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Le le dil de de dil

Posted by: Atul on: August 2, 2021

In: Amit Kumar songs | Dance song | Duet | Lata Amit Kumar duet | Lata song | Lyrics by Prakashchandra | Lyrics contributed by readers | Series of articles | Songs of 1990s (1991 to 2000) | Songs of 1991 | Yearwise breakup of songs | Yearwise review of Lata Mangeshkar HF songs
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Blog Day :

4763

Post No. :

16510

Yearwise discussion of Lata Mangeshkar songs in HFM: Part XLV: Year 1991
———————————————————————————————————

In this episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 1991.

In 1991, 130 Hindi movies containing 667 songs were released. Lata Mangeshkar got to sing in 16 of these movies and she sang 57 songs in these movies. So Lata Mangeshkar’s voice was heard in 11.5 % of the movies released in 1991. Her voice was heard in 8.5 % of the songs appearing in the movies of 1991.

Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 1991 :-

S N	Movie	Music director	Lata song in the blog	Lata HFM songs recorded in the year	Lata solo songs	Male duet	Female duet	Other songs	Lyricists
1	100 days	Ram Laxman	0	5	1	4	0	0	Dilip K Tahir (1) Dev Kohli (3) Ravindra Rawal (1)
2	Banjaaran	Laxmikant Pyarelal	0	1	1	0	0	0	Anand Bakshi
3	Dancer	Anand Milind	0	1	0	1	0	0	Sameer
4	Do Pal	Rajesh Roshan	0	1	1	0	0	0	Payaam Sayeedi
5	Farishtey	Bappi Lahiri	0	2	1	1	0	0	Anand Bakshi
6	First Love Letter	Bappi Lahiri	0	3	1	2	0	0	Anjaan
7	Henna	Ravindra Jain	2	8	5	2	0	1	Ravindra Jain
8	Lamhe	Shiv Hari	2	7	4	2	1	0	Anand Bakshi
9	Lekin	Hridaynath Mangeshkar	0	10	9	1	0	0	Gulzar (6) Vasant Deo (2) Kabir (1) Wajid Ali Shah (1)
10	Patthar Ke Phool	Ram Laxman	1	6	2	4	0	0	Dev Kohli (3) Ravindra Rawal (3)
11	Phool Bane Angaarey	Bappi Lahiri	0	1	1	0	0	0	Anjaan
12	Pyaar Ka Devta	Laxmikant Pyarelal	0	1	0	1	0	0	Anand Bakshi
13	Sanam Bewafaa	Mahesh Kishore	0	6	6	0	0	0	Saawan Kumar Tak
14	Sau Karod	Bappi Lahiri	0	1	1	0	0	0	Suraj Jagan
15	Saudaagar	Laxmikant Pyarelal	0	2	0	2	0	0	Anand Bakshi
16	Ye Aag Kab Bujhegi	Ravindra Jain	0	2	2	0	0	0	Ravindra Jain
Total	16 movies	9 MDs	5	57	35	20	1	1	14 lyricists

Lata Mangeshkar worked with 9 music directors and 14 lyricists in these 16 movies released in 1991. Laxmikant Pyarelal were the most prolific music directors with Lata, with 654 songs in HFM with Lata Mangeshkar by the end of 1989. Shankar Jaikishan with 457 songs in the voice of Lata Mangeshkar were in the second position. R D Burman with 331 Lata Mangeshkar and Kalyanji Anandji with 307 songs were next ahead of C Ramchandra with 274 songs. Other top music directors for Lata Mangeshkar were Chitragupta (239), Madan Mohan (195), S D Burman (179),Naushad (145), Roshan (144), Hemant Kumar (127), Anil Biswas (120), Husnlal Bhagatram (108), Salil Chaudhary (109), Bappi Lahiri (108), Rajesh Roshan (105) and Vasant Desai (104). Together these seventeen music directors composed 3706 songs out of 5009 songs that Lata Mangeshkar had sung in Hindi movies till end of 1991. Anand Bakshi with 674 songs was the top lyricist with Lata Mangeshkar. Other leading lyricists with Lata Mangeshkar were Rajinder Krishan (555), Majrooh Sultanpuri (405), Shailendra (361), Hasrat Jaipuri (298), Prem Dhawan (201), Bharat Vyas (193), Shakeel Badayuni (189), Sahir Ludhianvi (161) and Indeewar (153). These ten lyricists had penned 3190 songs sung by Lata Mangeshkar till that time.

Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 1991 :

Year	Movie count	Lata song in the blog	Lata HFM songs recorded in the year	Lata solo songs	Male duet	Female duet	Other songs
1946	3 movies	4	4	4	0	0	0
1947	3 movies	5	5	3	1	0	1
1948	16 movies	50	50	37	6	4	3
1949	38 movies	138	157	103	35	12	7
1950	36 movies	115	143	93	32	14	4
1951	49 movies	189	223	158	52	10	3
1952	43 movies	150	177	138	31	4	4
1953	45 movies	170	195	149	35	5	6
1954	43 movies	142	172	144	23	4	1
1955	50 movies	171	218	177	30	10	1
1956	49 movies	174	204	153	35	13	3
1957	47 movies	132	160	110	38	7	5
1958	35 movies	104	132	95	25	10	1
1959	58 movies	189	211	131	68	12	1
1960	48 movies	142	166	102	50	9	5
1961	44 movies	128	152	88	55	5	4
1962	40 movies	119	129	84	40	5	0
1963	37 movies	105	111	62	38	8	3
1964	46 movies	123	133	91	31	8	3
1965	42 movies	84	91	71	17	1	2
1966	49 movies	105	133	110	14	8	1
1967	44 movies	94	106	67	38	8	3
1968	33 movies	84	84	59	19	5	1
1969	43 movies	78	97	67	27	2	1
1970	54 movies	91	130	84	39	3	4
1971	52 movies	107	126	71	52	3	0
1972	62 movies	99	151	86	60	3	2
1973	60 movies	93	138	94	37	3	4
1974	55 movies	71	104	66	33	0	5
1975	45 movies	61	90	50	35	3	2
1976	41 movies	58	97	53	39	1	4
1977	50 movies	50	96	59	27	8	2
1978	46 movies	59	90	48	34	3	5
1979	42 movies	38	66	37	25	2	3
1980	43 movies	28	71	43	21	3	4
1981	46 movies	40	88	48	34	2	4
1982	45 movies	28	82	41	37	1	3
1983	33 movies	29	73	36	37	0	0
1984	39 movies	11	70	32	33	4	1
1985	40 movies	21	72	39	31	0	2
1986	27 movies	3	41	22	17	0	2
1987	12 movies	4	21	13	8	0	0
1988	21 movies	9	43	24	17	1	1
1989	19 movies	9	38	20	16	1	1
1990	9 movies	3	12	3	9	0	0
1991	16 movies	5	57	35	20	1	1
Total upto 1990	1798 movies	3712	5009	3300	1391	206	112

It can be seen from the table of 1991 that Lata Mangeshkar sang 56 songs in 15 movies released in 1991. It was a good recovery from 1990, hen she got to sing just 12 songs in 9 movies.

By end of 1991, Lata Mangeshkar had just crossed 5000 songs as a playback singer. Out of these 5009 songs, solo songs added up to exactly 3300 songs.

5 songs sung by Lata Mangeshkar in movies of 1991 have been covered in the blog. That leaves us with 52 songs from 16 movies of 1991 that are yet to be covered.

Alphabetically “100 days”(1991) is the first movie of 1991 that offers us a Lata Mangeshkar song to be covered in the blog.

“100 days”(1991) was produced by Jay Mehta Mehta and directed by Partho Ghosh for Jay Vijay Enterprises, Bombay. The movie had Madhuri Dixit, Jackie Shroff, Javed Jaffery, Sabeeha(special appearance), Laxmikant Berde, Kunika Sadanand, Moon Moon Sen, Ajit Vachani, Jay Kalgutkar (introducing) ,Vijay Arora, Chunnu Mehra, Harbans Darshan.M.Arora, Prem Sagar, Sunita, Yusuf. They were supported by Shashikiran, Neelam Mehra, Shivaji Satam, Mahaveer Shah, Raja Duggal, Kanti Karan, Ramakant Burman, Anthony Andrade etc.

This movie was a remake of a remake of a foreign movie. The original Italian movie “Sette Note In Nero” (1977) served as the inspiration for Tamil film “Nooravathu Naal” (1984). Its suceess led into it being dubbed into Telugu as “Nurava Roju” (1984) and remade into Malayalam as “Aayiram Kannukal” (1986)

“100 days”(1991) had six songs in it. Voice of Lata Mangeshkar song was present in five of these songs. One song (non Lata Mangeshkar song) has been covered so far. It means that the remaining five songs from the movie are all Lata Mangeshkar songs.

Here is one of those songs.

This song is a dance song of the kind that was very popular those days. It is sung by Amit Kumar, Lata Mangeshkar and female chorus. The song is picturised as a dance song on Javed Jafrey, Madhuri Dixit and others. Jackie Shroff and Ajit Vachaani are also seen in the picturisation.

Lyrics of the song and other details were sent to me by Prakashchandra.

Audio link: (Full song)

video link: (shorter)

Song-Le le dil de de dil (100 days)(1991) Singers-Amit Kumar, Lata , Lyrics-Ravindra Rawal, MD-Ram Laxman
Chorus
Javed Jaffrey

Lyrics (audio version)(Provided by Prakashchandra)

lalla lalla laaa laaa
lalla lalla laa laaa
laallaaa laallaaa lalallalaala

heartbeat
heartbeat
heartbeat
heartbeat

hhha huhh hha huhh
hhha huhh hha huhh
haaaaaaaa

ley ae aey ae dil
le le dil
de de dil
maukaa hai badaa haseen
le le dil dil dil
de de dil dil dil
maukaa hai ae badaa haseen
chal diyaa aa aa (aaaa)
main agar (aaaa)
aaoongaa aa phir naheen (aaaa)
kaisey dil
de doon dil
ye meraa aa ab naheen een
kaisey dil dil dil
de doon dil dil dil
ye meraa aa ab naheen
gair kaa aa (aaaa)
ho chukaa aa (aaaa)
kar ley meraa yakeen(aaaa)

mujhko hai pataa
ye bahaaney hain tere
tu haseen hai laakhon hee deewaaney hain tere aey ae
kyaa karoon kisee ka jaadoo mujhpe chal gayaa
aankhein jo mileen haathon se dil nikal gayaa
mujhko hai pataa
ye bahaaney hain tere
tu haseen hai laakhon hee deewaaney hain tere aey ae
kyaa karoon kisee ka jaadoo mujhpe chal gayaa
aankhein jo mileen haathon se dil nikal gayaa
ab jahaan bhee hai woh o o (aaaa)
dil meraa aa hai waheen (aaaa)
ley aey ae ae ae ae dil
le le dil
de de dil
maukaa hai
badaa haseen een
kaisey dil dil dil
de doon dil dil dil
ye meraa aa ab naheen
chal diyaa aa (aaaa)
main agar (aaaa)
aaoongaa phir nahin (aaaa)

lallaa laaalaaa
lallaalla laalaaa
laallaa laallaa lalala
lallaa laaalaaa
lallaalla laalaaa

heartbeat
heartbeat
heartbeat
heartbeat

hhha huhh hha huhh
hhha huhh hha huhh
haaaaaa

dekhey maine laakhon aisa koyee bhee naheen
mere deewaney ke jaisaa koyee bhee naheen
kaun khush-naseeb hai woh naam to bataa
varnaa ye bahaaney main naheen maantaa
dekhey maine laakhon aisa koyee bhee naheen
mere deewaney ke jaisaa koyee bhee naheen
kaun khush-naseeb hai woh naam to bataa
varnaa ye bahaaney main naheen maanta
aaj ye ae (aaaa)
faislaa (aaaa)
main karoongaa yaheen (aaaa)
ley aey ae ae dil
le le dil
de de dil
maukaa hai
badaa haseen
le le dil dil dil
de de dil dil dil
maukaa hai ae
badaa haseen
chal diyaa aa(aaaa)
main agar (aaaa)
aaoongaa aaa (aaaa)
phir naheen (aaaa)

kaisey dil
de doon dil
ye meraa aa ab naheen
kaisey dil dil dil
de doon dil dil dil
ye meraa aa ab naheen een
gair kaa aa (aaaa)
ho chukaa aa (aaaa)
kar ley meraa yakeen een een (aaaa)

Tags: 100 Days, 1991, Amit Kumar, Javed Jaafrey, Lata, Madhuri Dixit, Ram Laxman, Ravindra Rawal

Mai se meena se na saaqi se dil bahalta hai mera aapke aa jaane se

Posted by: Atul on: July 27, 2021

Blog Day :

4757

Post No. :

16500

Movie Count :

4483

Slowly, steadily, and unnoticeably, the blog reaches yet another blog century. This post is post number 16500 for the blog. In other words, this song is the 165th century post for the blog.

