samanta ventured into producing more of social genre of films like ‘Kati Patang’ (1971), ‘Amar Prem’ (1972), ‘Anuraag’ (1972) which were also successful at the box office. However, after mid-1970, except for ‘Great Gambler’ (1979), Shakti Samanta could not get as much success at the box office as he got for his films in early 1970s. Just to balance the box office earnings, Shakti Samanta started producing bilingual films which were made in Hindi as well as in Bengali. He produced and directed the first bilingual film, ‘Amanush’ (1975) followed by ‘Anand Asharam’ (1979), ‘Barsaat Ki Ek Raat’ (1981), ‘Aar Paar’ (1985) etc.
In the 1990s, Shakti Samanta’s films could not match with the changing taste of the film audience. ‘Geetanjali’ (1993) was his last film as a director which failed at he box office. During this period, he had also become busy with his role as Chairman of the Film Censor Board for 7 years (1991-98) and as a Chairman of Satyajit Ray Film and Television Institute, Kolkata for 2 years. Hence, some of the films produced under the banner of Shakti Films were directed by his son, Ashim Samanta.
During his 5 decades of long filmy career, Shakti Samanta directed 37 films and produced 43 films under his banner, Shakti Films. He also co-produced and directed an Indo-Bangla Desh Bengali film in 1984 which became a super hit. He set up Aradhana Sound Service, the digital audio post-production facilities films. He received Filmfare Award for ‘Aradhana’ (1969), ‘Anuraag’ (1972) and ‘Amaanush’ (1975) under ‘Best Films’ category.
Shakti Samanta breathed his last on April 9, 2009 after a brief illness due to stroke.
For the occasion, I have selected a song from one of the films from Shakti Samanta’s struggling years to establish himself in the Hindi film industry. The song is ‘ye maara wo maara koi jeeta koi haara’ from ‘Hill Station’ (1957). The song is sung by Geeta Dutt on the lyrics of S H Bihari which is set to music by Hemant Kumar. From the lyrics and the tone of the song, it appears to be a club song probably picturised on Sheila Vaz.
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Note: The information on Shakti Samanta with some associated anecdotes have been sourced from many interviews he gave both to the print media as well as to the electronic media, mostly during the 1990s. Some information has also been sourced from the interview Ashim Samanta gave for a FM Radio Channel in 2016.
Song-Ye maara wo maara (Hill Station)(1957) Singer-Geeta Dutt, Lyrics-S H Bihari, MD-Hemant Kumar
Lyrics
ye maara
wo maara
ye maara
wo maara
koi jeeta aur koi haara
haar jeet kaa khel ye dekho
kitna hai pyaara
ye maara
teri zindagi mein
aise mauke suhaane naa aayenge
teri zindagi mein
aise mauke suhaane naa aayenge
tere yahi patte
tera bigda muqaddar banaayenge
yahi chamkega teri naseeb ka taara
haar jeet ka khel ye dekho
kitna hai pyaara
o maara
ye maara wo maara
koi jeeta aur koi haara
haar jeet ka khel ye dekho
kitna hai pyaara
ye maara
dekh o matwaale
aaj se apna daaman bachaaye jaa
dekh o matwaale
aaj se apna daaman bachaaye jaa
sun ae bhole bhaale
kabhi kismat se dhokha bhi khaaye jaa
rona hansna to jeevan ka khel hai saara
haar jeet ka khel ye dekho
kitna hai pyaara
ho maara
ye maara wo maara
koi jeeta aur koi haara
haar jeet ka khel ye dekho
kitna hai pyaara
ho maara
ye maara
wo maara
koi jeeta aur koi haara
haar jeet ka khel ye dekho
kitna hai pyaara
ye maara
- In: "Swimming Pool" song | Asha Bhonsle songs | Club song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Geeta Dutt songs | Geeta Dutt-Asha Bhonsle duet | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | Mixed Genre Songs | mother-child song | Post by Arunkumar Deshmukh | Songs of 1950s (1951 to 1960) | Songs of 1958 | Yearwise breakup of songs
- 4 Comments
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 : | 3819 | Post No. : | 14817 |
Today’s song is from film ‘Ek Shola’ (1958). It is sung by Asha Bhosle and Geeta Dutt. The lyricist was Majrooh Sultanpuri and the music director was Madan Mohan. The film was produced by Deep and Pradeep Productions – a joint venture of Deep Khosla and Pradeep Kumar. The film was directed by Chander Sehgal. Not much is known about Chander Sehgal, except that he directed only 2 films – ‘Ek Shola’ and ‘Mitti Mein Sona’ (1960). He died on 29-5-1960. The cast of the film is Pradeep Kumar, Mala Sinha, Jawahar Kaul, Leela Mishra, Nazir Hussain, Shubha Khote etc.
In Hindi films, there have been three actors who were very handsome and very lucky but zero in acting – Karan Dewan, Pradeep Kumar and Bharat Bhushan. They all appeared in leading roles opposite all leading actresses of their times. They had the best films, best songs and best roles. Karan Dewan had about 25 Silver Jubilees to his credit and was considered a lucky star. Bharat Bhushan had the most musical films to his credit like ‘Baiju Bawra’ (1952), ‘Shabaab’ (1954) and ‘Mirza Ghalib’ (1954) etc. Pradeep Kumar had ‘Anarkali’ (1953) and ‘Taj Mahal’ (1963).
All three had their brothers producing films for them. Gemini Dewan made films for Karan Dewan, R. Chandra made films for Bharat Bhushan and Kalidas for Pradeep Kumar. Unfortunately, in later years, all three lost everything and died in poverty and neglectful anonymity. Karan Dewan was a manager with BR Chopra’s production company. When he died no one came for his funeral except for Chandrashekhar and Manmohan Krishan from the Cine Artist’s Association. Bharat Bhushan even worked as a watchman in a film studio, in his last days. He too died unsung and only the men from the Association were present at the cremation.
Pradeep Kumar’s case is the saddest. He lay seriously ill in the ICU of a Calcutta nursing home, abandoned by his relatives. The hospital was not discharging him, unless the bills were paid. Luckily one Mr. Pradeep Kondaliya, an estate agent, recognised him, despite his grown beard. He paid the huge outstanding bill of the hospital and took Pradeep Kumar to his home, where he passed away after a few days. He was cremated by his fan. Such is the film industry – cruel and ruthless, where the recognition lasts only till one is successful, and even close relatives desert you in bad times.
