Archive for the ‘“Dream of Wide Awake Eyes”’ Category
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5064 | Post No. : | 16979 | Movie Count : |
4600 |
Hullo Atuldom
A song from a new movie (by the standards of this blog) for the listening pleasure of followers of this blog.
‘Hungama (The Ruckus)’ is a 2003 release – nearly 20 years old already – that was produced by Venus records and tapes and directed by Priyadarshan. One of the many that Priyan (as his friends in the South address him as) remade from Malayalam hits. It was a remake of Priyans’ Malayalam ‘Poochakkoru Mookkuthi’ (meaning A Nose-ring for the Cat) which was itself a remake of the Telugu movie ‘Gopala Rao Gari Ammayi’ which had elements borrowed from the plot of Charles Dickens ‘The Strange Gentleman’.
‘Hungama’ had Rimi Sen, Akshay Khanna, Aftab Shivdasani as the youngsters and Paresh Rawal, Shoma Anand, Shakti Kapoor, Neena Kulkarni, Rajpal Yadav, Tiku Talsania, Upasna Singh, Sanjay Narvekar, Manoj Joshi, Razzaq Khan, etc. and Malayalam film actor Jagadish in a minuscule role of Paresh Rawal’s housekeeper. The movie had music by Nadeem Shravan for songs written by Sameer. Babul Supriyo, Shaan, Sadhana Sargam, Richa Sharma, Alka Yagnik, Udit Narayan, Abhijeet, Sonu Nigam and Kumar Sanu were the playback singers used.
The movie revolved around the confusion caused by two characters having the same name. Both Shoma Anand and Rimi Sen are called ‘Anjali’. Then, the conning of Kachra Seth (Shakti Kapoor) by Anil Singh claiming to be Paresh Rawal’s son Munna Tiwari (Sanjay Narwekar) adds to more confusion. Plus, there is the usual love triangle which gives us romantic songs. But, for me, the highlight in the movie is where Shoma Anand doubts her husband (Paresh Rawal) of having a relation with Rimi Sen and Paresh Rawal doubting his wife as her character undergoes a change the minute she lands in their city-home. As if to add fuel to fire Akshay Khanna keeps visiting their house and asking for Anjali (meaning Rimi Sen) which Paresh construes as Anjali (Shoma Anand).
As can be seen from the above, Paresh Rawal was the main character in this movie, just as he was in many of Priyadarshan’s Hindi movies ‘Hera Pheri’, ‘Hulchul’, ‘Chup Chup Ke’, ‘Bhagam Bhag’ and a few more, all of which I have seen more than once. Today we are wishing this versatile actor on turning 67 (is he really that old, unbelievable).
Today’s song happens at a party thrown by Anjali (Shoma Anand) for her birthday where both Anjali (Rimi) and Akshay Khanna are uninvited guests. But the husband and wife feel that the other has invited their new ‘friend’ and fantasize the two dancing with their new-friend. Sadhana Sargam and Shaan are the singers who have been invited to entertain the people at the party. A very cute song which is nice on the ears.
Song – Chain Aapko Mila Mujhe Deewaangi Mili (Hungama) (2003) Singer – Shaan, Sadhna Sargam, Lyrics – Sameer, MD – Nadeem Shravan
Lyrics (Provided by Sudhir)
ey hey hey hey
la la la la
ey hey hey hey
aa haa haa
hmmm hmmm hmmm
la la la la
la la la lalala lalala la
chain aap ko mila
mujhe deewaangi mili
hosh aapko mila
muhe to bekhudi mili
phir bhi pyaar
aap se hi karta hai dil
chain aap ko mila
mujhe deewaangi mili
o ho hosh aapko mila
muhe to bekhudi mili
phir bhi pyaar
aap se hi karta hai dil
chain aap ko mila
mujhe deewaangi mili
manaaun to main isko kaise
ye dil deewaana hai na maane
bataaun to bhala main kaise
ye ishq kya hai ye na jaane
shaidaai main
tera hua
tujhko nahin hai ye pata aa aa aa
jaam aapko mila
mujhe to berukhi mili
o ho hosh aapko mila
muhe to bekhudi mili
phir bhi pyaar
aap se hi karta hai dil
chain aap ko mila
mujhe deewaangi mili
koi kisi pe jaan de de
koi kare hai bewafaai
ye faaslon ka dard kya hai
ye jaanti hai bas judaai
tujhse mili
jabse nazar
deewaani main ho gayi ee ee ee
neend aapko mili
mujhe to bebasi mili
aa haa haa hosh aapko mila
muhe to bekhudi mili
phir bhi pyaar
aap se hi karta hai dil
chain aap ko mila
mujhe deewaangi mili
chain aap ko mila
mujhe deewaangi mili
aa haa haahosh aapko mila
muhe to bekhudi mili
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5043 | Post No. : | 16954 |
Today’s song is from the movie ‘Bundlebaaz-1976’.
“Bundlebaaz” or ‘Bandalbaaz-1976’ was directed by Shammi Kapoor for ‘Pushpa Pictures, Bombay’.
It was produced by H.A. Nadiadwala.