When I thought about writing an article to go with post, I considered going through all the previous century posts. I kept going backwards from 164th century post, 163rd century post. After ten such posts, I gave up. If someone thinks that 164 songs and 164 song articles is a small number, then please try to do that exercise yourself. If one has to make a playlist of these century songs, the entire playlist will play for more than eight hours !

If that is the case for 164 of the choicest songs in the blog, then just imgine how many hours of music the entire blog contains. The blog has been going on at the rate of 3.5 songs a day for 4756 days. Assuming that these three and half songs a day are 12 minutes long then 12 minutes equals 0.2 hours of song every day. Multiply it with 4756. We get 951 hours of song in the blog. 951 hours means 40 days of non stop music if one plays it 24 hours a day without a break.

No normal human being will be able to do it, of course. If a normal music lover decides to savour music from the blog for just one hour a day, then he will have enough masala in the blog to last 951 days, viz 2 years and 8 months. During these 951 days, the blog would add another 195 hours of music, of course. 🙂

I think, some of our regulars have tried it. They should share their experiences with us. Since I post the articles and listen to the song myself, and that too more than once, I must have heard these songs for say 2000 hours already, but in a manner that did not burden me. Rather I must have enjoyed the experience, seeing that I am still at it, after more than 13 years.

The blog completed its 13th birthday recently, on 19 July 2021. Four articles were posted on the occasions. One was a Lata Mangeshkar yearwise songs series, which has been appearing every monday in the blog for the last 45 mondays. Other three articles, by three different regulars, were blog birthday celebration posts. My Lata Mangeshkar song series takes so much time out of me that it does not leave me time for any other article on mondays from me. That is why I could not post any special blog birthday articles. So I decisded to use this century post as century post cum belated blog birthday celebrating writeup. 🙂

As is usual now a days, our century posts are low key affairs. Our regulars do not seem to wait eagerly for them unlike in the past. Even the post writer leaves it till the last moment before he wakes up and starts to look desperately for a song appropriate for the occasion. Surprisingly, despite of such negligence, we always manage to find songs that are eminently suitable for the occasion.

Most of the blog century posts are from the golden era. The blog itself mainly covers songs from that era. But we have songs (including blog century songs) from pre golden era (before 1949) and also songs from post golden era (songs released after 1980).

It is popularly believed that the golden era of HFM was over after 1980. Even then, we continued to get some wonderful songs in HFM. Quite a few songs after 1980 have figured in the blog as blog century songs. Here are their details:

Blog post number	Date (Blog day number)	Song	Movie (Year)	Remarks
4100	30 june 2011 (1077)	Aisa lage kahin door se	Trishaagni (1988)
9800	1 May 2014(2113)	Maine tumse kuchh nahin maanga	Katha (1983)
13500	3 August 2017(3303)	Ye paisa bolta hai	Kaala Baazaar (1989)
15200	4 September 2019 (4065)	Dil mein Mars hai	Mission Mangal (2019)	Newest century song in the blog
15500	27 March 2020(4270)	Uljhan ho chaahe koi	Chambal Ke Daaku (1982)	One of the rarest songs
15600	11 May 2020 (4315)	Goriya uski deewaani	Aag Ka Darya (1990)
16100	15 December 2020 (4533)	Hai ye kaisa nasha	Chorni (1981)

One can see that as many as six songs from the decade of 1980s have figured i the blog as Blog century posts. But the newest song that has figured as the blog century post is from 2019. This song from Mission Mangal”(2019) became a century post in 2019, viz in the same year when this movie and its songs were released. That is one big surprise for most blog regulars. Even I , who presented the article, was surprised. I had myself forgoten about the fact that I had done something like this, and that too less than two years ago. 🙂

Songs that figure in the blog as blog century songs are special songs in one way or the other. And the speciality varies from one song to another.

The song under discussion is a song that was reasonably popular when the movie was released. The movie was forgotten with time and even this song seemingly went away. There are some songs, that get a second wind for some reasons and this time they become far far popular than what they were the first time round.

I can give quite a few such examples. Here are some examples:

April fool banaya(April fool) was a reasonably popular song of its time that got forgotten with time. In 1983 this song got reived when it was used in an important scene in “Andha Kaanoon”(1983).

Ek chatur naar(Padosan)(1968) was hardly popular during the first run of the movie. It is only after 1980s that this song has become an extremely popular song and it seems to have become more popular and this popularity is here to stay.

Main teri dushman dushman tu meri main naagan to sapera (Nagina) had run its course and had been forgotten. The song earned huge popularity in march 2018, thanks to reasons that had nothing to do be music and Indians. Non Indians popularised this song thanks to their childish pranks on the field of cricket. My writeup on this song described the funny episode leading to the revival of this song in this article.

The song under discussion got its second wind thanks to dance competion shows that have become popular on Indian TV. On these dance songs, ordinary folks dance on some olf Hindi film dance songs. In one episode one middle aged man, Sanjeev Sriastava (a ka Dabbu Uncle) performed dance on stage on this song alongwith his wife and took the TV audience by storm. Even Govinda, who originally danced on this song found Dabbu Uncle’s dance cute. This song was performed on screen by Govinda and Neelam. On a dance show, both of them were invited as judges. This song had earned such popularity by then that the two of then were asked to come on stage and dance on the song, three decades after they had originally danced on this song on screen. And they obliged.

And here is Dabbu uncle getting to perform with Govinda himself.

It goes without saying that this is one song that has been repopularised by an ordinary man. That is the power of an ordinar man. 🙂

The movie the song belonged to was “Khudgarz”(1987). The movie was produced and directed by Rakesh Roshan for Fimkraft, Bombay. The movie had Jeetendra, Shatrughan Sinha, Govinda, Bhanupriya, Amrita Singh, Neelam Kothari, Kadar Khan, Kiran Kumar, Saeed Jaffrey, Sudhir Dalvi,Sushma Seth, Praveen Kumar, Sangeeta Naik, Ghanshyam, Dinesh Hingoo, Satyen Kapoo, Mac Mohan, Master Javed Hyder etc in it. Rishi Kapoor and Abhi Bhattacharya had figured in guest appearances in the movie.

The movie was based on the story “Kane and Abel” penned by Jeffrey Archer without acknowedgement. Jeffrey Archer accused the maker of plagiarising his intellectual right without paying for it. It was the first time that a movie produced by Rakesh Roshan hit the jackpot at the box office. The movie was subsequently made in Tamil, Telugu, Kannada, Odia etc as well.

Here is this song from “Khudgarz”(1987). It is sung by Md Aziz and Sadhana Sargam. Indeewar is the lyricist. Music is composed by Rajesh Roshan.
Since it is the dance on the song that has repopularised the song, I was curous to know who was the dance master. I had to watch the movie for a few mintes, till the first song appeared on screen, accompanied by credits. According to credits Dances are choreographed by Suresh Bhatt. His assistants were Aruna and Sujata.

Here is this fantastic song. It is a song that has to be savoured by watching its video. The song, and its picturisation has earned enormous popularity on YT channels which was hardly the case a few years ago.

The movie makes its debut in the blog with this song.

With this song, the blog now had 16500 song posts in it. I take this opportunity to thank one and all whose continuous support and encouragement keeps fuelling this labour of love musical bandwagon. Like the lyrics of this song, eve for us in the blog “dil bahalta hai mera aapke (is blog pe) aa jaane se”. Keep visiting, keep commenting, and keep supporting us with your encouragement. We still have lots and lots of musical gems to discover and savour.

Song-Mai se meena se na saaqi se na paimaane se(Khudgarz)(1987) Singers-Md Aziz, Sadhana Sargam, Lyrics-Indeewar, MD-Rajesh Roshan
Chorus

Lyrics

Mai se meena se na saaqi se
Mai se meena se na saaqi se
Na paimaane se
Dil behalta hai mera
Aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Gul se gunchon se na bulbul ke
Gul se gunchon se na bulbul ke
gungunaane se
Dil behalta hai mera
aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se

Khwaab mein jannat ka naqsha
Aa gaya jab saamne
ru ru ru ru ru ru
ru ru
ru ru
ru ru ru ru ru ru
ru ru
Khwaab mein jannat ka naqsha
Aa gaya jab saamne
Hooron se bhi dil na behla aa aa
Hum lage tujhe dhoondhne
Jannat ki bahaaron se na pariyon ke
Jannat ki bahaaron se na pariyon ke
muskuraane se
Dil behalta hai mera
aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se

Ek din main bhi gayi thhi
Jauhari bazaar mein
ru ru ru ru ru ru
ru ru
ru ru ru
ru ru ru ru ru ru
ru ru
Ek din main bhi gayi thi
Jauhari bazaar mein
Teri aankhein yaad aayin
Heeron ke bhi haar mein
Moti se na heeron se na jewar se
Moti se na heeron se na jewar se
Na kisi khazaane se
Dil behalta hai mera
aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se

Mai se meena se na saaqi se
Mai se meena se na saaqi se
Na paimaane se
Dil behalta hai mera
aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se

Tags: 1987, Govinda, Indeewar, Khudgarz, Md Aziz, Neelam Kothari, Rajesh Roshan

Meri uthhti jawaani ki dekho dekho bahaar

Posted by: Atul on: July 26, 2021

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular 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 :

4756

Post No. :

16496

Movie Count :

4482

Today’s song is from a Stunt film of the early 40’s – Mauji Jeevan-1944. It was made under the banner of Harishchandra Pictures, Owned by Harishchandra Rao Kadam. The film was directed by Poonawala He seems to have done only this one film. Similarly, the Lyricist Baba Paagal wrote all the 7 songs of this film and then disappeared from the filmdom.