Pradeep Kumar aka Sital Batabyal was born on 4 January 1925. When he was 17 years old, he started as assistant cameraman. Later he decided to take up acting. He started his film career in Bengali films. His notable roles in Bengali films were in ‘Alaknanda‘ (1947), directed by renowned filmmaker Debaki Bose, and in ’42‘ (1951). It was Debki Bose, who gave him the filmy name Pradeep Kumar.
Pradeep Kumar then shifted to Bombay and Filmistan studios, and had an important role in the film ‘Anand Math‘ (1952). He played the lead role with Bina Rai in ‘Anarkali’ (1953) and with Vyjayanthimala in ‘Nagin’ (1954). Both films were very popular and had songs that added to the movies’ success. He had a spate of releases in the second half of the 1950s. He did not enjoy as much success in the 1960s, though ‘Ghoonghat’ (1960), ‘Aarti’ (1962) & ‘Taj Mahal’ (1963) were successful. He worked with Meena Kumari in seven films; ‘Adil-E-Jahangir’, ‘Bandhan’ (1956), ‘Chitralekha’, ‘Bahu Begum’, ‘Bheegi Raat’, ‘Aarti’ and ‘Noorjehan’; and with Mala Sinha in eight films; ‘Naya Zamana’, ‘Hamlet’, ‘Baadshah’, ‘Detective’ (1958 movie), ‘Fashion’ (1959 film), ‘Ek Shola’, ‘Duniya Na Maane’, and ‘Mitti Mein Sona’.
He did not get to act in lead roles with the newer heroines of the 1960s such as Sadhana, Saira Banu, Babita or Sharmila Tagore, though he did work with Asha Parekh in ‘Ghoonghat’ and ‘Meri Surat Teri Aankhen‘ and with Waheeda Rehman in ‘Raakhi‘ (1963). In 1969, he moved to character roles with ‘Sambandh’ and ‘Mehboob Ki Mehndi’, but did not have many visible roles till ‘Jaanwar’ and ‘Razia Sultan’ in 1983.
He won the Kalakar Award-Lifetime Achievement Award (1999).
Pradeep Kumar died in Calcutta on 27 October 2001, at the age of 76. He is survived by his daughters Reena, Meena and Beena Banerjee who plays character roles in movies and TV serials including ‘Uttaran’, son Debiprasad and granddaughters Tanisha, Suparna, Riya and Hrishita. Beena Banerjee’s son Siddharth Banerjee worked as assistant director in Sajid Khan’s ‘Housefull 2’ (2012) and ‘Himmatwala’ (2013).
Mala Sinha was an educated, hard working actress. Though she worked with leading banners and was heroine to well known heroes, she was never counted among the class I heroines of her times. She worked with many newcomers, like Dharmendra etc. Her career spanned a long time but she never got a single Filmfare Award, though nominated 4 times.
Mala Sinha was born in a Bengali Nepalese Christian family in Calcutta, on 11-11-1936. Mala Sinha claimed herself a Bengali descent Nepali many years ago in a TV interview Her parents named her Alda. Her friends at school used to tease her by calling her Dalda (a brand of vegetable oil), so she changed her name to Mala. In her childhood she learnt dancing and singing. Although she was an approved singer of All India Radio, she has never done playback singing in films. But as a singer she has done stage shows in many languages from 1947 to 1975.
Mala started her career as child artist in Bengali films ‘Jai Vaishno Devi’ followed by ‘Shri Krishan Leela’, ‘Jog Biyog’ and ‘Dhooli’. Noted Bengali director Ardhendu Bose saw her acting in a school play and took permission from her father to cast her as a heroine in his film ‘Roshanara’ (1952) – Bangla film, her cinematic debut.
After acting in a couple of films in Calcutta, Mala had to go to Bombay for a Bengali film. There she met Geeta Bali, a noted Bollywood actress, who was charmed by her and introduced her to film director Kidar Sharma. It was Sharma who cast her as a heroine in his ‘Rangeen Ratein‘ (1956). Her first Hindi film was ‘Baadshah’ (1954) opposite Pradeep Kumar. Then came ‘Ekadashi’ (1955), a mythological film. Both failed, but her lead role in Kishore Sahu’s ‘Hamlet’ (1954), paired opposite Pradeep Kumar, fetched her rave reviews in spite of it failing at the box office. Films like ‘Lai Batti’ (actor Balraj Sahni’s only directorial venture), ‘Nausherwan-E-Adil’ where she starred as the fair maiden Marcia in Sohrab Modi’s romance about forbidden love and ‘Phir Subah Hogi’, which was director Ramesh Saigal’s adaptation of Dosteovsky’s novel Crime and Punishment, established Mala Sinha’s reputation as a versatile actress who took the maximum career risks by accepting unconventional roles.
Mala was a singer of some repute and used to sing for All India Radio; she was not allowed to sing playback (even for herself) in the movies with the lone exception being 1972’s ‘Lalkar’. In the 1950s, she had string of hits opposite Pradeep Kumar like ‘Fashion’ (1957), ‘Detective’ (1958), ‘Duniya Na Maane’ (1959) though their first two ventures had failed. The films she did with Pradeep Kumar were men-oriented. In 1957, noted Bollywood actor and film director Guru Dutt (the husband of Geeta Dutt) cast Mala in his film ‘Pyaasa‘ (1957) in a role originally intended for Madhubala. Mala gave a memorable performance as the relatively unsympathetic part of an ambitious woman who chooses to marry a rich man (played by actor Rehman) and have a loveless marriage rather than a poor, unsuccessful poet and her impoverished lover (played by Guru Dutt) whom she ditches. ‘Pyaasa‘ remains to this day a classic in the history of Indian cinema and a turning point for Mala Sinha.
After ‘Pyaasa’ her major success were ‘Phir Subah Hogi’ (1958) and Yash Chopra’s directorial debut ‘Dhool Ka Phool’ (1959) that elevated her into a major dramatic star. There was no looking back for Sinha then as she was part of many successful movies from 1958 to the early ’60s like ‘Parvarish’ (1958), ‘Ujaala’,’ Main Nashe Main Hoon’, ‘Duniya Na Maane’, ‘Love Marriage’ (1959), ‘Bewaqoof’ (1960), ‘Maya’ (1961), ‘Hariyali Aur Rasta’ and ‘Dil Tera Deewana’ (1962), ‘Anpadh’, ‘Bombay Ka Chor’ (1962). Critics believe her career best performance was in ‘Bahurani’ (1963), ‘Gumrah’, ‘Gehra Daag’, ‘Apne Huye Paraaye’ and ‘Jahan Ara’. Apart from pairing with Pradeep Kumar, her pairing opposite Raaj Kumar, Rajendra Kumar, Biswajit and Manoj Kumar in woman-oriented films were appreciated by audiences, with her films opposite Biswajit being the most popular. She did 10 films with Biswajit. In 2007, they won the Star Screen Lifetime Achievement Award, calling them on stage together giving due respect to their popularity as a pair who have tasted box office success.