It had Shammi Kapoor, Rajesh Khanna, Sulakshana Pandit, Johny Walker, Asrani, Ranjit, Farida Jalal, Dev Kumar, Pinchoo Kapoor, Kamal Kapoor, Mukri, Lalita Pawar, Mushtaq, Tuntun, Abhimanyu Sharma, Hangama, Moolchand, Viju Khote, Jerry, Bihari, V. Gopal, Haroon, and others.
Story and screenplay of this movie was written by K.K. Shukla and dialogues were written by Kader Khan.
Editing of this movie was done by Pran Mehra.
This movie was passed by Censor Board on 04.12.1976.
This movie had four songs written by Majrooh Sultanpuri and composed to music by R.D. Burman.
Three of the four songs have already been posted on the blog earlier. (Details of songs are given below).
In the previous post I had mentioned a brief about the story of this movie (text taken from memsaabstory.com).
Today we go back to the starting of this movie here.
“Our story opens at college, where an impoverished student named Raja (Rajesh Khanna) dreams of making it big and winning his true love Nisha (Neetu Singh look-a-like Sulakshana Pandit).
His rival for her affections, Ranjit (Ranjeet) is the class bully and a cheat…”
We are in the college now where all students including our hero (Rajesh Khanna) and his rival (Ranjeet) are writing the exam papers. Ranjeet is doing cheating and writing his answer sheets.
Our hero sees this and enters a dream sequence of catching Ranjeet and beating him for doing cheating in the college with his friend Gopal (Asrani) and other students in the class also around them.
Here is where today’s song takes place…
This song is sung by Kishore Kumar in his style and gusto and Rajesh Khanna has performed it well with his famous jigs.
Lyrics are by Majrooh Sultanpuri, and the enchanting music is composed by R.D. Burman.
With today’s song all songs of this movie ‘Bundlebaaz-1976’ gets covered on the blog and the movie lands in ‘Yippeeee-Land’ 😊 today…
Here is the list of songs this movie with their Singer/s’ name and the date of posting for the songs already posted earlier.
| SNo | Song Title | Singer/s | Posted On |
|---|---|---|---|
| 01 | Ruk ruk ruk meri jaan, kidhar jaata hai naa jaa | Kishore Kumar | |
| 02 | Kya hua yaaron gareebi ke hum paale hain | Kishore Kumar, Asha Bhonsle | 4 May 2022 |
| 03 | Naghma hamaara gaayegaa ye zamaana | Lata Mangeshkar, Mohd Rafi | 18.09.2012 |
| 04 | Bemausam bahaar ke din kaise aaye | Lata Mangeshkar, Kishore Kumar | 18.07.2017 |
Let us now enjoy today’s song …
Video
Audio
Song-Ruk meri jaan kidhar jaata hai na jaa (Bundlebaaz)(1976) Singer-Kishore Kumar, Lyrics-Majrooh Sultanpuri, MD-R D Burman
Chorus
Lyrics
hey aa
hey hey
oo oo
hey hey
rrrrrrrrrrrrrrrrrrrrrrrra
ruk ruk
ruk meri jaan
kidhar jaataa hai
naa jaa
mere choron ke raja aa
zaalimaa re ae ae ae ae
ruk meri jaan
kidhar jaataa hai naa jaa
mere choron ke raja aa
zaalimaa re ae ae ae ae ae
ruk meri jaan
kidhar jaataa hai naa jaa
mere choron ke raja aa
zaalimaa aa
ruk
ham bhi to hain
jaani teri chaahat ke maare huye
ghabraaye kyun
sharmaaye kyun
itnaa to na ban pyaare
haaye re
haaye re
ham bhi to hain
jaani teri chaahat ke maare huye
ghabraaye kyun
sharmaaye kyun
itnaa to na ban pyaare
zaraa dekh palat ke
jo doonga haath ulat ke
to khaa jaayega jhatke aa
zaalimaa re ae ae ae
ruk meri jaan
kidhar jaataa hai naa jaa
mere choron ke raja aa
zaalimaa re ae ae ae ae
ruk meri jaan
kidhar jaataa hai naa jaa
mere choron ke raja aa
zaalimaa aa
laa laa la la laa
la la la laa
laa laa la la laa
la la la laa
laa laa la la laa
aise akdegaa to zaalim
aisi ki taisi teri
naak todoonga
sar fodoonga
gat kar doonga aisi teri
haan re
haan re
aise akdegaa to zaalim
aisi ki taisi teri
naak todoonga
sar fodoonga
gat kar doonga aisi teri
bade din ka raaja
bajaa yaaron ka baaja
to sur se sur milaa jaa
zaalimaa re ae ae ae ae
ruk meri jaan
kidhar jaataa hai naa jaa
mere choron ke raja aa
zaalimaa re ae ae ae ae
ruk meri jaan
kidhar jaataa hai naa jaa
mere choron ke raja aa
zaalimaa re ae ae ae
hey ae
ruk
laa laa laa laa
hey ruk ruk ruk
laa laa laa laa
oye re
ahaa ahaa
oye uthh uthh uthh
oye oye oye
yaa aa
laa laa laa laa
oye uthh uthh uthh
laa laa laa laa
This article is written by Nahm, 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.