The C grade stunt films were the cheapest ones to make. Compared to the investment, the profits used to be very good. Producers of stunt/action films tried their best to get the directors, Lyricists and the MDs at minimum rates. For this, sometimes they pretended to give opportunities to new aspirants. This had double benefits. One, being new, he depended upon the producers – thus the films were virtually directed by the producers only. Secondly they needed to be paid near to nothing. This way money was saved…to hell with quality !

The actors working in such stunt films were fixed with almost every studio or producer. They had no chances of working in big banners or Social films. They either kinew no acting or their skills were specific to stunt films like say, fighting, Horse riding, jumping, sword fighting etc. Their charges were also very low. In case the producer himself was acting, then there was no question of making actual payment( though on paper they may be getting some payments). producers like Master Bhagwan, Chandra rao Kadam etc. used to follow this method.

The audience of stunt films did not come to see histrionic talents of the actors, or listen to heavenly music. All they wanted to see was DareDevil action, fighting, 2-3- ” maar Daala” Dances and villain ki bharpoor “Kutai” and “Pitai”. Therefore all matters concerning getting quality actors, famous directors or well known composers never arose for these films. It used to be a thrilling experience to see these action/stunt films in a theatre and enjoy the loud comments and active participation of the audience in the film. When dances were shown whistles were common and when the hero started beating the villain, the audience enthusiastically encouraged the hero and shouted “Maar saale ko” or similar motivating phrases ! I have enjoyed all this first person, several times. I feel sorry that the current generation is missing all this fun.

The Music Director of this film was Gulshan Sufi. This was his just the second movie as a Composer, having Debuted with the film Aaina-44. Of Course being an assistant to a few composers and having sung songs in films, he had some experience. Gulshan Soofi was born at Larkana in 1914. His father and mother died when he was small. He was looked after by a Hermit named Agha Ghulam Nabi Soofi, who treated him as his son. Here he got some education. Having an attraction for Theatres, he ran away and joined Agha Hashr Theatrical company, but he was forced back to the Hermit.

Finally, he came to Bombay with Bhai Dessa and recorded a few songs. He joined Nanubhai Vakil as an extra, where his talent was recognised and he sang in films Rashk e Laila-34 and Gulshan e Alam-35 besides acting in small roles. Then he worked at karachi in films, sang Sindhi songs in Amritsar Gramophone co.. He worked in Mother India-38, Watan-38, Payam e Haq-39 and Jungle Princess-42.

He started as MD with film Aina-44, then came Mauji Jeewan-44, Saathi-46, Durban-46, Devar-46, Pati Sewa-47, Janmapatri-49, Sabj Bagh-51, Zamane ki Hawa-52, Faryadi-53 and lastly Ghamand-55. Gulshan acted in 7 films and sang14 songs. He composed 66 songs in 11 films. In 1957, Gulshan Soofi migrated to Pakistan and retired. No news after that.

In the world of Stunt films of the 40’s, The Kadam Brothers were Unique. The elder one Chandra Rao Kadam came into films first, made name and money and then helped the younger brother harishchandra Rao to get established. He even got him a studio of his own. They worked in each other’s films as Heroes.

Hero of this stunt film was Harishchandra Rao (Kadam). He was born in Bhuj, Gujarat on 11-8-1910. He did early schooling in Bhuj, but his family shifted to Karachi, due to financial debacle. He did Cycle repairing work and completed his matriculation by the age of 18 years. He joined a Touring film company. Once, while in Bombay he was watching the film shooting in the Paramount company. Suddenly, the director offered him a role in the film. Thus he entered the films. From 1932 he did few silent films.

He joined Shankar Bhatt’s Prakash Pictures and worked in their first Talkie, ” Bambai ki Mohini “- 1934. He was with Prakash, upto 1939, doing stunt films inside and outside also. He did some films for Wadia too, in between. Finally he started his own company, ” Harishchandra Productions “. He continued to work as an actor, director and producer. He sang a few songs also.

Some of his films were Daulat, Naujawan, Rangila mazdoor, Rangila jeevan, Sukhi jeevan, Lehri jawan, Inaam, Sone ki chidiya, Durban, Laat sahib, Tamasha etc etc He worked in about 42 films.

His brother Chandrarao Kadam was also a stunt actor. He was known as Stunt King. He had his Chandrarao Films. He acted, directed and produced films. The brothers were friendly with Master Bhagwan and gave him preference in their films, till Bhagwan started his own company- Jagriti films. Later on Chandrarao floated his own Chandivali Studio in Bombay suburb, which is still actively run by his progeny.

Heroine of the film Mauji Jeevan-44 was Sulochana Chatterjee-younger sister of Kamla Chatterjee, an actress and wife of Kidar Sharma, the famous writer and Director of Hindi films. Actually, at one time, there were at least 5 Sulochanas operating at the same time in the Hindi film industry. They did not create Same Name Confusion because every Sulochana used her Surname, setting her apart from other Sulochanas. There were 3 actresses- Sulochana Sr aka Ruby Myers, Sulochana Latkar and Sulochan Chatterjee. There were 2 Singers- Suloichan Chavan and Sulochana Vyas.

Born in Chandranagar, Sulochana Chatterjee was the daughter of a military man and the family, five girls, including the late Kamla Chatterjee ( she looked like Geeta Bali, and was Kidar Sharma’s wife), and one boy, used to travel along with their parents to wherever their father was transferred.
From Calcutta they moved to Jabalpur and it was here that Sulochana did her schooling. She also took an active part in school dramatics. After some time the family was transferred to Bombay and here her younger sister, Kamla, was spotted by Sohrab Modi, a friend of their father’s, and given a role as a child star in Modi’s picture Jailor (1938).

Once Sulochana happened to visit the sets one day and after watching her sister at work, She was offered a part in Harishchandra Pictures’ “Aina”-44, which she accepted. She co-starred with Trilok Kapoor. She starred in scores of films after that, among them the comedy “Ladli”-50, in which she appeared with Jairaj, and “Grahasti”-48 which was a memorable hit and in which she played with Yakub and Masood.

Sulochana acted in two Bengali pictures “Apanaela”, produced by Saroj Mukerjee and directed by Benoy Banerjee with Pradeep Kumar as her leading man, and Benoy Banerjee’s “Minoti” in which she shared stellar honors with Smriti Biswas and Paresh Banerjee. Her well known films are Chaitanya Mahaprabhu-53, Rami Dhoban-53, Shahjehan-46, Veena-48, Nav Durga-53, Jagte Raho-56, Jis desh mein Gaqnga behti hai-60, Saraswatichandra-68 etc.

In all she acted in 119 films. Her first film was Shobha-42 and last film was Shabas Daddy-79. After retirement, she settled in Bombay. Sulochana Chatterjee died on 30-8-1999.

Today’s song is sung by Malka Amir Jaan and Gulshan Soofi. The female singer Malka Amir Jaan was a professional singer at Meerut (United province), She had also sung a song in film Khooni Khanjar-1934 earlier, under the baton of Music Director Damodar Sharma. Sometimes the Music Directors called professional singers from outside to sing songs in their films. Another example is , Khwaja Khurshid Anwar, MD, had called Lucknow’s famous professional singer Gauhar Sultana to sing 3 solo songs in his film Ishara-1943.

With this song, the film Mauji Jeevan-1944 makes its Debut on this Blog.

Song- Meri uthhti jawaani ki dekho-dekho bahaar (Mauji Jeevan)(1944) Singers- Malika Amir Jaan, Gulshan Soofi, Lyricist- Baba Pagal, MD- Gulshan Soofi
Both

Lyrics

Meri uthhti jawaani ki dekho
dekho bahaar….
Meri uthhti jawaani ki dekho
dekho bahaar
main hoon maalan dildaar
koi poochhe na yaar
main hoon maalan dildaar
koi poochhe na yaar
meri uthhti jawaa
haaye
meri uthhti jawaa
uyi
Meri uthhti jawaani ki dekho
dekho bahaar
Meri uthhti jawaani ki dekho
dekho bahaar

jab ke ban thhan ke
jab ke ban thhan ke
ghar se nikalti hoon main
jab ke ban thhan ke
ghar se nikalti hoon main
to hazaaron ke dil ko masalti hoon main
to hazaaron ke dil ko masalti hoon main
tujhe dekhe jo koi to aaye bukhaar
tujhe dekhe jo koi to aaye bukhaar
mere aashiq hazaar
??pallu sambhaal
mere aashiq hazaar
??pallu sambhaal
meri uthhti jawaa
haaye
meri uthhti jawaa
uyi
Meri uthhti jawaani ki dekho
dekho bahaar
Meri uthhti jawaani ki dekho-
dekho bahaar

yahaan laakhon ke armaan machalne bhare??
yahaan laakhon ke
maar daala
?? machalne bhare
koi ulloo ka patthha jo tum par marey
koi ulloo ka patthha jo tum par marey
chaloon seena ubhaar
tum pe jam jam nisaar
chaloon seena ubhaar
tum pe jam jam nisaar
Meri uthhti jawaani ki dekho-
dekho bahaar
Meri uthhti jawaani ki dekho-
dekho bahaar

koi kehta hai mujhko ke o dilruba
koi kehta hai mujhko ke o dilruba
koi kehti hai jaani idhar aa zara
koi kehti hai jaani ee
koi lootega haa??
koi khaaye khataas
oi lootega haa??
koi khaaye khataas
Meri uthhti jawaani ki dekho
dekho bahaar
Meri uthhti jawaani ki dekho
dekho bahaar

Tags: 1944, Baba Paagal, Gulshan Soofi, Malika Amir Jaan, Mauji Jeevan, Singer-MD

Sod majha haath mala peene de

Posted by: Atul on: July 18, 2021

This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a regular 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 :

4748

Post No. :

16477

Rajesh Khanna – The Phenomenon – 8
– – – – – – – – – – – – – – – – – – – –- – –

Today 18^th July’2021 is the ninth ‘Remembrance Anniversary’ of Rajesh Khanna (29 December 1942- 18 July 2012). He passed away on 18^th July’2012 in Mumbai.

On this occasion we pay our tributes to him and remember him with a song from one of his movies.

In this episode of ‘Rajesh Khanna- The Phenomenon – 8’ we look at Rajesh Khanna movies of the year ‘1981’. In the year 1981 following six movies of Rajesh Khanna were released (including Naseeb* where he had a friendly appearance).

SNo	Movie Title	Director	Passed by Censor Board on
01	Dard	Ambarish Sangal	24.07.1981
02	Dhanwan	Surendra Mohan	01.07.1981
03	Dil-E-Naadaan	C.V. Sridhar	11.12.1981
04	Fifty-Fifty	Shomu Mukherji	15.10.1981
05	Naseeb**	Manmohan Desai	17.03.1981
06	Qudarat	Chetan Anand	27.02.1981

In the previous post in this series ‘Rajesh Khanna – The Phenomenon – 6’ we had discussed how Rajesh Khanna switched on to different roles exploring and introspecting himself and challenging himself in his ‘second innings’. In ‘1981’ he further capitalizes on the success of his movies like ‘Amardeep-1979’,’Thodisi Bewafaai-1980’, and critically acclaimed movies like ‘Red Rose-1980’, ‘Phir Wohi Raat-1980’, and ‘Bandish-1980’.