The most remarkable feature of career of Mala Sinha was that most of her 1960s and 1970s hits were fueled by her own star power as much as the heroes and most of the times her role was more powerful than the hero. Though she was pitted opposite her seniors like Raj Kapoor, Dev Anand, Kishore Kumar, Pradeep Kumar and when she acted opposite the emerging stars from late 1950s like Shammi Kapoor, Rajendra Kumar and Raaj Kumar, she made sure her role was as good as theirs.
In 1966, Sinha went to Nepal to act in a Nepali film called ‘Maitighar‘ when the Nepali film industry was still in its infancy. This was the only Nepali film she did in her career. Her hero in the film was an estate owner called Chidambar Prasad Lohani. Soon after, Mala Sinha married CP Lohani with the blessings of her parents. From the beginning theirs was a long-distance marriage with Lohani based in Kathmandu to look after his business and Sinha living in Bombay with their daughter Pratibha. She continued acting after her marriage.
From 1974, she cut down on her assignments as the lead actresses. She accepted strong character roles in films like ’36 Ghante‘ (1974), ‘Zindagi‘ (1976), ‘Karmayogi‘ (1978), ‘Be-Reham’ (1980), ‘Harjaee’ (1981), ‘Yeh Rishta Na Tootay’, ‘Babu’ (film) and ‘Khel’, which were popular.
In the early ’90s Madhuri Dixit was promoted as new Mala Sinha in magazines. But, after 1994, she completely withdrew from industry and has given very few public appearances. In ‘Dhool Ka Phool’ and BR Chopra’s ‘Gumrah’, she played the first unwed mother and adulterous wife respectively in Hindi cinema. As she grew older, she gracefully moved on to doing character roles that befitted her age. She was last seen in ‘Zid’ (1994). Though Mala Sinha evinced as much interest in her daughter Pratibha’s career as her father did in her career, she was unable to achieve the same success for her daughter. (Adapted from wiki).
Mala Sinha came from Calcutta to make a career in Bombay films. In Calcutta she worked in a Bilingual film ‘Chitrangada’ (1954) in Bangla and Hindi. In 1954 again, she did her first film in Bombay, ‘Baadshah’ (1954), then came ‘Hamlet’ (1954), ‘Riyaasat’ (1955) and ‘Ekadashi’ (1955).
In all her interviews, Mala Sinha always quoted ‘Rangeen Raten’ (1956) with Shammi Kapoor as her first film in Bombay. She was ashamed of revealing that in film ‘Riyaasat’ (1955), her Hero was Mahipal and in film ‘Ekadashi’ it was Trilok Kapoor. She always hid this fact. There are many heroines who want to hide their struggling days. For example, in film ‘Professor’ (1962) Shammi Kapoor’s heroine was Kalpana. Though touted as her first film, her first film was ‘Pyar Ki Jeet-62’, opposite Mahipal – a fact which Kalpana always hid from everyone.
Similarly, A grade heroine Meena Kumari also had done several mythological and costume films before ‘Baiju Bawra’ took her high up and above other heroines. Films like ‘Veer Ghatotkach’ (1949), ‘Shri Ganesh Mahima’ (1950), ‘Laxmi Narayan’ (1951), ‘Hanuman Paataal Vijay’ (1951) and ‘Alladin aur Jadui Chirag’ (1953) had Mahipal as her Hero. In her later years, she always hid her earlier film Heroes.
Even comedian Johnny walker, who is supposed to have made a beginning with ‘Baazi’ (1951), had earlier worked in ‘The Last Message’ or ‘Aakhri Paigham’ (1949). However this fact is not told by anyone.
Not only actors, but even singers do this. They hesitate to tell that the first sang for C grade films. Take the case of Sudha Malhotra, who used to declare ‘Arzoo’ (1950) as her first film, under Anil Biswas. But she never told that earlier she had sung 3 songs in film ‘Aakhri Paigham’ (1949), under the baton of Abid Hussein Khan, composer.
It is very unfortunate that once the artiste becomes famous, he tends to forget his humble beginning with less known film or a composer. This is because they are ashamed of it. I feel the blame also goes to people who take their interview, because the interview takers do not do proper homework. Many times they do not know anything and simply note down whatever is told by the artiste.
There were 8 songs in the film ‘Ek Shola’. 3 songs are already discussed. This is the 4th song. It is a long song, recorded on one side each of 78 rpm record nos. N-52832 and 52833). We present here the full song covering both sides.
Song – Chanda Se Bhi Pyaara Hai, Akhion Ka Taara Hai (Ek Shola) (1958) Singer – Asha Bhosle, Geeta Dutt, Lyrics – Majrooh Sultanpuri, Music – Madan Mohan
Lyrics (Provided by Sudhir)
mmmm mmmmm mmmm
mmm mmm mmm mmm mmm mmmmmmm
chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla
chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla
ghata ka saaya hai zindagi
idhar se aai udhar chali
rukey na jeevan ki baansuri
haaye.. apni dhun mein gaa
khushi se saagar jal chhalke
pakad chaley dil sambhal ke
kahen tarangen machal ke
zaraa mauj mein lehra haaye..
khushi se saagar jal chhalke
pakad chaley dil sambhal ke
kahen tarangen machal ke
zaraa mauj mein lehra haaye..
ghata ka saaya hai zindagi
idhar se aai udhar chali
rukey na jeevan ki baansuri
haaye.. apni dhun mein gaa
chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla..aa..aa
jab mera nannha chhaiyan chhaiyan
thummak thummak doley
tuk tuk taakey
jhuk jhuk jhaanke
gudiya ghunghat kholey
jab mera nannha chhaiyan chhaiyan
thummak thummak doley
tuk tuk taakey
jhuk jhuk jhaanke
gudiya ghunghat kholey
ho gudde sa dulaara
akhion ka taara hai
dil ka sahaara mera laadla..aa..aa
ghata ka saaya hai zindagi
idhar se aai udhar chali
rukey na jeevan ki baansuri..ee
apni dhun mein gaa
jo mastion mein jee’e hain
usey na ?? ?? ??