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Blog Day : |
4154 | Post No. : | 15321 |
As I have said in one of my recent posts, whenever I read something inspiring, be it a poem or an article, it inspires me to write something of my own thoughts. Nowadays there is less and less readable material forthcoming from the print media. The blog and its posts are sometimes savior’s for the intellect. One such article was the post by Sudhir Sir – “Gandhi Tere Desh Mein Ye Kaisa Atyachaar“, on the birth anniversary of Mahatma Gandhi. It appeared quite late in the night, but as I read it completely, it was a thoroughly readable and thought provoking post. At least I found it thought provoking and for the next few days the matters and the quotes from the Mahatma’s books, and my own thought relating to them were reverberating in my mind. I wrote a lengthy comment on the post which I am reproducing here.
Sir,
Congratulations on writing such an extensive, studied article on Mahatma Gandhi and his philosophies. Reading it, I realised I haven’t read any of his books. Being a Kitaabi keeda from childhood hasn’t helped me reach out to any of Mahatma’s books. Where ever I have found a bookshelf and a rack of books I tend to go through the titles and authors. In my defence, I can only say that non-fiction is not my strong case. Nevertheless, it is sad and tragic that the works of such great thinking minds are nowhere to be found in present day libraries.
The para’s you quote from his writings, about non-violence and cowardice; I dare say are the sort of philosophy which is popular as well as non-popular, depending on disparities in viewpoints.
I will quote an incident to explain what I mean. This happened in friends household. The son was playing football with his friends. A few other boys from the neighborhood, came up to one of the boy and started beating him over some fight or rivalry. All the friends including my friend’s son ran away from there. The boy came home and told the parents about this. This was just a school going kid. The father said, how can you do this, being a punjab da puttar, how could you not help your friend. The son said, if tried to help him than they will start hitting me too. Logic here, self-preservation not cowardice, the mother opined.
In the light of the above incident, the Mahatma’s point is first one will try to stop the violence by non-violence. But avoiding the situation altogether is not non- violence, but cowardice. As opposed to valour. The will to defend the one in difficult situation. Not just defend, but save. This is valour, opposite of cowardice.
But this is an era of “tamashbeen”. A vast majority of public now prefers to just be a bystander and watch, rather than doing anything to stop the violence. Which neither here, nor there. This is a side kick of mass media. We are used to watching violence and it doesn’t make us flinch. A humans natural tendency to reject violence is gone. We watch it like it is a natural movie watching experience.
I believe, big cities are little better, with regards to violence of any kind. For the disruption is bigger and inconvenient. Crowd will be of various dispositions in any urban setting, someone will be a local and saner than others. Hopefully.
One more point, I would make here is about the “decay” of creation. The decay in creation is caused by impurities. The very nature of creation in mortal. What has started will end, whatever has lived will die. A natural death. Like some civilisation of the past died, due to natural calamities and became a step for newer civilisation to develop.
It is the truth which is pure. The lies added to it make it impure, and cause decadence. The civilisations that decay and then die of decadence, rot. No new civilisation can emerge from such decayed rot.
So, we as humans, the superior among all creation, have a duty to preserve this purity in ourselves.
Regards.
I realize that the comment is just one dimensional, and could not carry the total sum of my impressions on the article. I have said that non-fiction is not my strong case, and here I am, daily trying my hand at writing non-fiction :).
Now I simply must quote this from the article :
It goes to establish that Gandhi was no ordinary soul, and such souls appear on this planet quite rarely. Albert Einstein has so beautifully summed it up in his tribute – “Generations to come will scarce believe that such a one as this ever in flesh and blood walked upon this earth”.
Of course I have read this quote before and this is not fiction. Another important thing he highlighted was about the discourse around ‘the relevance of the Mahatma today’. And films like “Lage Raho Munna Bhai” were just a final stone dropped in the (already dry) pond, through the popular film media, to explain to the second generation Indians born after the end of the Gandhian era, that over dose of Gandhian philosophy like any other philosophy is also capable of creating a ‘chemical locha’ in the mental equilibrium.
May be the decay of this great civilization of homo-sapiens has started. The very nature of creation is temporary; all that exists will be destroyed one day. The Universe may be infinite, but the only definite thing here is death. So be it, whether it is the death of a philosophy, a society or a world. The very wisdom of this species is in danger of being homogenized with its earlier extinct versions.
If one really gives deep thought about the situation the human race is facing, it feels as if the ‘Qayamat’ is truly underway. The life we are living is like a tight rope walk of ‘pul-e-siraat‘. One wrong step and below is hellfire. It’s that difficult to keep to the truth, obey the truth and keep faith in the truth.
But then there is a superior power, the creator, the sustainer and the nourisher of all that exists. As Allama Iqbal said :
mudda’ee laakh buraa chaahe to kya hota hai
wohi hota hai jo manzoor-e-khuda hotaa hai
So I have here a very positive kind of feel good song written by Javed Akhtar from ‘Dil Chahta Hai’ (2001). The singer is Srinivas and composers are Shankar-Ehsan-Loy. Yeah, the name of composers has a message in it. I can try and translate the middle one i.e. ‘Ehsan’.