In ‘1981’ he tasted more success with movies like ‘Dard’, ‘Dhanwan’, ‘Dil E Naadan’, ‘Qudrat’ and ‘Fifty-Fifty’ that had moderate to decent success at the box office and they received critical acclaim.

That all happened forty years ago !

If we go back even further by another ten years, that takes us to ‘1971’. 1971 is behind us by fifty years from now, viz half a century !

That was when Rajesh Khanna ‘era’ was at its zenith. Here is the list of Rajesh Khanna movies released in the year ‘1971’.

(Rajesh Khanna movies – 1971)

SNo	Movie Title	Director	Passed by Censor Board
01	Amar Prem	Shakti Samanta	27.11.1971
02	Andaz*	Ramesh Sippy	23.04.1971
03	Badnaam Farishte**	Qamar Narvi	05.11.1971
04	Chhoti Bahu	K.B. Tilak	25.05.1971
05	Dushman	Dulal Guha	31.12.1971
06	Guddi**	Hrishikesh Mukherjee	14.09.1971
07	Haathi Mere Saathi	M.A. Tirumugam
08	Maryaadaa	Arvind Sen	12.05.1971
09	Mehboob Ki Mehandi	H.S. Rawail	30.01.1971

(*guest appearance, ** friendly/special appearance)

We notice that all the above movies had great music as was the norm for Kaka movies.

Coming back to today’s song it is from the movie ‘1981’ movie ‘Fifty-Fifty’.

From the movies of Rajesh Khanna released in 1981 the movies ‘Dard’, ‘Dhanwaan’, ‘Dil E Naadaan’, and ‘Qudrat’ have already been ‘Yippeeee’ed’ on the blog. So, we only have this movie ‘Fifty-Fifty’ left to pick a Rajesh Khanna song from.

Tina Munim was the heroine of Rajesh Khanna in this movie, which was their first movie together. It laid the foundation for their further professional and personal chemistry on-screen and off-screen. That way this movie has a special place in the film career of Rajesh Khanna. That is the reason why I have selected a song from this movie for today’s presentation.

‘Fifty-Fifty’ was directed by Shomu Mukherji who also the producer of this movie.

This movie’s star-cast included Rajesh Khanna, Tina Munim, Kader Khan, Ranjeet, Om Shivpuri, Nazir Hussain, Indrani Mukherjee, Anita Guha, Poornima, P. Jairaj, Sundar Taneja, C.S. Dubey, Jankidas, Shaikh, V. Malhotra, Roopesh Kumar, Shashi Kiran, Anu Dhawan, Johny Whisky, Arvind, Miss Nikki, Kumar, Amid, Jagdeep, Mushtaq, Maruti, Bhagwan Dada, Kamrana, Amar Nath, Mangal Singh, Shyam, Vikram Sharma, Miss Neelu, Master Sakha, Baby Pinky, Teerath and others.

This movie was passed by Censor Board on 15.10.1981.

“Fifty-Fifty” had seven songs including one three-part song. Lyrics for all the songs were written by Anand Bakshi. Music for this movie was composed by Laxmikant-Pyarelal.

In today’s song Rajesh Khanna is lip-syncing in the voice of Amit Kumar while Tina Munim lip-syncs in the voice of Asha Bhonsle.

Some other artists too can be seen in the picturisation of this Marathi folk dance song.

Let us now enjoy today’s song where Kaka can be seen performing with trademark jigs. 😊

Video

Audio

Song-Sod maajhaa haath malaa peene de (Fifty Fifty)(1981) Singers-Asha Bhonsle, Amit Kumar, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

hunh hunh hunh hunh
hunh ha ha
hunh hunh hunh hunh

oon mm oon oon a
oon oon oon
oon oon oon
oon oon oo oon
oon oon oon

sod majhaa haath
sod majhaa haath
malaa peene de
peene de ae
peene de re malaa
peene de
sod majhaa haath
malaa peene de
peene de ae
peene de re malaa
peene de
hey aankh nako maar malaa jeene de
jeene de ae
jeene de re
malaa jeene de
ye paatlaacya pori zaraa
ikde ye
zaraa ikde ye
nako nako
dekhe na koyi
zaraa tikde ye
zaraa tikde ye
sod majhaa haath
malaa peene de

main bholi bhaali ee
main bholi bhaali
peechhe padaa mawaali
kuchh aur de kaahe deti hai gaali
main bholi bhaali
peechhe padaa mawaali
kuchh aur de kaahe deti hai gaali
tukar tukar kya dekhtaa hai beimaan
tukar tukar kya dekhtaa hai beimaan
ab ho gayi hai tu poori jawaan
logon bachaao is kameene se
kameene se ae
kameene se
is kameene se
sod majhaa haath
malaa peene de
peene de ae
peene de re malaa
peene de

main hoon akelaa aa
arey main hoon akelaa
tere saath kayee saathi ee
malaa Hindi naa yete
bolaa Marathi
arey main hoon akelaa
tere saath kayee saathi ee
malaa Hindi naa yete
bolaa Marathi ee
pyaar mein kya Hindi
Marathi ka kaam
pyaar mein kya Hindi
Marathi ka kaam
ankhiyon se baat kar
bainyyaan na thhaam
arey lag jaa tu aaj mere seene se
seene se re
mere seene se re
mere seene se
sod majhaa haath
malaa peene de
peene de ae
peene de re malaa
peene de
hey aankh nako maar malaa
jeene de
jeene de ae
jeene de re
malaa jeene de
he paatlaacya pori zaraa
ikde ye
zaraa ikde ye
nako nako dekhe na koi
zara ikde ye
zara ikde ye
ho zara ikde ye
zara ikde ye
nako nako
ikde ye zara ikde ye
ho zara ikde ye
zara ikde ye
nako nako
tikde ye zara tikde ye

Tags: 1981, Amit Kumar, Anand Bakshi, Asha Bhonsle, Fifty Fifty, Laxmikant Pyarelal, Rajesh Khanna, Tina Munim

Aayee jhoom ke deewaani liye pyaar ki nishaani

Posted by: Atul on: June 28, 2021

Blog Day :

4728

Post No. :

16447

A man is always happy when he is in his comfort zone. I too feel at home and comfortable when I am dealing with films of the Vintage Era, i.e. 30’s to 50’s. There comes a feeling of togetherness, familiarity and ease of communication. I am sure the same must be the case of those who write on films of the recent past, i.e. of the period 70’s to the present. Change the position and one feels awkward, uncomfortable and not so well. This is not a statement about any period, but I am trying to paint a picture, how people are happy in the surroundings which are known,familiar and about which one has the knowledge. By the way, I have written many posts on films from the 70s to as late as 2018 also.

Maybe this is due to the age difference, but I am certainly not one who detests whatever is new – may it be a Cinema, a song or social environment. Change is mandatory, inevitable, unavoidable and a reality. Wisdom is in accepting what is changed and then in finding points of similarity and likeability in the new changes. Changes are effected to conform to present needs, visions and compatibility towards outside influences beyond our control.

Changes are the precursors of Evolution. From Fish to Humans is a result of changes which took place in thousands of years. One who says changes are bad, is saying that remaining as Monkeys was better ! However, changing or accepting the changes does not put a stamp on the uselessness of the older things. It only means that those things were good in those times and conditions.

Take the simple example of NFS (Non Film Songs) v/s Film songs. NFS were popular from the 30’s to the 50’s. After that NFS disappeared perceptibly and today only Film songs are there. Why did this happen ? If you listen to most of the NFS, they were slow,soft, melodious, soulful but they made you illusioned. That was when the world was trying slowly to come out of the effects of World Wars. Several countries were becoming independent. The world started brimming with enthusiasm,hopes and visions of a brighter future. Lilting tunes and newer musical instruments helped upping the positive vibes, so necessary to build up a new World. Film songs filled this need and slowly the slow, soft and soulful NFS disappeared. Just compare the film songs of the 40’s, 50’s and today’s film songs. See the difference. Today we feel old music was better, but that is because of Nostalgia – memories attached to those songs, films and people. It was good for those days. Today this is good.

When one talks of NFS, can one forget Jagmohan ? Those were the days when NFS by Jagmohan, Juthika Roy, Pankaj Mullik, Hemant Kumar, Talat Mehmood and many more private singers shook the music world and their records sold by thousands. Although Jagmohan Sursagar ( 6-9-1918 to 4-9-2003) sang 33 songs in 19 Hindi films, he gave music to only 1 Hindi film in his career. Film Sardar-55 was produced and directed by Gyan Mukherji (30-9-1909 to 13-11-1956). He directed only 7 full films and 2 half films. Film Madhu-59 and Sitaron se aage-58 were done half when he died suddenly. Madhu-59 was completed by S.Mukherji and Sitaron se aage-58 was completed by Satyen Bose. Gyaqn Mukherji directed films only in which Ashok Kumar was Hero( same way, his brother Shankar Mukherji directed films of only Dev Anand-except Jhumroo-61 of Kishore kumar)

There were 9 songs in the film originally, however one song by Lata was removed from the film later. Songs were written by Udhav Kumar(5), Kaif Irfani(3) and Vrajendra Gaud(1). When you listen to these songs, you can’t believe Jagmohan could give such variety in film music. One song, sung by himself, was based on Fox Trot music-a novelty in films of that period. I feel sorry that Jagmohan was not used by the Hindi film industry as a MD for more films. We surely missed some good music because of that.

The cast of the film was Ashok Kumar, Bina Rai, Nigar Sultana, Jagdish Sethi, Rama Shukul (probably his last film), Tiwari and many others.Nigar Sultana was one of the busiest artistes in the 50’s. Out of her total 52 films, she worked in 32 films from 1950 to 1960. She was also famous for her affairs with several film artistes. The famous writer journalist ‘ Manto’ has written quite a juicy account of it in his book.

Nigar Sultana (21 June 1932 – 21 April 2000) . She appeared in Aag (1948), Patanga (1949), Sheesh Mahal (1950), Mirza Ghalib (1954), Yahudi (1958), Do Kaliyaan (1968), etc. but she is most notably remembered for playing the role of “Bahar begum” in the historical epic film Mughal-e-Azam (1960). She was the wife of filmmaker K. Asif. She died in May 2000, in Mumbai, India.

Nigar Sultana was born on 21 June 1932 in Hyderabad, India. She was the youngest daughter of a family of five. She had two brothers and two sisters. She spent her childhood in Hyderabad where her father held the rank of a Major in the Nizam’s State Army. She went to school for a while and later studied at home. She took part in a school drama on one occasion and ever after was keen on acting. After her father’s retirement, the family faced financial difficulties and Nigar was married off to a Driver. After she became pregnant the couple took divorce.

The first film Nigar ever saw was Hum Tum Aur Woh (1938). She was so utterly thrilled by it that when Jagdish Sethi, a friend of her father’s, offered her the lead in a film he was making with Mohan Bhavnani, she took it on the spot.

She entered the films with the 1946 film Rangbhoomi. She also did a small role in the film 1857. Then came Bela-47 as a Heroine opposite Jairaj. Raj Kapoor’s Aag (1948) was her first big break to Bollywood. She played the character role of “Nirmala”, which was equally appreciated by critics and audience. After that, she played character roles in a number of films.