ye raaz tere liye hai magar
tu nahi samjha haaye..
jo mastion mein jee’e hain
usey na ?? ?? ??
ye raaz tere liye hai magar
tu nahi samjha haaye..
ghata ka saaya hai zindagi
idhar se aai udhar chali
rukey na jeevan ki baansuri..ee
apni dhun mein gaa
chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla..aa..aa
A B C D
aleef bay pay
ka kha ga gha..aa..aa
A B C D
aleef bay pay
aur bhai ka kha ga gha
ab padhne askool chala hai
ye mera shehzaada
ab padhne askool chala hai
ye mera shehzaada
ho parion ne sanwaara hai
akhion ka taara hai
dil ka sahaara mera laadla
aa..aa..aa
chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla
mmm mmm mmmmmm mmmm
mmm mmm mmmmmm mmmm
aaa aaa aaaa aaa aaa aaa
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
मम्मम मम्ममम मम्मम
मम्म मम्म मम्म मम्म मम्म मम्म मम्ममममम
चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला
चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला
घटा का साया है ज़िंदगी
इधर से आई उधर चली
रुके ना जीवन की बांसुरी
हाए॰॰ अपनी धुन में गा
खुशी से सागर जल छलके
पकड़ चले दिल संभाल के
कहें तरंगें मचल के
ज़रा मौज में लहरा हाए॰॰
खुशी से सागर जल छलके
पकड़ चले दिल संभाल के
कहें तरंगें मचल के
ज़रा मौज में लहरा हाए॰॰
घटा का साया है ज़िंदगी
इधर से आई उधर चली
रुके ना जीवन की बांसुरी
हाए॰॰ अपनी धुन में गा
चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला॰॰आ॰॰आ
जब मेरा नन्हा छइयाँ छइयाँ
ठुमक ठुमक डोले
टूक टूक ताके
झुक झुक झाँके
गुड़िया घूँघट खोले
जब मेरा नन्हा छइयाँ छइयाँ
ठुमक ठुमक डोले
टूक टूक ताके
झुक झुक झाँके
गुड़िया घूँघट खोले
हो गुड्डे सा दुलारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला॰॰आ॰॰आ
घटा का साया है ज़िंदगी
इधर से आई उधर चली
रुके ना जीवन की बांसुरी
हाए॰॰ अपनी धुन में गा
जो मस्तीओं में जीए हैं
उसे ना ?? ?? ??
ये राज़ तेरे लिए है मगर
तू नहीं समझा हाए॰॰
जो मस्तीओं में जीए हैं
उसे ना ?? ?? ??
ये राज़ तेरे लिए है मगर
तू नहीं समझा हाए॰॰
घटा का साया है ज़िंदगी
इधर से आई उधर चली
रुके ना जीवन की बांसुरी॰॰ई
हाए॰॰ अपनी धुन में गा
चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला॰॰आ॰॰आ
ए बी सी डी
अलीफ बे पे
क ख ग घ॰॰अ॰॰अ
ए बी सी डी
अलीफ बे पे
और भई क ख ग घ
अब पढ़ने अस्कूल चला है
ये मेरा शहज़ादा
अब पढ़ने अस्कूल चला है
ये मेरा शहज़ादा
ओ परियों ने संवारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला
आ॰॰आ॰॰आ
चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला
मम्म मम्म मम्मममम मम्मम
मम्म मम्म मम्मममम मम्मम
आ आ आ आ आ आ॰॰आ
Zindagi Wo Kya Na Pyaar Jis Mein Ho
Posted on: July 19, 2018
- In: Club song | Dance song | Devnagri script lyrics by Avinash Scrapwala | Duet | Feelings of heart | Guest posts | Lata song | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Post by Raja | Rafi songs | Rafi-Lata duet | Songs of 1960s (1961 to 1970) | Songs of 1970 | Yearwise breakup of songs
- 19 Comments
This article is written by Raja, 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 : | 3653 | Post No. : | 14509 |
ASAD 10th Anniversary Celebrations – 15
———————————————————————
It has been a while since my last post here – and I have no excuses for this. I will not cite “been busy” as an excuse, because, if I’m honest, I could certainly have found time for a post. If anything, the only reason for not posting is my sheer laziness. And laziness is never, and should never be, an acceptable excuse. So, no excuses. Mea culpa.
One thing though. While I might not be posting frequently, this blog is never far from my heart. It might not be apparent from my recent (non-existent) interactions but this is fact. Whether I post here or not, this blog is very special to me. After all, I have been involved with it from day one. So I request everyone to please excuse my prolonged absence. (Some might consider it not such a bad thing. 🙂 )
Anyway, let me get to the point now. I am not the story here – something else is. Something much bigger than me and my mundane blabbering. Yes, this post is part of a series that marks a very special occasion for this blog. An occasion that speaks to an achievement so momentous, so mind-boggling that it calls for a “lifetime achievement award” for the creator of the blog.
This blog, our beloved blog, completes TEN years today – the first post here appeared on 19th July 2008.
I know I will never be able to do justice to the emotions I am experiencing right now. Words just cannot fully express these feelings. But I’ll try to share some of my thoughts on this occasion. They will be rambling, as usual – but I hope that’s ok.
TEN years. In the history of civilizations, TEN years is nothing. Even in inter-stellar references, depending on context, TEN years is nothing.
But in the world of blogging, TEN years of continuous blogging is HUGE. Mind-blowingly awe-inspiringly HUGE. Or, to use a very common American term, AWESOME. The operative word here is “continuous”. Most blogs out here (and there are countless numbers) are started with great enthusiasm. It doesn’t matter what the blog is about – but, much like exercise, the enthusiasm sees a dramatic drop over time. This could be days, weeks, or, for the more dogged, months. The blog marathoners might just push it into a few years, but there is usually a visible decline in tempo – much like a vehicle that has run its mileage, but is being started everyday just so it doesn’t come to a complete halt. Thus you see a post surface on the blog after months – as if to signal the blog (and the writer) is still alive.
I am not exaggerating. Yours truly also has a potpourri-like blog – started many years ago with considerable enthusiasm. The live update on the situation is that I can’t even remember when I last posted anything on the blog. Must be a few months at least, if not more. And I am in pretty good company. Thousands of blogs suffer this fate.