We all are familiar with word ‘ehsaan‘ in songs like “Ehsaan Mere Dil Pe Tumhaara Hai Dosto” and “Ehsaan Tera Hoga Mujh Par“. The word ‘ehsan’ is a related word, with a change in meaning. It means the ‘beauty of good conduct’. Or rather the beauty of best behavior.
The song I am presenting has a dream like quality with Dimple in white, Akshaye Kumar in white, and a white canvas. The portrait of Dimple gradually develops on the canvas, while the Akshaye is dreaming on of pure water streams, dipping his hand into the stream, full moon, in a dreamy halo of light and roshni. In this moon light, all the colours are amalgamated to make a portrait, in which the fragrances are visibly mingling. Moon, stream, clouds, song, rain and butterflies are all in favour – in favour of the flavor of love, that is created of such different matter. Some physical and some metaphorical matter, to make the billions and trillions of DNA that comprise this universe.
Video
Audio
Song – Kaisi Hai Ye Rut Ke Jis Mein Phool Ban Ke Dil Khile (Dil Chaahta Hai) (2001) Singer – Srinivas, Lyrics – Javed Akhtar, MD – Shankar-Ehsan-Loy
Lyrics
kaisi hai ye rut ke jis mein
phool ban ke dil khile. . .
kaisi hai ye rut ke jis mein
phool ban ke dil khile
ghul rahe hain rang saare
ghul rahi hain khushbooen
chaandni jharne ghataayen
geet baarish titliyaan
hum pe ho gaye hain
sab meherbaan
kaisi hai ye rut ke jis mein
phool ban ke dil khile
dekho
nadi ke kinaare
panchhi pukaare..ea
kisi panchhi ko
dekho
ye jo nadi hai
milne chali hai..ea
saagar hi ko
ye pyaar ka hi
saara hai kaarwaan
kaisi hai ye rut ke jis mein
phool ban ke dil khile
ho ooo
kaise
kisi ko bataayen
kaise ye samjhaayen..en
kya pyaar hai
iss mein
bandhan nahin hai
aur na koi bhi
deewar hai
suno pyaar ki niraali
hai daastaan
kaisi hai ye rut ke jis mein
phool ban ke dil khile
ghul rahe hain rang saare
ghul rahi hain khushbooen
chaandni jharne ghataayen
geet baarish titliyaan
hum pe ho gaye hain
sab meherbaan
kaisi hai ye rut ke jis mein
phool ban ke dil khile
hnmnmnmnm
hmnmnmnmnmn
hnmnmnmnm
hmnmnmnmnmn
hnmnmnmnm
hmnmnmnmnmn
hnmnmnmnm
hmnmnmnmnmn
———————————————————-
Hindi script lyrics (Provided by Nahm)
———————————————————-
कैसी है ये रुत के जिस में
फूल बन के दिल खिले॰ ॰ ॰
कैसी है ये रुत के जिस में
फूल बन के दिल खिले
घुल रहे हैं रंग सारे
घुल रही हैं खुशबूएं
चाँदनी झरने घटाएँ
गीत बारिश तितलियाँ
हम पे हो गए हैं
सब मेहेरबाँ
कैसी है ये रुत के जिस में
फूल बन के दिल खिले
देखो
नदी के किनारे
पंछी पुकारे॰॰ऐ
किसी पंछी को
देखो
ये जो नदी है
मिलने चली है॰॰ऐ
सागर ही को
ये प्यार का ही सारा
है कारवां
कैसी है ये रुत के जिस में
फूल बन के दिल खिले
हो॰ ॰ ॰
कैसे
किसी को बताएं
कैसे ये समझाएँ॰॰ऐं
क्या प्यार है
इसमें
बंधन नहीं है
और न कोई भी॰॰ई
दीवार है
सुनो प्यार की निराली
है दास्ताँ
कैसी है ये रुत के जिस में
फूल बन के दिल खिले
घुल रहे हैं रंग सारे
घुल रही हैं खुशबूएं
चाँदनी झरने घटाएँ
गीत बारिश तितलियाँ
हम पे हो गए हैं
सब मेहेरबाँ
कैसी है ये रुत के जिस में
फूल बन के दिल खिले
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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Blog Day : |
4027 | Post No. : | 15141 | Movie Count : |
4159 |
Songs Repeated in Hindi Films – 7
– – – – – – – – – – – – – – – – – –
A birthday greeting that is now a week ago (plus one more day 😉 ). Many many happy and healthy returns Naseer ji – may we all be blessed with a few more decades of accomplished performances by yourself.
Memories do always seem to connect as if yesterday. Maybe it is the ‘me’ inside me that is never changing in this ever changing world, and so every memory, every remembrance of every person, place, happening, event, vision, hearing a song on the radio, and yes, seeing films in black and white on the TV screens in neighbor’s homes – everything seems to have happened just yesterday.
The film was ‘Manthan’ (1976). And the days were when we would just sit and watch a film on TV for no reason – just that it was a Saturday / Sunday and Doordarshan would be airing a feature. Much later in life I would surprised to find out that some of the films I had watched on TV were actually color films. But then, those black and white images in the memory are more prized and dear now, than the actual color visuals captured later in the day (yesterday, I mean – as I said, everything seems to have happened yesterday).