Her big picture was Shikayat (1948), made in Poona; and after that many more in which she played leading roles. She played the role of the court dancer Bahar, who envies Prince Salim’s (Dilip Kumar) love for Anarkali (Madhubala) in the film Mughal-e-Azam (1960). The songs Teri mehfil mein and jab raat ho aisi matwali were picturised on her.Her other films included Dara (1953) and Khyber.

Patanga (1949), Dil Ki Basti (1949), Sheesh Mahal (1950), Khel (1950), Daman (1951), Anand Bhavan (1953), Mirza Ghalib (1954), Tankhah (1956), Durgesh Nandini (1956) and Yahudi (1958) are among her noted movies. She was most active during the 1950s and appeared in only a lesser number of movies later. Jumbish: A Movement – The Movie in 1986 was her last Bollywood film. The famous song of Patanga-49 ” Mere piya gaye Rangoon” was filmed on her. She looked very attractive in that song. The song is still popular.

When she was working for Ranjit Films, she posed for a provocative photo. On the publication of that photo, Ranjit removed her from their films. Later many other heroines did such Photo sessions, but the First daring was by Nigar Sultana.

Nigar Sultana was linked with Pakistani actor Darpan Kumar. She had actually married him, when he was called to Bombay by kardar for his films. In the mid 50s when she was in financial difficulties Darpan and she were divorced. On 13 June 1959, Nigar Sultana held a press conference specifically to deny reports that she was married to the Pakistani actor. Later, Nigar Sultana married K. Asif, producer-director of Mughal-e-Azam (1960). When finally she divorced K.Asif, he gave her 200 rupees per month as compensation.

Nigar had close friendship with actor Shyam, Kamal Amrohi, Najam Naqvi, Rehman, Zuhur Raja, and D N Madhok also.

Nigar Sultana was the mother of actress Heena Kausar. Heena Kausar appeared in secondary roles in a large number of films during the 1970s and early 1980s.

Two actresses of the 1950s, Chitra (born Afsar-un-nisa) and Paras (born Yusuf-un-nisa) were Nigar Sultana’s nieces.

She had also been married to S. M. Yusuf when he lived in India, with whom she had one child. The child became actress Heena Kausar. Nigar acted in 52 films in her 26 years’ career.

She died on 23 April 2000 in Mumbai, India. ( Thanks to wiki, book Inhe na Bhulana by Harish Raghuwanshi ji, HFGK, muVyz and my notes, for this information.)

Let us now listen to today’s excellent song from the film Sardar-55. As I had said in a few articles back, many such ‘Gems’ from the 50’s must still be uncovered. Jagmohan used 5 singers for 9 songs. Today’s song is by Asha Bhosle. In that period, she always got songs for Cabarets, Mujaras, dances and for side heroines. From this struggling position, she fought her way up to an enviable position, reaching Guiness Records. Hats off to her grit and hard work.

Song-Aayee jhoom ke deewaani liye pyaar ki nishaani (Sardaar)(1955) Singer- Asha Bhonsle, Lyricist-Udhav Kumar, MD- Jagmohan Sursagar (Jaganmoy Mitra)

Lyrics(Provided by Prakashchandra)

aayi jhoom ke deewaani
liye pyaar ki nishaani
zara dil tu sambhal jaana
aayi jhoom ke deewaani
liye pyaar ki nishaani
zara dil tu sambhal jaana
machal kahin mat jaana
tujhe apni kasam
aayi jhoom ke deewaani
liye pyaar ki nishaani
zara dil tu sambhal jaana

tujhko hansaane tadpaane
hazaaron anjaane tere ghar aaye
banke deewaane parwaane
bejaane pehchaane yahaan mandraaye
gar jeena hai to dhokhe se zara dil tu sambhal jaana
aayi jhoom ke deewaani
liye pyaar ki nishaani
zara dil tu sambhal jaana

koi agar lalchaaye
tujhe bahlaaye
bane dildaara
karde jigar dikhlaaye
kasam bhi khaye
wahi haaye mara
in ghaaton se aur baaton se zara dil tu sambhal jaana
aayi jhoom ke deewaani
liye pyaar ki nishaani
zara dil tu sambhal jaana

ye hai zamaane waale
bade matwaale
sabhi saudaayi
padna na inke paale
na karna hawaale
nazar harjaai
koi aankhen bichha khaanse na zara
dil tu sambhal jaana
aayi jhoom ke deewaani
liye pyaar ki nishaani
zara dil tu sambhal jaana
aayi jhoom ke deewaani
liye pyaar ki nishaani
zara dil tu sambhal jaana

Tags: 1955, Asha Bhonsle, Jagmohan Sursagar, Sardaar, Uddhav Kumar

Bhaiyya re bhaiyya re

Posted by: Atul on: June 27, 2021

This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular 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 :

4727

Post No. :

16444

HUllo Atuldom

Today’s song is courtesy the age-old favourite of millions of Indians who live in the interiors or mofussil towns of India. The Jhumri Talaiyaa, Bhopal, Amravati and other such places whose names we have heard on the air waves whenever there is a readout of the list of farmiash senders for Aap Ki Pasand, or Aap Ki Farmish programs. Yes, I should Thank Vividh Bharati for this song.

Heard it on the late night program last week and did all the necessary research before bringing it on to the blog. When I say I research, I don’t mean the kind that will get me a PHd. My research ends when I discover the following: (1) if the song is there on the blog

(2) what movie is it from
(3) who has sung it
(4) who is on screen in the song
(5) and how soon can I send it to Atulji. The haste is because as time passes I forget what was the song I had ‘bookmarked’ (This is why I was happy when Guruji, who signs as A.D. at the end of his comments to posts on the blog, complimented me on my memory a few days back.)

“Jaise Ko Taisa” was a 1973, AVM production directed by Murugan Kumaran, starring Reena Roy, Jeetendra (double role), Srividya (Southern actress), Ramesh Deo, Anwar Hussain, Kamini Kaushal,Mohan Choti, Dinseh Hingoo, Rojaramani, etc. It had six songs penned by Anand Bakshi and tuned by R D Burman. Two songs are present on the blog:-

Song	Date of post
Ab ke saawan mein jee darey	7 January 2015
Chalte chalte peechhe mud ke dekh zara	2 May 2018

‘Bhaiyya re Bhaiyya re’ is a get together song where Anwar Hussain, Ramesh Deo, Dinesh Hingoo, Mohan Choti, are the audience and Jeetendra and Reena Roy are the main dancers leading a chorus who are (going by the video available) on a mission to switch a flower-vase from the table in front of Anwar Hussain and Ramesh Deo. I request followers of the blog, who have seen the movie, to throw some light on why the flower-vase needs to be switched? 🙂

The cause for this celebration song is to wish an Atulite and his better half (Satulite) on their anniversary. This Atulite is a regular contributor of the blog :- contributing with lyrics which are both in English and Devnagari. He is one of the most active contributors to the blog with 400 posts, 515 lyrics in English and 392 in Devnagari….Phew!!! Having touched 400/515/392 with his post today. Congratulations Avinashji and Bhabhiji on your Anniversary. And also on yet another Century. 🙂 🙂

It just also happens that today the world of Hindi Film Music Lovers is celebrating the birth anniversary of their Panchamda a.k.a R D Burman. He was the only son of the legend Sachin and Meera Burman. He is said to have composed his first song ‘ai meri topi palat ke aa’ when he was just seventeen and was used by Sachinda in ‘Funtoosh’ in 1956. He was an assistant to his father in many movie of the late ’50s. His first independent assignment in Bollywood was the 1961 release ‘Chhote Nawab’.

But I need not be listing all his achievements and life history here. We, the followers of this blog and the world, know all of this. So let us get on to the song thinking of our Panchamda, and wishing our Avinashji and his better half on their anniversary.

Party Shuru kiya jaaye. 🙂

Song-Bhaiyya re bhaiyya re (Jaise Ko Taisa)(1973) Singers-Kishore Kumar, Asha Bhonsle, Lyrics-Anand Bashi, MD-R D Burman

bhaiyya re bhaiyya re
paap ki naiyya re
beech talaiya re
duniya kehti hai ae ae
aaj ho ya kal
doobke rehti hai ae ae
o daiyya re daiyya re
paap ki naiyya re
beech talaiya re
duniya kehti hai ae
aaj ho ya kal
doobke rehti hai ae
hey bhaiyya re bhaiyya re
daiyya re daiyya re

jo jaisa karta hai
aa haa
wo waisa bharta hai
aa haa
ke maarne wala khud bhi marta hai
khud bhi marta hai
marta hai re
jo jaisa
haan
karta hai
haan
wo waisa bharta hai
ke maarne wala khud bhi marta hai re ae ae
kans ko maare kanhaiya aa
bhaiyya re bhaiya re
paap ki naiyya re
beech talaiya re
duniya kehti hai ae
aaj ho ya kal doobke rehti hai ae
ae bhaiyya re bhaiyya re
daiyya re daiyya re

kehte hain dilwaale
sun le sab dhanwaale
ye doston ko dushman bana daale
dushman bana dale ae ae
kehte hai dilwaale
aa haa
sun le sab dhanwale
aa haa
ye doston ko dushman bana daale ae
haa haa aisi hai cheez rupaiyya
daiyya re daiyya re
paap ki naiyya re
beech talaiya re
duniya kehti hai
aaj ho ya kal doobke rehti hai ae ae
daiyya re daiyya re ae
bhaiyya re bhaiyya re ae

oopar se aur hai
aa haa
andar se kuch aur hai
aa haa
tu chor hai na jaane ke mor hai ae ae ae
mor hai
oopar se
haan
aur hai
haan
andar se kuch aur hai
tu chor hai na jaane ke mor hai ae ae ae
tu hai bhanwar ya khivaiyya
bhaiyya re bhaiyya re
paap ki naiya re
beech talaiya re
duniya kehti haia e ae
aaj ho ya kal doobke rehti hai
hey bhaiyya re bhaiyya re
daiyya re daiyya re
hey bhaiyya re bhaiyya re
daiyya re daiyya re
hey bhaiya re
daiya re
bhaiya re
daiya re
bhaiyya re
daiya re

Tags: 1973, Anand Bakshi, Asha Bhonsle, Jaise Ko Taisa, Jeetendra, Kishore Kumar, R D Burman, Reena Roy

Lee haay lee haay lippip pippi…aayi jawaani badi deewaani

Posted by: Atul on: June 19, 2021

Blog Day :

4719

Post No. :

16427

When film making started in India, most films-i.e. about 98 %, were based on Religious Mythological or Folk stories. Even in that early era, there were Producers and Directors, who dared to make films on unusual but interesting subjects like Fictional kingdoms, highly scientific discoveries etc. Worth mentioning are a few films like Prabhat’s ‘ Wahan alias Beyond the Horizon’-1937, Prakash pictures’ ‘Mr. X’-38, Ranjit’s ‘ Prof. Waman M.Sc.’, Sagar’s ‘ 300 days and after’-38, Adarsha Chitra, Calcutta’s ‘ India in Africa’-1939 (first film to do shooting outside India, in foreign countries), Sagar’s ‘ Mahageet ‘-37 and the best film by Prakash Pictures-” Khwaab ki duniya’-1937. ( there may be some more such films too).