That is where this Atul-song-a-day blog, so beloved to us, stands out. Separate from all the other blogs out there. It is one thing to clock ten years. There must be plenty of blogs created before 19th July 2008 and still active. But I wonder how many of those have posts almost EVERY SINGLE DAY day since then. And if they do, I am almost sure they must be commercial blogs, run for profit. By probably an army of people dedicated to the job. In comparison, here it is very different.
We have Atul – who started this blog purely as a labour of love. To this day, even ten years later, it remains that. Yes, he’s helped by Sudhir ji now (and that’s a huge help!) but it’s still one hell of an ask to keep posting every single day. But they do it – Atul and Sudhir ji. The rest of us, Atulites, enjoy the blog, discuss songs, write posts at times (cough, cough!) – but it is basically run by Atul and Sudhir ji.
The most amazing thing about this is that they are both very busy people otherwise – so they have plenty to do, even apart from taking care of this blog. And like I’ve said many times before, every post involves a certain degree of effort. There’s no compromise on quality, so it’s not just a hurried hashed job for the sake of posting something. No compromise on accuracy, whether in the lyrics or in the post itself. If it means needing to listen to a song umpteen times (and Atul has done that), so be it! And apart from the post, there are the other features – the analysis, statistics. All of this demands time too. And besides what we see, they are always working on something in the background.
And oh, I forgot to mention, there’s always the risk of infrastructure failing – whether a power failure, or internet connectivity issue. Over these ten years Atul has been posted in multiple towns – each with its infrastructure challenges. When I consider all this, I can only say that it takes a very special level of love and dedication to HFM to be able to achieve so much, with all constraints and demands on their time.
I would also like to compliment and congratulate not just Atul and Sudhir ji, but everyone who has been part of this wonderful journey, in any capacity. There have been many – some stalwarts too (I shall not take names, we all know who they are 🙂 ) – who have contributed to this blog immensely.
Thanks to this blog, we have all come together, from all over the world, from diverse backgrounds – but with music as our common love and bonding factor. Without this blog, that would not have happened.
Of course, on such an occasion, it is normal to also reflect on the journey. My mind goes back to that first song , posted on 19th July 2008. “Miley Na Phool To Kaanton Se Dosti Kar Li” – Rafi Saab’s divine voice, meaningful lyrics by Kaifi Azmi, composition by Roshan. This song started the journey.
My comment appears on 21st July – so two days later. That is because I got to know about the blog only then. Atul and I were part of this cricket forum – both of us share this interest too, apart from music. Although the forum was primarily meant for cricket discussion, we would discuss a lot of other stuff too – mostly fun stuff. Given our interest, we naturally discussed songs too.
Atul and I (and a few others) would post songs on the forum every now and then. Atul had a thread ‘train songs’, I had a thread ‘songs that inspire me’ and so on.
Around this time Atul started a blog to discuss some of his experiences – I remember him blogging about Binaca Geet Mala, and the famous Jaimala programme of Vividh Bharati. Then one fine day, Atul announced on the cricket forum that he had started a new blog for songs. This announcement was on 21st July 2008 – I promptly visited the blog. Read the post, listened to the song – and left a comment. Shalini, another friend on the forum, also was one of the earliest visitors and commenters on the blog.
At that time, the intention was only one song a day. Which explains the blog name.
But of course, with one song a day, you would not get very far even in ten years. And our thirst wouldn’t get quenched. 🙂
In those early days, I used to give Atul a lot of farmaishes. He was obviously posting songs of his liking – I liked them too, but I had so many other songs that I wanted to see on the blog. So I used to send him requests – lists of 10 songs at a time. Not necessarily very famous songs – I remember even giving a farmaish for “Paape Na Sharma” (film ‘Sagaai’, 1966) – a song I distinctly remember from my childhood.
Around that time, Lalitha also joined in. She was a regular commenter – and would give her farmaishes too. For a while, I felt less guilty – I wasn’t the only one making demands on Atul. Poor Atul! He had started with the intention of posting one song of his choice every day. And here he was, trying to cater to long lists of farmaishes – many probably not even songs of his choice. Yet, he didn’t complain (“Aah Bhi Nikle To Ye Pyaar Ki Rusvaai Hai” ?). He tried gamely to post them all – and possibly realized that at one song a day, it wasn’t going to be feasible.
After a while (I don’t know when – Atul would know the exact dates), he switched to multiple songs a day. That was a big boost for thirsty people like me. 🙂 He kept making improvements to the blog. One feature after another. Statistics. Anniversary page. At that time it was totally a one-man show. He somehow managed to keep posting everyday. The write-up was entirely his at the time.
Then, one day, he asked me if I would do a write-up. I was a bit nervous – but said ok. That was the start for me – this is my 201st post. In these 200 posts, I’ve had the opportunity to pay tribute to several artistes on their birth/death anniversaries or blog landmark occasions – all thanks to Atul.
The blog itself now covers 14500+ songs – I would say it is the richest, most composite, repository of HFM on the internet, especially if you consider that it includes many obscure songs, and is a package of lyrics, video/audio AND a write-up for every single song posted. In any case, we are not in competition with anyone – like I’ve said before, this is a labour of love. We keep building the repository – and the process itself is an enjoyable one. For me personally, this blog has enriched my knowledge of HFM SO much I cannot begin to explain in words. I have discovered SO many gems only through this blog.
And oh, the knowledge of Atulites here! I feel SO humbled. I know nothing, and am happy to learn more from our inhouse encyclopaedia, Arunji. Or Sadanandji, whose knowledge is also immense. And others too. The important thing I realize is that I will not get this information anywhere else on the internet – it is in their heads, often coming from a book or an interview or article ages ago. The internet is not as complete (or even as accurate) a source as many think. We need to keep adding new (accurate) content to it.
And this blog is doing a great job in this respect. Even the comments section are a treasure house of trivia and rare information. For example, when Arunji discusses a song from a film, he doesn’t talk only about the film. He talks about the circumstances in which the film was made, the times, the background of the artistes, director, producer and so on. That gives a very different, and much-enriched, perspective of the film. And this, I feel, is something very special on this blog. It is not merely a song video/audio/lyrics effort. There’s a story behind it that brings the song and film seemingly to life.
And I just love those stories. 🙂
Apart from the blog itself, there is the ecosystem that has got created around it. All the people who came together because of the blog but are now good friends, part of whatsapp group and so on. Some of us have met each other too. Music bonds anyway – and this blog has taken the bonding to a different level. And being part of this journey from day one has been an absolute privilege for me. I have enjoyed it thoroughly and cherish every moment.