So, ‘Manthan’ it was. A film that was part of the earliest batch of New-Wave cinema in India. From the first viewing, the memory that I have is, that I do not remember anything about the film or its storyline, its characters, their names, performances etc. Everything that I know about this film is from later viewings. But there are two items that are stuck in the storage from that viewing – one is a visual of a man driving a jeep, a woman trying to follow him on foot, and the song playing – “Mero Gaam Kaathha Paarey”. And the second is a funny mention – a belligerent villager pronouncing the word ‘society’ as ‘sisoti’ (सीसोटी). That is the earliest data byte stored in memory about this exemplary and infinitely versatile performer – Naseeruddin Shah.
Beyond that of course, getting in later teens and going to college, it was trendy and fashionable to go see new wave films – and so a much crowded occupancy of memories related to his films. The list seems to go on and on – ‘Nishant’ (1975), ‘Bhumika’ (1977), ‘Godhuli’ (also 1977), ‘Junoon’ (1978), ‘Sparsh’ (1979), ‘Aakrosh’, ‘Albert Pinto Ko Gussa Kyon Aata Hai’, ‘Bhavni Bhavai’ (all three in 1980), then ‘Chakra’ and ‘Sazaay e Maut’ (what a solid psychological thriller this one is), both from 1981, ‘Bazaar’ (1982), then a ton of them in 1983 – ‘Katha’, ‘Mandi’, ‘Ardh Satya’ and the peerless cult classic ‘Jaane Bhi Do Yaaro’, then ‘Paar’, ‘Mohan Joshi Haazir Ho’ and ‘Khandhar’ in 1984, ‘Mirch Masala’ in 1985, and in 1986, ‘Musafir’, and ‘Genesis’ – the unforgettable film of primeval emotions and human relations, by Mrinal Sen.
On the way, his career merged into the commercial circuit, and, with some of the then current group of parallel cinema performers, he established himself as a performer at home both with ‘sisoti’ and “Oye Oye Aaaa. . . O Tirchhe Nainon Waali” (‘Tirchhi Topi Waale’, 1998). The ease with which he has straddled both the streams is really heartwarming. It simply goes to underline his openness and his versatility. Starting with ‘Hum Paanch’ in 1980, he entered into the mainstream commercial Hindi cinema and has made an enviable position for himself in the industry with creditable performances in films like ‘Umrao Jaan’ (1981), ‘Dil Aakhir Dil Hai’ (1982), ‘Masoom’ and ‘Woh Saat Din’, (1983), ‘Ghulami’ and ‘Trikaal’ (1985), ‘Karma’ (1986, in the esteemed company of Dilip Kumar), ‘Ijaazat’ (1987), the fabled ‘Pestonjee’ in 1988, along with ‘Hero Hiralal’ and ‘Maalamaal’. In the 1988 Merchant-Ivory production of the crime thriller ‘The Perfect Murder’, he plays the pivotal role of Inspector Ghote. Then on to ‘Tridev’ in 1989, ‘Police Public’ in 1990. . . and then there are many, too many to be listed here. A sampler of important ones –‘Vishwatma’ (1992), ‘Sir’ (1993), ‘Mohra’ (1994), ‘Himmat’ (1996), ‘Chinagate’ (1998), ‘Sarfarosh’ (1999), ‘Hey Ram’ – the role of Mahatma Gandhi (2000), ‘Monsoon Wedding’ (2001), ‘3 Deewaarein’ and ‘Main Hoon Na’ (2004), ‘Iqbal’ (2005), ‘Omkara’ and ‘Banaras’ along with ‘Yun Hota To Kya Hota’, his debut as a director in (2006), ‘Parzania’ (2007), ‘Jaane Tu Ya Jaane Na’ in which he plays the role of a portrait on the wall, and ‘Mere Baap Pehle Aap’ in 2008. . . As I said, his notable performances are simply too numerous to be sampled.
Naseer was born in Barabanki (UP) on 20th July, 1949. His parents, Aley Mohammed Shah and Farrukh Sultan, are originally from Meerut. His school education happened at St. Anselm’s in Ajmer and St. Joseph’s College in Nainital. After doing his BA from Aligarh Muslim University, he joined the National School of Drama in Delhi. From there on, the rest is all fairly recent history. His work, on stage and on screen is the story of his life.
On the way, he has earned two National awards for the best actor – ‘Sparsh’ in 1979 and ‘Paar’ in 1984, and one National award for the best supporting actor in ’Iqbal’ (2006). He also has to his credit three Filmfare awards for Best Actor – ‘Aakrosh’ (1981), ‘Chakra’ (1982) and ‘Masoom’ (1984). He also won the Volpi award for the best actor at the Venice Film Festival in the year 1984 for his performance in ‘Paar’. He has also been honored with the national awards of Padam Shri (1987) and Padam Bhushan (2003).
The song being presented today is a repeat category item with a slight difference. It is a medley of 6 songs, that have been strung together into a wonderful imitation performance by Naseer. There is a specific similarity in this set of songs. All are rendered by Rafi Sb, and all are Shammi Kapoor songs on screen. The audio segments edited together are all original renditions, with no effort to re-record or improvise.
The choice of Shammi Kapoor songs all – you may ask. Yes, the interesting background to this song does indeed involve Shammi Kapoor as an important figure in the story line, albeit in absentia.