Not all such offbeat films succeeded, but surely they provided a Ray of Hope that Indian cinema will surely come out of this beaten track and grandma stories. I am not very sure, but I have a strong feeling that during the early films of the 40s, a few C grade action and stunt films too were made on such offbeat themes. One such film is Master Bhagwan’s ” Bhedi Bungala alias House of Mystery “-1949, India’s first Horror film. ( during the shooting, in one scene Bhagwan had to keep his eyes wide open-as if in fear. He stretched them so much and for such a long time that for one day he lost sight of both eyes. After the doctor’s treatment he regained his vision. Can we expect such dedication in today’s actors, in general ?).

For lack of proper documentation, we are unable to comment on such films of yore. As far back as 1936, Prabhat film company had made a film on Mutiny on the sea by a brave woman- Amar Jyoti-1936, featuring a new heroine- Durga Khote. Life on ships and sword fighting by a woman was mesmerising the audience.

The celestial entities have always enticed the Human Race. They were effectively used in sciences like Astrology and Astronomy. Since time immemorial Man always wanted to visit these planets sans The Sun. Moon was the centre of attraction. Could the Hindi filmmakers keep off from making a film on this theme ? Most kept off ! They , perhaps, thought it safe to use The Moon (चांद ) only in songs and dialogues. However, going through the list of film titles, I found that films using the word Chand in the titles were made, but barring a few C grade stunt and action films, this ‘ Chand ‘ was alluding to something else like the Lover, beloved and other similar things.

Film titled only Chaand were made in -1934,1944 and 1959. Then there were 13 films having ‘ Chand ‘ in their titles. As far as I gather, there were only 2 films made on fictional stories involving the Planet Moon. One was Chand ki Duniya-1959 and the other was Chand pe Chadhai (Trip to the Moon)-1967.

Today’s song is from film Chaand ki duniya-59. It is quite a long song….7.41 minutes to be exact. the video reveals that the song is filmed on the Hero Soham Kapila, the heroine Nalini Chonkar and the comedian Ram Avtar. If you remember, he had a hilarious role in film Teesri manzil-1966 as a co-passenger of Shammi Kapoor.

Ram Avtar Pandey, from Rampur-UP, started his filmi career in 1938 with character roles. In the early 50s, he switched to comedy, when he gained weight and a pot belly. Ram Avtar was a fixture in many Nasir Hussain films. His roles in Badi Behan-49,Nagin-54, Hum sub chor hain-56, Tumsa nahin dekha-57, Jab pyar kisi se hota hai-61, Phir vohi dil laya hoon-63, Teesri Manzil-67, Yaadon ki Baraat etc are memorable. His last film was Prem Geet-1981. He acted in 133 Hindi films.

The film was made by Filmistan, a big banner. Unfortunately, it was made as a quicky, without much interest. The film was directed by Mohan Sinha (grandfather of actress Vidya Sinha, of Rajnigandha-74 fame). The MD was Nirmal Kumar alias S.D.Batish.

Many composers gave music to C grade films using Pseudonyms. For example, C. Ramchandra gave music to action films in the name of ” Annasaheb”, S D Batish used the name Nirmal Kumar, Durrani used Gunjan as his name, to quote a few examples. But one name hardly anyone knows and that is Anil Biswas. Yes, when he gave music to film Begunah-1949, he used the name as Haribhai. His co-MD was Shyamu- which was C. Ramchandra ! This information is given in The Encyclopedia of Indian Cinema by Rajadhyaksha.

The cast of the film was Sohan Kapila, Nalini Chonkar, Ram Avtar, P. Kailash, Badri Prasad, Husn Bano, Indira Bansal, B M Vyas, Vijay Kumar, Noor (wife of Johnny Walker) etc etc. the banner was good, story was fine, songs were good, MD was good, Heroine and Director were good. The whole problem was with the dumb Hero- Sohan Kapila. he was one actor who was a Non Actor.

It is said that ‘No trees can grow under a Banyan Tree’. This is absolutely true and applicable in Film industry. Except in cases like the Kapoor family, i.e. Raj, Shammi and Shashi, who made their bright careers despite the shadow of their Father and other Brothers, we find that many of the sons,daughters,brothers or sisters of many popular and famous film stars were failures and never made it big in Hindi cinema.

We know cases like Suneil Anand, Nasir Khan, Tony walker, Naina Sahu, Meera Joglekar, Ajit Chitnis, Rajendranath, Narendranath, Anup kumar, Mallika, Khursheed Jr., Simple Kapadiya, Shivangi Kolhapure, Preeti ganguly, Radhika and many more. In spite of having all the backing of the famous family members, these and such many others just did not make it, because Talents are not always hereditary !

They all were given a fair opportunity to display their talent on the screen, but unfortunately despite their honest effort their skill could not come out & the viewers were left unimpressed . They were selected by big banners and well experienced directors were there to guide them. But their talent remained hidden inside them and with their nonexistent artistry they disappointed their mentors. Non-actor Sohan Kapila was in the romantic lead of Filmistan’s Babar ,which was released in 1960. Hemen Gupta , distinguished director, who earlier had directed Anand Math for Filmistan ,directed the movie and it also had the winning combination of Sahir & Roshan.

Dependable character actor Gajanan Jagirdar did the role of great Moghal Emperor Babar. But the movie flopped, as the new hero failed pathetically to register any emotion on his face. A big jolt for Seth Tola Ram Jalaan, who was already facing financial problems. Mr. Kapila appeared in 2-3 movies in inconsequential roles and disappeared from scene for ever. His daughter Padmini Kapila also pursued film career, but could not achieve much success .

There were many other actors like him, who got chances to appearopposite illustrious heroines, unfortunately their effort did not make any impact on the cine loving public. Watching their miserable performance on the screen, no film maker came forward to sign them again. Out of sight is out of mind, it was a matter of time when public as well as film industry forgot them.

Malhaar, as the name suggests, a musical film produced by great singer Mukesh in 1951. It had a story by veteran actor S K Prem & its evergreen music was composed by Roshan. The movie had newcomers Arjun & Shammi (Nargis Rabaadi ). Arjun did get another chance in Daku Ki Ladki to please the viewers with his emoting before the camera, but could not succeed and it was the end of his career.

Rattan Chopra the lucky boy was selected for films, among hundreds of aspirants. Mohan Kumar had suffered a huge set back when Aman flopped. He took the newcomer for Mom Ki Gudia, opposite Tanuja, with great hopes. Unfortunately, Mom Ki Gudia failed to dispel the gloom and sank to the rock bottom. Acting was not his cup of tea, Rattan Chopra understood and wisely opted out of the race of stardom.

K. Amarnath introduced new comer Vijay Kumar in his 1954 offering Alif Laila opposite Nimmi & Asha Mathur . Sohan Kapila and Vijay Kumar had impressive physique, but had no clue about acting. The movie had lilting music by Shyam Sunder ,which was his last contribution towards film industry .Helen for the first time got a chance to perform solo in the movie & for many decades she remained on top. But for Vijay Kumar it was his first & last chance.

Another non actor Premendra was introduced by old timer Vijay Bhatt in Holi Aayee Re (1970),which was directed by his younger sibling Harsukh Bhatt. It was pathetic to watch Premendra unsuccessfully trying to showcase his imaginary ability in the field of acting. The movie flopped phenomenally & a huge investment made by Bhatt Brothers went up in a cloud of smoke.

There were some more like Pratibha Sinha, Archan Gupta, Jayant Gupta, Ashok Sharma, Nusrat Kardar, Rajeev Kapoor, Manish Kumar, Navinchandra, Aroop Kumar, Prashant, Shalini, Kaycee Mehra, Vikram, Shekhar Suman, Deepak Kumar, Ajay, Som Dutt and many more.

With all this no wonder the film was a flop and a good story was wasted. Today’s song is the 4^th song of this film on the Blog. But the song is good. Enjoy….

(some information is used from an article by M N Sardana ji in Voh din yaad karo. Thanks to him)

Song- Lee haay lee haay lippip pippi…aayee jawaani badi deewaani (Chaand Ki Duniya)(1959) Singers-Manna Dey, Asha Bhonsle, Unknown male voice, Lyricist- Qamar Jalalabadi, MD- Nirmal Kumar aka S D Batish
Manna Dey + Asha Bhonsle
All chorus
Female chorus
Male chorus

Lyrics

hahahahahaha

li haay li haayi lippip pippi
li hayi li hayi lippip pippi
li hayi hayi lippi pippi pi
aahaha
la hayi la hayi lappap pappa
la hayi la hayi lappap pappa
la hayi la hayi lappa pappa paa
o ho ho
li hayi li hayi lippip pippi
li hayi li hayi lippip pippi
li hayi li hayi lippip pippi pi
aahaha
la hayi la hayi lappap pappa
la hayi la hayi lappap pappa
la hayi la hayi lappa pappa pa
o ho hoho

ye pappa pappi chhodo
chhodo ye haali holi
kuchh bolo humaari boli
tumhaari boli
haan humaari boli
aayi jawaani badi deewaani
dekho kya kya laayi jawaani
aaha
hans le gaa le maauj mana le
jaa ke phir na aaye jawaani
waah waah
aayi jawaani badi deewaani
dekho kya kya laayi jawaani aaha
hans le gaa le
mauj mana le
jaa ke phir na aaye jawaani waah waah

arre laaga laaga laaga
teri ankhiyon ka dil pe nishaana
jaaga jaaga jaaga
tere pyaar ka sapna suhaana
o o o o
laaga laaga laaga
teri ankhiyon ka dil pe nishaana
jaaga jaaga jaaga
tere pyaar ka sapna suhaana
sapna suhaana
o ho
aaha
baanki chaal ada mastaani
dekho kya kya laayi jawaani
aaha
dil ko milale dhoom machaale
jake phir na aaye jawaani waah waah
aa aa aa aa aaaa aa aa aaaa
aa aa aa aa aa
aa aa aa aa aa aa aa aa aa aa
aa aa aa aa aa

ye sama ye khushi jhoom uthhi zindagi
dil ke gulzar mein phool sa aa khil gaya
dil ke ye raaste jagmagaane lage
muskuraane lage jaane kya aa aa mil gaya
baat baat mein bani kahaani
dekho kya kya laayi jawaani aaha
dil ko milaale dhoom machaale
jake phir na aaye jawaani waah waah
aayi jawaani
badi diwaani
dekho kya kya laayi jawaani aaha
hans le gaa le
mauj mana le
jaa ke phir na aaye jawaani waah waah

o tere bin mora jiya laage na
o tere bin mora jiya laage na
o tere bin mora
o more bin tora
o dekho dekho dekho
jiya la la la la la laage na
tera roop ghazab ka jaani
dekho kya kya laayi jawaani aaha
dil ko milale dhoom machale
jake phir na aaye jawaani waah waah
aayi jawaani
badi deewaani
dekho kya kya laayi jawaani aaha
hans le gaa le
mauj mana le
jaa ke phir na aaye jawaani, waah waah

haay maara maara maara
tere teekhe teekhe nakhron ne maara
dekho dekho behke kadam
zara dena ji sahaara
ho ho ho ho
maara maara maara
tere teekhe teekhe nakhron ne maara
dekho dekho bahke kadam zara dena ji sahaara
dena ji sahaara
o ho
aaha
mausam pyaara raat suhaani
dekho kya kya laayi jawaani aaha
dil ko milaa le dhoom machaa le
jaake phir na aaye jawaani waah waah

arre dhokha dhokha dhokhaa nahin khaana
yehi mauka hai shikaari
jeete jeete jeete khel khel mein jo
wohi hai khilaadi
haan wohi hai khilaadi
o ho
aa haa
samjho dil ki baat suhaani
dekho kya kya laayi jawaani aa haa
dil ko milaa le dhoom machaa le
jaake phir na aaye jawaani waah waah
aayi jawaani
badi deewaani
dekho kya kya laayi jawaani aaha
hans le gaa le
mauj manaa le
jaake phir na aaye jawaani waah waah

ab gaao pappa pappi
ab gaao halli huli
kuchh samjho hamaari boli
tumhaari boli
haan
hamaari boli
laa hai laa hai lappap pappa
laa hai laa hai lappap pappa
waada pakka
laa hai laa hai lappap pappa
laa hai laa hai lappap pappa
bilkul sachcha
samajhne waale samajh gaye
jo naa samjhe wo kakka
laa hai laa hai lappap pappa
laa hai laa hai lappap pappa
laa hai laa hai lappap pappa
waah
li hai li hai lippip pippi
li hai li hai lippip pippi
li hai li hai lippip pippi pi
hoy laa hai laa hai lappap pappa
laa hai laa hai lappap pappa
laa hai laa hai lappap pappa paa
li hai li hai lippip pippi
li hai li hai lippip pippi
li hai li hai lippip pippi pi

hahahahahaha
hahahahaha

Tags: 1959, Asha Bhonsle, Chaand Ki Duniya, Manna Dey, Qamar Jalalabadi, S D Batish