Talking of the journey brings me to the song for this post. This is from Jawaab (1970). The lyrics have been provided to me by Avinash ji. When I told him I was planning to do a write-up on this song, he immediately offered to provide me with the lyrics – in English and Devanagari. He is so passionate about this blog, and so helpful – thank you SO much, Avinash ji.
I have picked this song for two main reasons. First, I wanted a fun song to reflect a fun occasion. Secondly, and probably more importantly, some of the lyrics completely resonate with me.
zindagi wo kya
na pyaar jis mein ho
saath agar ho saathi dil ka
mazaa safar mein hai
How absolutely true! What is life without love in it? And indeed, the journey of life is made enjoyable, thanks to the presence of friends on this journey. Otherwise it would be a lonely journey.
The same is totally true of this blog. The journey, now of ten years, has been made thoroughly enjoyable, certainly for me, thanks to the presence of friends on this journey.
And
baant na lein kyon aapas mein
jo dard jigar mein hai
Also true. We share good and bad times, as we go through this journey. So I felt this song suits this occasion very well.
As for the picturisation, I quite like the zany dancing of, then Jumping Jack, Jeetendra. Even by his crazy standards, some of the moves here are of a different level. Leena Chandavarkar too, probably trying not to be outdone, comes up with some moves of her own. All in all, a totally fun song which I am sure most people will enjoy.
Thanks for reading this post – and once again, congratulations to everyone who has been a part of this journey.
mazaa safar mein hai
Yes, indeed. 🙂
Song – Zindagi Wo Kya Na Pyaar Jis Mein Ho (Jawaab) (1970) Singer – Mohammed Rafi, Lata Mangeshkar, Lyrics – Rajendra Krishan, MD – Laxmikant Pyaarelal
Mohammed Rafi + Lata Mangeshkar
Lyrics (Provided by Avinash Scrapwala)
zindagi wo kyaa
na pyaar jismen ho
saath agar ho saathi dil ka
mazaa safar mein hai
zindagi wo kyaa
na pyaar jismen ho
saath agar ho saathi dil ka
mazaa safar mein hai
akele tum ho
akele ham hai
akele tum ho
akele ham hai
saath agar ho saathi dil ka
mazaa safar mein hai
zindagi wo kyaa
na pyaar jismen ho
saath agar ho saathi dil ka
mazaa safar mein hai
akele tum ho
akele ham hai
saath agar ho saathi dil ka
mazaa safar mein hai
ho jaa ho jaa aye dil
kisika ho jaa aa
kisika ho jaa aa
jahaan bhi dekhen aankh ki masti
kho jaa aa
naadaan kho jaa aa
hai pyaar ki fursat kitni
bas raat jawaan hai jitni
o ho ho ho o o o
akele tum ho
akele tum ho
akele ham hai
akele ham hai
baant na le kyun aapas mein
jo dard jigar mein hai
zindagi wo kyaa
na pyaar jismen ho
saath agar ho saathi dil ka
mazaa safar mein hai
sehmi sehmi kyun hai dhadkan dil ki
main naa jaanoon
pad na gayi ho aankh kisi qaatil ki
main naa jaanoon
jab chal jaata hai jadoo
phir dil par kaisaa kaaboo
o ho ho ho o o o
akele tum ho
akele tum ho
akele ham hai
akele ham hai
hothon par bhi le aao
jo baat nazar mein hai
zindagi wo kyaa
na pyaar jismen ho
saath agar ho saathi dil ka
mazaa safar mein hai
akele tum ho
akele tum ho
akele ham hai
akele ham hai
akele ham hai
akele tum ho
akele ham hai
———————————————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————————————
ज़िंदगी वो क्या
न प्यार जिसमें हो
साथ अगर हो साथी दिल का
मज़ा सफ़र में हैं
ज़िंदगी वो क्या
न प्यार जिसमें हो
साथ अगर हो साथी दिल का
मज़ा सफ़र में हैं
अकेले तुम हो
अकेले हम है
अकेले तुम हो
अकेले हम है
साथ अगर हो साथी दिल का
मज़ा सफ़र में हैं
ज़िंदगी वो क्या
न प्यार जिसमें हो
साथ अगर हो साथी दिल का
मज़ा सफ़र में हैं
अकेले तुम हो
अकेले हम है
साथ अगर हो साथी दिल का
मज़ा सफ़र में हैं
हो जा हो जा अय दिल
किसी का हो जा आ
किसी का हो जा आ
जहां भी देखें आँख कि मस्ती
खो जा आ
नादान खो जा आ
है प्यार कि फुर्सत कितनी
बस रात जवान है जितनी
हो हो हो हो ओ ओ ओ
अकेले तुम हो
अकेले तुम हो
अकेले हम है
अकेले हम है
बाँट न ले क्यूँ आपस में
जो दर्द जिगर में है
ज़िंदगी वो क्या
न प्यार जिसमें हो
साथ अगर हो साथी दिल का
मज़ा सफ़र में हैं
सहमी सहमी क्यूँ है धड़कन दिल कि
मैं ना जानूं
पड़ न गयी हो आँख किसी कातिल कि
मैं ना जानूं
जब चल जाता है जादू
फिर दिल पर कैसा काबू
हो हो हो हो ओ ओ ओ
अकेले तुम हो
अकेले तुम हो
अकेले हम है
अकेले हम है
होठों पर भी ले आओ
जो बात नज़र में है
ज़िंदगी वो क्या
न प्यार जिसमें हो
साथ अगर हो साथी दिल का
मज़ा सफ़र में हैं
अकेले तुम हो
अकेले तुम हो
अकेले हम है
अकेले हम है
अकेले तुम हो
अकेले तुम हो
अकेले हम है
अकेले हम है
Tu Chaand Nagar Ki Shehzaadi
Posted on: June 27, 2018
- In: "wooing" song | Club song | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Kishore Kumar solo | Kishore Kumar songs | Lyrics contributed by readers | Party song | Post by Peevesie's mom | Songs of 1980s (1981 to 1990) | Songs of 1984 | Yearwise breakup of songs
- 6 Comments
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : | 3631 | Post No. : | 14458 |
(3653-23)
Hullo Atuldom
I know of two movies that go by the name ‘Duniya’. One was in 1968 which had Dev Anand and Vyjayantimala in the lead and the second ‘Duniya’ (1984) had Dev Anand’s contemporary Dilip Kumar with Ashok Kumar in central roles around which Rishi Kapoor and Amrita Singh’s characters were built.