The film is ‘Sitam’ from 1984. The film is produced by Vikram, and is directed by the husband wife team of Aruna Raje and Vikas Desai. The main cast of actors is Naseeruddin Shah, Smita Patil, Vikram. Asrani, Sulabha Deshpande, Seema Deo, Vikas Desai, Arun Sarnaik, Keith Stevenson amongst others.
Subhash Munkur (role played by Naseeruddin Shah) is a lively, jolly fellow who loves to live the life to its fullest. He is a middle income family person, working in a certain office. He is an avid football player and is the captain of the homegrown team in his company. He is also a very fervent fan of Shammi Kapoor, and imitates his acting and sings his songs. His wife, Meenakshi (role played by Smita Patil) is a home maker, and they have a small son to complete their small dream world.
One day, suddenly, this dream world is mortally shattered. Subhash passes away in a freak inadvertent accident on the football field. Meenakshi is devastated and crushed – she had a very loving relationship with her husband.
This song medley appears in the film a little while after the accident. Meenakshi is alone at home and the memories of Subhash are all around her, and she is traumatized by them. She envisions him still in the home, and singing Shammi Kapoor songs as he used to, to woo her and also to irritate her. Whichever part of the home she goes to, there is a song and a vision attached with it, and she continues to see him singing, in the balcony, in the kitchen, in the bedroom, on the dining table – everyplace in the home. She is not able to hold her grief, and is sobbing and in tears all the time, while this ‘dream of wide open eyes’ is being enacted around her.
So here is a treat of Shammi Kapoor songs, performed quite well by Naseeruddin Shah. Of course the original personality is the big difference, but still, it is a creditable imitation. Once again, this medley is not listed in the EP of the film or in the Geet Kosh and is available only on the film track.
The rest of the story is an interesting premise. Inder (role played by Vikram), the person who inadvertently caused the accident on the football field, is till then unknown to Meenakshi. He locates her and tries to become friendly with her and her son. He is guilt ridden and some how wants to make some amends, he knows not how. But then Meenakshi discovers the truth behind his visits. She further accuses him, berates him and in anger asks him to leave her home. Inder goes back and attempts to commit suicide by slashing his wrists. He is taken to the hospital and saved, but now the guilt factor in his mind has multiplied manifold. He becomes suicidal and a mental patient, and is shifted to the mental ward. The doctors understand his situation that the only remedy for him is to get forgiveness from Meenakshi. And of course, Meenakshi, in her own shattered state of mind, is in no condition or frame of mind to forgive Inder.
This is actually where the film starts. The earlier events are presented as a flashback, and the rest of the film is about how Meenakshi comes to terms with her grief, and ends up forgiving Inder. The film is a very interesting psychological narrative.
Enjoy this replay of six of the famous songs of Shammi Kapoor. I have listened to and viewed this clip so many times now, and every time, it seems to end just too soon. One does not realize that more than three minutes have passed. And the mind actually waits for yet one more song segment.
And the added bonus is the improvised performance by Naseeruddin Shah. Great performer, great actor – I am sure you will agree.
Song – Kisi Na Kisi Se Kabhi Na Kabhi (medley) (Sitam) (1984) Singers – Mohammed Rafi, Lyrics – [multiple], MD – [multiple]
Lyrics
kisi na kisi se
kabhi na kabhi
kahin na kahin dil lagaana padega. . .
tum ne mujhe
dekha
ho kar
meharbaan
ruk gayi ye zameen
tham gaya aasmaan
jaan e mann
jaan e jaan
tum ne mujhe
dekha. . .
badan pe sitaare lapete huye
o jaan e tamanaa kidhar ja rahi ho
zara paas aao
to chain aa jaaye
zara paas aao
to chain aa jaaye
badan pe sitaare lapete huye
o jaan e tamanaa kidhar ja rahi ho
zara paas aao
to chain aa jaaye
zara paas aao
to chain aa jaaye. . .
kya haseen mod par aa gayi zindgani
ke haqeeqat na ban jaaye meri kahaani
jab aahen bhare ye thandi pawan
seene mein sulag uth’ti hai agan
tujhe dekh ke kehta hai mera mann
kahin aaj kisi se mohabbat na ho jaaye. . .
dil ke jharokhe mein tujh ko bitha kar
yaadon ko teri main dulhan bana kar
rakhunga main dil ke paas
mat ho meri jaan udaas
dil ke jharokhe mein tujh ko bitha kar
yaadon ko teri main dulhan bana kar
rakhunga main dil ke paas
mat ho meri jaan udaas. . .
tum ne kisi ki jaan ko
jaate huye dekha hai
wo dekho mujh se rooth kar
meri jaan ja rahi hai
wo dekho mujh se rooth kar
meri jaan ja rahi hai
tum ne kisi ki jaan ko
jaate huye dekha hai
wo dekho mujh se rooth kar. . .