Premika ne pyaar se jo bhi de diyaa

Posted by: Atul on: June 4, 2021

Blog Day :

4704

Post No. :

16408

Movie Count :

4459

Hullo Atuldom

Today is the first birthday of Balu sir after he left us due to Covid related complications. The singer, actor, music director, dubbing artist, television presenter and film producer Sripathi Panditaradhyula Balasubrahmanyam a.k.a S.P. Balasubrahmanyam would have turned 75.

He was a huge bhakt of Mohd. Rafi. There are various video available in the public domain where he has stated this.
Last year our Nahmji had poured her heart into this post when the news of Balu sir’s passing broke on the news channels. And our Pradeepji had written his feelings in the comments to this post. Those were the feelings of practically all his fans.

But I don’t want to make this into a sad tribute as Balu Sir was a very lively person. He was a live-wire in his shows and performances on stage. He had a great hold on his art. And he was an automatic choice for giving playback when Southern superstar Kamal Haasan made his debut in Hindi films.

He played the hero’s friend (who is a singer) in the 1981 remake of the 1953 Telugu hit ‘Pakkinti Ammayi’. The remake was also called ‘Pakkinti Ammayi’. And no marks for guessing that these were the Telugu remakes of the Bengali original ‘Pasher Bari’ which was the inspiration for ‘Padosan’. ‘Pakkinti Ammayi’ was possibly Balu Sir’s acting debut. Before that he had done guest appearances in a movie or two. Hope that explains why I have listed him as an actor in the opening para. This was not his only acting assignment.

I have seen a Tamil movie in the late ’80s where he played a 40-year-old widower father to a teenage daughter. His was a natural and effortless acting. The highlight of the movie was a song in which he sings the antaras in a single breath. The director of the movie had asked Balu Sir if he could do the entire five minute song in a single breath and the singer was said to have replied that then he would have to find someone else to complete the movie as it was impossible to sing a song of that length in one shot. 🙂

There was one other movie, again in Tamil, where he played a good-natured cop and friendly father to Prabhu Deva. This was the movie with which audiences got to see Prabhu Deva the dancer for the first time and SPB as his father was simply too adorable. And he had acted in many Telugu and Tamil till 2018. He was seen in a few Kannada movies too and one Malayalam movie.

He was the default choice when it came to dubbing Tamil movies into Telugu (and the other way too) for Kamal Haasan till 2010. He had dubbed for Ben Kingsley when Gandhi was released in Telugu. He gave voice for seven characters (including the female character) in the Telugu version of Kamal Haasan’s Dasavathaaram out of the 10 characters that Kamal played.

His work in Hindi films began with “Ek Duje Ke Liye” as we all know and was the preferred voice for Salman Khan in some of his initial movies. And he has sung for many movies the last of which was ‘Chennai Express’ and the dubbed version of ‘Linga” in 2014.

He had hosted and judged the Telugu and Kannada equivalent of Indian Idol.

He was a recipient of Padma Shri (2001), Padma Bhushan (2011) and Padma Vibhushan (announced this year). He has won 6 National awards for Best Singer for songs in Tamil, Telugu, Kannada and Hindi. He has records for recording 21 songs in a day in Kannada, as also 19 Tamil songs in a day. He is said to have done something similar in Hindi also.

Personally I am a huge fan of this personality and would have loved to post that Tamil song where he has sung the Antaras in a breath. But I am settling for the dubbed version of his song/dance with Prabhu Deva from the dubbed movie ‘Humse Hain Muqabala’. It’s Tamil original was “Kadhalan” (‘Loverboy’ that released in 1994). It had a cast of Nagma, Prabhu Deva, Girish Karnad, Raghuvaran and S P Balasubrahmanyam. It was directed by S. Shankar who has made movies that had a lot of special effects of which we can see samples in the songs of this movie too. A R Rehman was the music composer. The songs for the dubbed Hindi movie were written by P K Mishra. Today’s song is in the voices of Udit Narayan, SPB and his daughter SPB Pallavi. The same trio sang this in the Tamil movie too.

Tamil original

Hindi

Song-Premika ne pyaar se jo bhi de diya (Humse Hai Muqaabla)(1994) Singers-Udit Narayan, S P Balasubrahmaniam, SPB Pallavi, Lyrics-P K Mishra, MD-A R Rahman

Lyrics

tara tara tara tara ra ra
tara tara tara tara ra ra
premika ne pyar se jo bhi de diya
tere vaaste hai neelam jaisa
premika ne pyar se jo bhi chhu liya
tere vaaste hai sone jaisa
premika ko teerth maano
pyar ko bhi swarg jaano
pyar ke sangeet mein
mm hmm mohini suraagini
pyar ke sangeet mein
mm hmm mohini suraagini

hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
sa ni sa aa
sa re ga re
sa ni pa ni
sa ni sa aa
sa ga ma ma pa ga re sa
sa ni sa aa
sa re ga re
sa ni pa ni
sa ni sa aa
sa ga ma ma pa ga re sa
tara tara ra ra
tara tara ra ra

premika ne pyar se jo bhi likh diya
mere vaaste hai kavya ke samaan
dilruba ne pyar se jo bhi de diya
mere vaaste prasaad ke samaan
phool mala do rupaiya
teri zulf mein sajaa phool sau rupaiya
jo mithaai ek rupaiya
tumne munh laga ke mujhko di
toh lakh rupaiya

hmm hmm hmm
hmm hmm hmm

saajana ne pyar se chhu liya jinhe
woh shool hai phool jaise
saajana ne pyar se chhu liya jinhe
woh shool hai phool jaise
premika ko teerth maano,
pyar ko bhi swarg jaano
pyar ke sangeet mein
mm hmm mohini suraagini
pyar ke sangeet mein
mm hmm mohini suraagini

pyar kabhi waqt-faqt dekhta nahin
har ek waqt hai theek pyar mein
pyar kabhi rang-roop dekhta nahin
kaaluraam bhi hai theek pyar mein
prem-jyoti na bujhegi
aaj hamdam kuchh to prem kar le
yahaan maan apmaan to kuch bhi nahin
ye haqeeqat duniya samajhti nahin

badale yeh zameen aasmaan
par chaahaten nahin badale
laila-majnu pyaar ki woh
dastaan poochhe inn hawaaon mein
saajan teri chaahaton mein dil mera
kho gaya teri chaahaton mein kho gaya
saajan teri chaahaton mein dil mera
kho gaya ye dil tumhaara ho gaya

tara tara tara tara ra ra
tara tara tara tara ra ra

Tags: 1994, Actor-Singer, Hamse Hai Muqaabla, Prabhu Deva, S P B Pallavi, S P Balasubrahmanyam, Udit Narayan

Meharbaan main hoon tumhaari

Posted by: Atul on: June 2, 2021

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 :

4702

Post No. :

16404

During my school days it was my hobby (or habit?) to see films on every Saturday and Sunday. Ours was a big joint family and my absence was hardly noticed by anyone. May be my absence was welcome ! I do not know. Anyway, during the holidays more films were seen. Language was no bar. I saw Hindi, English, Marathi, Telugu, Tamil and Kannada films. Out of these Hindi films were kore and other languages films were much less.

The preference for films was Hindi-English-Telugu-Tamil-Marathi and kannada. The basis for this was that kannada films were rare. Marathi ran for a month, Telugu/Tamil changed every week and Hindi films were in many theatres and different films for Morning and Regular shows. English films were generally in Morning shows only. But there were some theatres which showed exclusively English films in regular shows. These were in the Cantonment area of Secunderabad-the twin city. We used to see films there also at night.

In the 50’s decade a lot of remakes of South films used to come. Sometimes the same film in 3 languages ran in 3 different theatres, like the film Miss Mary-57 for example. Hindi film Miss Mary was running in one Cinema, Missiamma, the Tamil original was in another and Missamma, Telugu version was in yet another theatre. It became a game for us friends to see these films and discuss what the differences were in each version.

Forget our game, but in South India, the game of competition in capturing the Hindi market was in full swing in the 50’s. Since the film Chandralekha-48 became extremely successful all over India, with its Hindi version, other producers of the South started observing SS Vasan, who had found ” Alibaba’s Cave ‘ in the Hindi market. He had started making films in 3 languages to capture Hindi markets.

He dug up his old Tamil hit films and made remakes in Telugu and Hindi. Thus Tamil film Apoorva Sahodargal-49 ( based on Alexandre Dumas’ ‘The Corsican Brothers’) was made in Telugu as Apoorva Sahodarlu and in Hindi as Nishan-49. Then Vasan remembered his hit film Mangamma Sabatham-1943 in Tamil. He made a Hindi remake as Mangala-50. Later a Telugu remake Mangala Shapatham-65 was made, with NTR and Jamuna in the lead.He even made a remake in Simhalese language as Mathalan.

Observing Vasan making remakes and running to his bank very often, the other South producers were not to be outdone. The giant AVM dug up their Tamil hit of the 1949 Vazhkai and made a Telugu remake Jeevitham-50 as well as a Hindi remake Bahar-50, introducing Vaijayanti mala. In 1953 AVM made the film Ladki in Hindi and its remakes in Tamil and Telugu. AVM’s Tamil hit film Missiamma was made in Telugu as Missamma and in Hindi as Miss Mary, all in 1957. Film Chandirani was made in 3 languages in 1953.

The number of multi language films was huge. If you visit IMDB and look for remade Hindi films, you will get a loooooong list.During the 50’s a time came when multi language films were made at Calcutta, Madras and Kolhapur/Poona/Bombay. To get the actors speaking both the language dialogues was comparatively easy in Maharashtra, where Hindi speaking is not a problem. But for films remade in Bangla-Hindi or Tamil/Telugu- Hindi was indeed a problem.