The ‘Duniya’ that came in 1968 was directed by T Prakash Rao and had a lot of popular songs like “Dooriyan Nazdeekiyan”; “Falsafa Pyar Ka Tum Kya Jaano”; the fun song “Tu Hi Meri Laxmi Tu Hi Meri Chhaaya” etc. SH Bihari, Gopaldas ‘Neeraj’, Shailendra and Hasrat Jaipuri were the lyricists and Shankar-Jaikishan were the music directors.
On going through the blog, I found that one more ‘Duniya’ is listed, which released in 1948 and had C Ramchandra for composer. I don’t have any knowledge about this movie other than the fact that on this blog all the songs from this movie are covered. For that matter even the 1968 movie has all its songs on the blog.
So now that brings us to ‘Duniya’ which released in 1984. It was produced by Yash Johar of Dharma Productions and directed by Ramesh Talwar of ‘Baseraa’ and ‘Doosra Aadmi’ fame. Its story, screenplay & dialogues are credited to Javed Akhtar. It had an impressive cast headed by Ashok Kumar and Dilip Kumar (as I have said earlier) ably supported by their colleagues of the 1950s and 1960s viz: Pran, Pradeep Kumar, and Prem Chopra. Saira Banu made a special appearance, her sole release after she retired in 1976/77. (One of her movies with Vinod Mehra as co-star, completed in 1976 released in 1988.) ‘Duniya’ also had Amrish Puri to complete the trio who wreak havoc in the life of Mohan Kumar (Dilip Kumar) which leads to the family getting separated, wife dying etc. This means that the movie belonged to the action/ drama/ revenge genre. This movie had RD Burman’s music for songs penned by Javed Akhtar.
There is a re-run by the satellite channel Zee Classic of it programme ‘Classic Legends with Javed Akhtar’ which is basically a guided biography of legends who gave Hindi film industry some iconic movies and music. I happened to see an episode of this where RD Burman’s music was showcased. In the course of the programme Javed Akhtar has mentioned a song from ‘Duniya’ (1984).
As we all know a song is made when poetry is set to tune in a manner that it can be sung. There are times when the reverse can also happen. A musician thinks of a tune and has a song written to go with it. Javed Akhtar spoke of a song where RD had a tune for which the mukhda (opening stanza) would end in a tune that follows the tune of “Tanhaayi Mein Tadpaane Ko” from SD Burman’s song “Jeewan Ke Safar Mein Raahi” from ‘Munim ji’ (1955). He was telling it was almost as if RD was paying tribute to his father.
Today on RD’s 78th birth anniversary I think we should have this particular song. ‘Duniya’ was not that successful and I don’t think any of its songs are in public memory. Even I remembered it only when I heard Javed Akhtar mention it. Everytime a movie flops, it takes its music of the movie down with it. I think this is what happened to the songs of this film.
So here is the song which was written by Javed Akhtar for a tune set by RD Burman inspired by his father’s tune. It is sung by Kishore Kumar to Rishi Kapoor’s lip-syncing. We can also see Amrish Puri overseeing the actions of Rishi Kapoor and Javed Khan, the fellow who walks away with Amrita’s bag.
Video
Audio
Song – Tu Chaand Nagar Ki Shehzaadi (Duniya) (1984) Singer – Kishore Kumar, Lyrics – Javed Akhtar, MD – RD Burman
Lyrics
ho ho oo oo
o ho oo oo
lala la laala laa
tu chand nagar ki shehzaadi
main is dharti ka banjaara
tu chand nagar ki shehzaadi
main is dharti ka banjaara
tu mehlon mein rehne waali
main galiyon galiyon awaara
tu chand nagar ki shehzaadi
mai is dharti ka banjaara
tu mehlon mein rehne waali
main galiyon galiyon awaara
main ik hawa ka jhonka
tu phool hai
itna tujh ko chahoon
fuzool hai
main aaj yahaan aur kal hoon wahaan
tujhe apna gulshan hi pyaara
tu mehlon mein rehne waali
main galiyon galiyon awaara
tera mera do pal ka saath hai
sach hai ye sab kismat ki baat hai
har dil me yahaan tu hai mehman
main beghar bedar bechaara
tu mehlon mein rehne waali
main galiyon galiyon awaara
lab na hilen to aankho se kaam le
jaane waali mera salaam le
mere pichle janam ke bhale the karam
to mil jaoonga dobara
tu mehlon mein rehne waali
main galiyon galiyon awaara
tu chand nagar ki shehzaadi
mai is dharti ka banjaara
tu mehlon mein rehne waali
main galiyon galiyon awaara
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हो हो ओ ओ
ओ हो ओ ओ
लाला ल लाsला लाss
तू चाँद नगर की शहज़ादी
मैं इस धरती का बंजारा
तू चाँद नगर की शहज़ादी
मैं इस धरती का बंजारा
तू महलों में रहने वाली
मैं गलियों गलियों बंजारा
तू चाँद नगर की शहज़ादी
मैं इस धरती का बंजारा
तू महलों में रहने वाली
मैं गलियों गलियों बंजारा
मैं इक हवा का झोंका
तू फूल है
इतना तुझको चाहूँ
फुज़ूल है
मैं आज यहाँ और कल हूँ वहाँ
तुझे अपना गुलशन है प्यारा
तू महलों में रहने वाली
मैं गलियों गलियों बंजारा
तेरा मेरा दो पल का साथ है
सच हैं ये सब किस्मत की बात है
हर दिल में यहाँ तू है मेहमां
मैं बेघर बेदर बेचारा
तू महलों में रहने वाली
मैं गलियों गलियों बंजारा
लब ना हिलें तो आँखों से काम ले
जाने वाली मेरा सलाम ले
मेरे पिछले जनम के भले थे करम
तो मिल जाऊंगा दोबारा
तू महलों में रहने वाली
मैं गलियों गलियों बंजारा
तू चाँद नगर की शहज़ादी
मैं इस धरती का बंजारा
तू महलों में रहने वाली
मैं गलियों गलियों बंजारा
Ho chehra hai ya chaand khila hai
Posted on: June 17, 2018
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 : | 3621 | Post No. : | 14433 |
The Golden era of HFM was well and truly over after 1980s, with Disco “music” sounding the death knell of HFM as we knew till then. In these “music”, lyrics were all but dispensed with.