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
किसी ना किसी से
कभी ना कभी
कहीं ना कहीं दिल लगाना पड़ेगा॰ ॰ ॰
तुम ने मुझे
देखा
हो कर
मेहरबान
रुक गई ये ज़मीन
थम गया आसमान
जान ए मन
जान ए जान
तुम ने मुझे
देखा॰ ॰ ॰
बदन पे सितारे लपेटे हुये
ओ जान ए तमन्ना किधर जा रही हो
ज़रा पास आओ
तो चैन आ जाये
ज़रा पास आओ
तो चैन आ जाये
बदन पे सितारे लपेटे हुये
ओ जान ए तमन्ना किधर जा रही हो
ज़रा पास आओ
तो चैन आ जाये
ज़रा पास आओ
तो चैन आ जाये॰ ॰ ॰
क्या हसीन मोड़ पर आ गई ज़िंदगानी
के हक़ीक़त ना बन जाये मेरी कहानी
जब आहें भरे ये ठंडी पवन
सीने में सुलग उठती है अगन
तुझे देख के कहता है मेरा मन
कहीं आज किसी से मोहब्बत ना हो जाये॰ ॰ ॰
दिल के झरोखे में तुझको बिठा कर
यादों को तेरी मैं दुल्हन बना कर
रखूँगा मैं दिल के पास
मत हो मेरी जां उदास
दिल के झरोखे में तुझको बिठा कर
यादों को तेरी मैं दुल्हन बना कर
रखूँगा मैं दिल के पास
मत हो मेरी जां उदास॰ ॰ ॰
तुमने किसी की जां को
जाते हुये देखा है
वो देखो मुझसे रूठ कर
मेरी जान जा रही है
वो देखो मुझसे रूठ कर
मेरी जान जा रही है
तुमने किसी की जां को
जाते हुये देखा है
वो देखो मुझसे रूठ कर॰ ॰ ॰
Pyaar Hua Iqraar Hua Hai
Posted on: July 11, 2019
- In: "Dream of Wide Awake Eyes" | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Lata song | Love song | Lover's tête-à-tête | Lyrics contributed by readers | Manna Dey songs | Manna Dey-Lata duet | Post by Sudhir | Song not figuring in HFGK | Song not mentioned in Hindi Film Geet Kosh | Song used in more than one film | Songs of 1970s (1971 to 1980) | Songs of 1979 | Songs reused again in subsequent movies | Yearwise breakup of songs
- 16 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4010 | Post No. : | 15117 | Movie Count : |
4152 |
Songs Repeated in Hindi Films – 6
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The heart must have missed a beat – on reading the title of this post. Goodness. . . this wonderful iconic song, 65 years ago – it captured the imagination and the hearts of a generation, nay, many a generation of young hearts in love. This unforgettable song is imprinted on the sands of memory, never to be erased by any winds that may blow, till the end of life.
The golden age of melody was at its peak. The manner in which Shailendra knit together the words and lines of this love song – cannot be and has not been bettered since. The melody and the orchestration conceived by Shanker Jaikishan – the arrangement of the instruments, the preludes, the interludes, the rhythm – everything just perfect in this song. The renditions – Manna Da and Lata – the voices working together seamlessly – rising and falling in unison, and in apposition, complementing, merging – the “aa haa haa” lines going up all the way to the clouds. The lines
pyaar jo toota
saath jo chhoota
receding into the depths of somber apprehensions, and then suddenly a rising declaration of a resolution,
chaand na chamkega kabhi
the rendition volume going up all the way to the moon. The resolve expressed with such a dignified confidence in the nature’s machinations. The moon – no it will never stop shining, and thus, by implication, this love will never be broken, this companionship will never part. And suddenly, instinctively, unknowingly there is a lump in the throat and a warm moisture on the corners of the eyelids. Yes, yes – that is what love is – the poet, the music-waala, the singers – yes, they have got it just right, on the dot. Yes that is what love is, what it ought to be. Such noble souls lived in that golden era – who could feel it right, and conjure up an imagination, combining the words, the music and the sound – and then tell it to us so simply – that no further discourse would be necessary.
I am reminded of another quintessential song from the same film –
ramaiya vasta vaiya
maine dil tujhko diya
And once again, the simplest of words, the simplest verse one can conjure up – and there is no better way, no better words invented, before or since, to say – I love you.
And the scene, the depiction – the conceptualization – a master presenter is at work here. Here is an emotional entanglement coming to fruition in the hearts of two young people, almost at the very bottom of the ladder of social significance. A part time employee at a laundry, who has “borrowed” a suit that has come for cleaning, and his shoes are in tatters. A self employed teacher, who gives basic education to the underprivileged children in the backyard of her own home. But then love does not check on social status, or verify your bank balances, before making a burrow into the hearts. That love is simple. That love is without embellishments. That love is honest and innocent. That simply is love, and it happens, just happens.
The overcast skies, the lashing rains, the amused witness – the chaiwaala (tea seller), the incidental umbrella, the handy tootle that the young man plays, the happenstance of three cheruby toddlers in raincoats – all put together in a scenario that simply cannot now be erased from the memory’s palette.
The emotional expressions of the leading pair are just as consummate and accomplished as the scenario itself. The sharing of the umbrella becomes such a pivotal exchange. The young man offers it to the lady. And she hands it back, seeing him getting drenched. He takes it, but then sees that she is in the same plight, so immediately offers it back to her. She once again takes it, and with a helplessness writ large on her face, sees him getting drenched once again. And then the inevitable happens. With her eyes clenched, and her lips trembling with apprehension, she inches closer to him – dawning of the realization that one must share when there is a need. And the two come close now, holding the same umbrella – realizing that in love, one has to share, one has to hold together, and one has to steady each other against the squall of the winds and outpourings of this ruthless world.