As a solution, while the original actors remained the same in all versions, their Hindi dialogues were dubbed. Sometimes it caused a lip-synch problem, especially in close-ups. Some actors spoke their dialogues in Hindi themselves, but the pronunciation was a give away. This problem caused most Bangla, Tamil and Telugu actors to independently work in Hindi films. So, we find that most lead actors of these languages stayed away from Bombay made Hindi films. There were, however, few actors who did this successfully.

Thus, while we can see most lead actors of South and Bangla films in either dubbed or remade versions, it is only Dr. Rajkumar- the Kannada Superstar who NEVER acted in any Hindi films. In fact except ONE Telugu film ” Kalahasti Mahatmyam”-1954, he did not act in any other language than only Kannada..

By the end of the 50’s the South markets developed rapidly and fully, so the necessity of Hindi market diminished and so also remade and dubbed films. Today’s song is from film Mangala-50. It was a Gemini film directed by SS Vasan. There was a team of 3 composers – M.D.Parthasarathy, Balkrishna Kalla and E.Sankar Sastry. Sometimes I wondered how a man like Sankar, who was an Internationally famous and honoured Instrumental (Veena) musician worked in a studio as a composer. But then I realised that in his first half of career he was in films, but the second half was more into Veena Vadan.

Emani Sankar Sastry was a very famous and renowned Veena player of International recognition. Born on 23-9-1922 in a small village of Andhra, he hailed from a family of celebrated classical musicians. He was trained in traditional Veena by several experts. He did independent concerts all over India.

He joined Gemini Studios in 1948 and stayed for 10 years as MD. During this period he was involved in the Music Direction of Hindi films like, Mangala, Sansar, Bahut din huye, Mr. Sampat, Krishna Kanhaiya and Do Dulhe, as well as the English version of Chandralekha-48.

He joined A.I.R Madras in 1959 and rose to become Director and Chief Producer of Music. He won several awards including Academy award, Kala Parishat Award and Padma Shri. He played Veena in the Rome Festival and at UNESCO in New York.

E.Sankar Sastry died in 1987.

In the cast of the film Mangala-50 one finds the name of Bhanumathi. Outside South India, most people are unaware of the greatness of some artistes from South. Here is a short Bio of Bhanumathi, but it brings out her greatness only partly.

P. Bhanumathi Ramakrishna (7 September 1925 – 24 December 2005) was an actress, director, music director, singer, producer, novelist and lyricist. Widely known as the first female super star of Telugu cinema, Bhanumathi appeared in over 100 films predominantly in Telugu and Tamil languages. She was awarded the Padma Bhushan in 2001 for her contribution to the Indian cinema. She was honored among “women in cinema” at the 30th International Film Festival of India.
Bhanumathi was born on 7 September 1925 in Doddavaram village of Prakasam district, near Ongole, Andhra Pradesh. She is the third child to Saraswatamma and Bommaraju Venkata Subbaiah. She grew up watching her father perform in various stage shows. Her father, Venkata Subbiah, was a lover of classical music and trained her in music from an early age.

Bhanumathi entered the film industry in 1939, and acted in over 100 films in Telugu and Tamil. She was also called Ashtavadhani by the film industry people as she was a writer, actor, director, producer, singer, music director, editor and studio owner. She also had a good knowledge of astrology and philosophy. She is regarded as the first female super star of Telugu cinema.

She made her debut in Telugu cinema in 1939 as Kalindi (a 13 years old girl who is forced to marry an old man and ended her life by committing suicide) in Vara Vikrayam (Telugu), directed by C. Pullaiah. Her first film in Tamil was Ratnakumar in the year 1949 along with the famous hero of those days P. U. Chinnappa. This film was directed by Krishnan–Panju. Her first Hindi film was Nishan-1949. In 1953, she made her directorial debut with Chandirani (made simultaneously in Tamil, Telugu and Hindi).

Her last film was made in 1998, entitled Pelli Kanuka. C. N. Annadurai gave her a title “Nadippukku Ilakkanam” (Grammar for acting) that suits her aptly. She was revered by many actors she had worked with like N.T.Rama Rao, Sivaji Ganesan, M. G. Ramachandran, Akkineni Nageswara Rao, Nagarjuna, Balakrishna, ChiranJeevi, Pawan Kalyan, Venkatesh for her bold and prolific versatility. One of her memorable movies in Tamil was Annai, in the year 1962 directed by Krishnan–Panju, where her acting was appreciated by all and also got the National Award for the film and for also performances in movies Anthasthulu and Palnati Yudham (1964) she received National Awards (Rashtrapati Award). She is the last recipient of Rashtrapati Award.

Due to her rift with Aluri Chakrapani, she left her role in Missamma movie (Initially Bhanumathi was shot for some scenes in the movie before being replaced by savitri ) but after the release of the movie she watched and commented that “she lost a wonderful role but industry gained a talented actress like savitri” which showed her sportiveness and encouragement towards new actors. Due to clash with Aluri Chakrapani, she produced a satirical movie on him titled Chakrapani which was a huge hit and became a classic in Tollywood for this movie she also worked as Music Director.

She acted in 8 Hindi films namely, Nishan-49, Mangala-49, Rani-52, Shamsheer-53, Chandirani-53, Hamen bhi jeene do-62, Nai Roshni-67 and Itni Jaldi kya hai-86. She directed 2 Hindi films – Chandirani-53 and Itni Jaldi kya hai-86. She also sang 12 songs in 4 Hindi films – Mangala, Rani, Shamsheer and Chandirani.

She is the first south Indian actress to receive Padma Awards. Apart from being a fine actress, she was also a talented musician. She was adept in both Carnatic and Hindustani music. She gave voice to her songs despite it being the norm to use playback singers for actors. Some of her songs are still popular.

During her later years, she served on various movie related organizations. She was a Member of the State Film Awards Committee for two years. She was also a Visiting Professor at the Film Institute for one year. She was a Member of Children Film Society for 5 years, from 1965 to 1970.

In India, she was the first and the only woman to have owned a film studio, first actress to act in a dual role and the first woman to have directed a movie simultaneously in three languages.

Bhanumati was also a talented writer with a number of short stories to her credit. Her autobiography Nalo Nenu was published in Telugu and later, released in English as Musings. Andhra Pradesh Sahitya Academy awarded her as the best short story writer for her popular short stories “Attagari Kathalu”. She was a Member of Lalit Kala Academy for 5 years, and Sahitya Academy, Andhra Pradesh for 10 years. She served as Director and Principal of the Tamil Nadu Government Music College,

During the shooting of the film Krishna Prema, she met P. S. Ramakrishna Rao, an assistant director for that film. He was a film producer, director and editor of Telugu and Tamil Films. The couple married on 8 August 1943 and have one son, Bharani. Later they launched a popular production company, Bharani Pictures on their son’s name. She died at the age of 81 years.( Thanks to wikipedia, Cinerang by Isak Mujawar, Ateet ke sitare, HFGK, muVyz and my notes ).

Today’s song is sung by Bhanumathi. many of the songs of this film are copies of songs by Carmen Miranda. Enjoy….

Song-Meherbaan main hoon tumhaari(Mangala)(1950) Singer- P Bhanumathi, Lyricist-Pt. Indra, MD- E Sankar Sastry

Lyrics

mamamamama
mamamami
mamamami
meharbaan main hoon tumhaari
tanananana
tanananana
tanananana
nanana
mamamamamami
mamamani
kadardaan tum ho hamaare
tanananana
tanananana
tanananana
nananana

Tags: 1950, E Sankar Sastry, Mangala, P Bhanumathi, Pt Indra Chandra

Pahle chori phir seenaajori

Posted by: Atul on: May 31, 2021

Blog Day :

4700

Post No. :

16399

“Baawarchi”(1972) was directed by Hrishikesh Mukherjee. The movie had Rajesh Khanna, Jaya Bhaduri, Asrani, A K Hangal, Durga Khote, Harindranath Chattopadhyay etc in it.

The movie had six songs in it. Five songs have been covered so far. Here are the details of these five songs:-

Song	Date of posting
Bhor aayi gayaa andhiyaaraa	23 May 2011
Tum bin jeewan kaisa jeewan	19 September 2011
Morey naina bahaayen neer	31 August 2012
Kaahe kaanha karat barjori	25 June 2017
Mast pawan doley re doley re	29 May 2021

Here is the sixth and final song from “Baawarchi”(1972)to appear in the blog. It is sung by Kumari Faiyyaz. Kaifi Azmi is the lyricist. Music is composed by Madan Mohan.

Only the audio of the song appears to be available as of now. It appears to me that the song may have been there originally in the movie. I request our knowledgeable readers to throw light on the pucturisation of this song. It sounds like a folk dance song to me.

Lyrics of this song were sent to me by Prakashchandra.

With this song all the songs of “Baawarchi”(1972) are covered in the blog and so this movie joins the list of movies that have been YIPPEED in the blog.

Song-Pehle chori phir seenaajori (Baawarchi)(1972) Singer-Kumari Faiyyaz, Lyrics-Kaifi Azmi, MD-Madan Mohan

Lyrics(Provided by Prakashchandra)

pehley chori ee ee
phir seenaa..aazori..eee
usne pakdi ee ee
kalaiyyaan aan aan gori gori ee

aeyye ae ae ae ae
aey ae ae ae
aey ae ae ae ae

pehley chori..eee
phir seenaa..aajori..eee
hho pehley chori..eee
phir seenaa..aajori..eee
ussne pakdi kalaiyyaan aan gori gori
ussne pakdi kalaiyyaan aan gori gori
aey hhey aey
gajra bigaada
mori maiyyaa ne maaraa rey
kahaan jaaoon oon
hoyye kahaan jaaoon oon
kahaan jaaoon
bolo kahaan jaaoon
hho pehley chori..eee
phir seenajori..eee
ussne pakdi kalaiyyaan gori gori ee

chhodaa na palloo
kiye sau sau jatan
aey hhey chhodaa na palloo
kiye sau sau jatan
thharr thharr thharr thharr thharr moraa kaanpey badan n n
thharr thharr thharr thharr thharr moraa kaanpey badan n n
jab woh samjhaa naheen
meethi boli meri ee
gaali deke kahaa
dey dey choli meri ee
woh na maanaab
raam woh na maanaa
julmi woh na maanaa aa
rr woh na maanaa aa
woh naa maanaa to boli
ke main aen haari
kahaa usne ke lag jaa galey pyaari
pehley chori..eee
phir seenajori..eee..eee
pehley chori..eee
phir seenajori..eee

garwaa lagaake kahaa hha chal udhar rr
garwaa lagaake kahaa hhaa chal udhar rr
chhann chhann chhann chhann chhann baajey ghunghroo idhar rr
chhann chhann chhann chhann chhann baajey ghunghroo idhar rr
laake bagiyaa mein bairi sataaney lagaa
main jo royee lipat ke manaaney lagaa
kahaan jaaoon
bolo kahaan jaaoon
kahaan jaaoon
oyye hoyye kahaan jaaoon
jawaani ka uss pe nashaa aa chhaayaa
thodaa saa mujhey bhi gussaa aayaaa
pehley chori..eee
phir seenajori..
pehley chori..eee
phir seenajori..eee..eee

Tags: 1972, Baawarchi, Kaifi Azmi, Kumari Faiyyaz, Madan Mohan

Older Entries

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

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Sod majha haath mala peene de

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Lee haay lee haay lippip pippi…aayi jawaani badi deewaani

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Pahle chori phir seenaajori

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