HFM continued to have a few nice songs even during the “disco” era. There were still some artists who refused to compromise with quality and refused to stoop to the new low that was set as the new standards of HFM post 1980.
“Saagar”(1985) was one such movie whose music felt like a breath of fresh air during that era. This movie had come from the stables of a well known and well respected production house, one that had given us “Sholay”(1975).
“Saagar”(1985) was Produced by G P Sippy and directed by Ramesh Sippy. The movie had Rishi Kapoor, Kamal Haasan, Dimple Kapadia, Saeed Jaffrey, Shafi Inamdaar, Nadira, A K Hangal, Madhur Jaffrey, Satish Kaushik, Goga Kapoor, Kiran Vairale, Lilliput, Shobha Khote, Sudhir Pandey, Sharat Saxena, Mushtaq Merchant, Jairaj etc in it.
The movie had seven songs in it. Three of these songs have been covered in the past.
Here is the fourth song from “Saagar”(1985) to appear in the blog. This song is sung by Kishore Kumar. Jawed Akhtar, who wrote the script of “Sholay”(1975) alongwith Salim Khan as Salim Jawed, had turned a lyricist by then. “Saagar”(1975) was one of the first (if not the first) movies where he penned lyrics.
R D Burman composed the music.
The song is picturised as a club song where Rishi Kapoor, holding a guitar, is seen lip syncing this song. The song is addressed to his long separated flame (played by Dimple Kapadia). Rishi Kapoor and Dimple Kapadia had last actded together in “Bobby”(1973) which was the launch vehcle for Rishi Kapoor as well as Dimple Kapadia. while Rishi Kapoor successfully got launched and established, Dimple Kapadia, in a surprise movie married Rajesh Khanna and vanished from films. It was more than one decade later that she was persuaded to make comeback to movies. She made quite a stunning comback in movie like “Aitbaar”(1985) and “Saagar”(1985).
Music of these movies were quie stunning and played stellar roles in the box office success of these movies.
The song under discussion is one such song. It remains a timeless classic to this day.
Song-Ho chehra hai ya chaand khila hai (Saagar)(1985) Singer-Kishore Kumar, Lyrics-Jawed Akhtar, MD-R D Burman
Chorus
Lyrics
ho chehra hai yaa chaand khila hai
zulf ghaneri shaam hai kya
saagar jaisi aankhon waali
ye to bata tera naam hai kya
chehra hai yaa chaand khila hai
zulf ghaneri shaam hai kya
saagar jaisi aankhon waali
ye to bata tera naam hai kya
arre tu kya jaane teri khaatir
kitna hai betaab ye dil
tu kya jaane dekh rahaa hai
kaise kaise khwaab ye dil
dil kehtaa hai tu hai yahaan
to jaataa lamhaa thham jaaye
waqt ka dariyaa behte behte
is manzar mein jam jaaye
toone deewaanaa dil ko banaayaa
is dil par ilzaam hai kya
saagar jaisi aankhon waali
ye to bata tera naam hai kya
ho aaj mai tujhase door sahi
aur tu mujhse anjaan sahi
tera saath nahin paaun to
khair tera aramaan sahi
lalalalala
lalalalala
lalalalala
lalalalala
lalalalalala
lalalalalaa
laalaalaa
ho ye armaan ho
shor nahin ho
khaamoshi ke mele hon
is duniya mein koi nahin ho
ham donon hi akele hon
tere sapne dekh rahaa hoon
aur meraa ab kaam hai kya
saagar jaisi aankhon waali
ye to bataa tera naam hai kya
chehra hai yaa chaand khila hai
zulf ghaneri shaam hai kya
saagar jaisi aankhon waali
ye to bata tera naam hai kya
Gora bhi achcha kaala bhi achcha
Posted on: June 13, 2018
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 : | 3617 | Post No. : | 14420 |
“Samrat” (1954) was directed by Najam Naqvi for Filmistan, Bombay. The movie had Ajit, Rehana, D.K.Sapru, Ram Singh, Kamlesh Kumari, Minoo Mumtaz, Randhir, Mumtaz Ali, Rajan Haksar, Srinath, S.L.Puri etc in it.
The movie had nine songs in it. Seven songs have been covered in the past.
Here is the eighth song from “Samrat” (1954) to appear in the blog. This song is sung by Geeta Dutt. Rajinder Krishan is the lyricist. Music is composed by Hemant Kumar.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
When I listened to the song, I was sure that another song was the inspiration behind this song but I was not able to recall what song that was. Then my tubelight memory lit up and I remembered that the inspirational song hind this song wa Shola jo bhadke dil mera dhadke(Albela )
Gora bhi achcha kaala bhi achcha (Samrat)(1954) Singer-Geeta Dutt, Lyrics-Rajinder Krishan, MD-Hemant Kumar
Lyrics
hey
gora bhi achcha
kaala bhi achcha
gora bhi achcha
kaala bhi achcha
achcha magar dilwaala
chaahe gora chaahe kaala hai
gora bhi achcha
kaala bhi achcha
achcha magar dilwaala
chaahe gora chaahe kaala hai
gora bhi achcha
kaala bhi achcha
aankh jawaani ki chupke se lad gayi
aankh jawaani ki chupke se lad gayi
chupke se lad gayi ee
gore ko chhod ke
kaale pe pad gayi
gore ko chhod ke
kaale pe pad gayi
dil mein sama gaya kaala kaala kaala kaala kaala
gora bhi achcha kaala bhi achcha
achcha magar dilwaala
chaahe gora chaahe kaala hai
gora bhi achcha
kaala bhi achcha
sab se zaalim hai wo lutera
sab se zaalim hai wo lutera
haaye
pyaar se loote jo dil mera
pyaar se loote jo dil mera
dil mera
hai koi aisa dilwaala dilwaala
kaala kaala kaala kaala
gora bhi achcha
kaala bhi achcha
achcha magar dilwaala
chaahe gora chaahe kaala hai
gora bhi achcha
kaala bhi achcha
waqt hai thhoda
baat bahut hai
baat bahut hai
waqt hai thhoda
baat bahut hai
bhaag chalo to raat bahut hai
bhaag chalo to raat bahut hai
daal mein hai ji kuchh kaala kaala kaala kaala kaala
gora bhi achcha
kaala bhi achcha
achhca magar dilwaala
chaahe gora chaahe kaala hai
gora bhi achcha
kaala bhi achcha
hey
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