And then the song begins – question by the young man, not specifically directed at her, but at himself too. And the lady answers, for both of them together – “. . . Maaloom Nahin Hai Kahaan Manzil . . .”. One of the supreme examples of cinema at its very best, in telling about emotions that shake a heart when the love is just starting to take baby steps in there. Marvellous . . . simply marvelous – much more than the best of the words can express.
Um. . . kind of got carried away with the original. 🙂
25 years after the release of the original, this song was used once again in the 1979 film ‘Salaam Memsaab’. And the manner of use is so very innovative. A little earlier, back in 1970, when ‘Mera Naam Joke’ was released, at the beginning of part II we see Raj Kapoor at the Bombay Carnival, hosting a bioscope stand, singing “Kehta Ha Joker, Saara Zamaana. . .”. And as he sings, he is operating the bioscope in which we are treated to clips of his earlier films, especially ‘Awaara’ and ‘Shri 420’. It is fun to watch those clips in fast forward mode.
In ‘Salaam Memsaab’, a similar presentation is used. A little background. Radha (role played by Zarina Wahab) and Sunder (role played by Asrani) are two young people, friends and in love. They are the street tamaasha people who sing and dance on the roadside to earn their living. Sunder has high aspirations, and wants to become rich quickly. Radha also has aspirations, but she is averse to making compromises with her principles of honesty and truthfulness. They work together, but this difference in their view of life generates arguments.
Near the beginning of the film, just about half hour into it, Radha chances to see a bioscope man, playing his machine near the Gateway of India. She gets in line and starts watching – she gets in when the song “Pyaar Hua Iqraar Hua Hai. . .” is starting to play. We can see her enjoying the show, and then as the lead pair comes on at the beginning of the song, she gets into a different dreamy dimension of fantasy, and instead of seeing Raj Kapoor and Nargis on the screen, she sees herself and Sunder there, performing the same song, singing and expressing their newly discovered love for each other. She is fascinated, and the entire song is replayed on the screen in front of her, performed now by the two new lovers.
This is a very innovative presentation. In the singing parts of the clip, we can see Radha and Sunder performing, and in the other parts of the clip, the director uses the original footage and scenes. The entire song moves back and forth between the now Radha and Sunder, and the earlier scenes. Very interestingly edited and put together. E.g. when the line “Phir Bhi Rahengi Nishaaniyan” is playing, the scene clips back to the original version and we see the three toddlers with raincoats, toddling through the rain. Readers may recall that in the original version, the three kids are the children of Raj Kapoor – Ritu, Randhir and Rishi. The clip cuts back and forth between the current version, shown in subdued colors and shades, and the original version shown in black and white. Very intelligently designed.
In her dream of wide open eyes, Radha sees herself and Sunder, in an exact image of the hero and heroine on screen. As one watches their movements and expressions, the effort has been made to create an exact replica not just of the scenario, but also of the performance and expressions. You can open up two windows in the video playing software, and play the two songs, this one and the original, side by side. One is amazed by the effort made by Zarina and Asrani to replicate the performance as nearly as possible. Ah, we know it is not Raj Kapoor and it is not Nargis. But still it is a very impressive performance to see.
The film ‘Salaam Memsaab’ is produced under the banner of Roshan Films, Bombay and is directed by Asrani himself. The cast of actors includes Asrani, Zarina Wahab, Ranjeet, Manju Bansal, Rahman, Keshto Mukherjee, Asit Sen, Jugnu, Leela Mishra, Sulochana (Senior), Tom Alter, CS Dubey, Arvind Rathore, Anand Girdhar, Amol Sen, Dilip Tahil, Nilu Arora, Master Jeetu, Yusuf, and Raju, with friendly appearances by Ashok Kumar, Sunil Dutt, Yogita Bali, and Rishi Kapoor. The songs of this film are written by Majrooh Sultanpuri and the music is by RD Burman. Seven songs are listed for this film which have been rendered by Mohamed Rafi, Kishore Kumar, Lata Mangeshkar and Asha Bhosle.
This song, being a reuse, is not listed in Geet Kosh. And as I mentioned in an earlier episode of this series, it is not easy to track down such re-use songs, unless one has actually seen the film(s). I had also written that since I started this series, I have been getting inputs from many friends, from our bandwagon and also from others in our music lovers group, about such reuse songs. Since these songs are generally not listed, such inputs from friends has really added many interesting reuse scenarios that I was not aware of.
Today’s song was sent in as a suggestion from Anekant ji. He is a regular contributor in our comments section, and I am sure all are familiar with him. Not being aware of this reuse song, I am delighted to get this input from him. A real wonderful song, and a real wonderful reuse after twenty five years – from 1954 to 1979 to 2019 – and forty more, when we are now reading about it once again. 🙂
A reuse that takes you into a fantasy land of a dream of wide awake eyes. I am sure all of us have had some similar experience some time or another in our lives. Apologies for the digression, but I just remembered another such on screen ‘dream of wide awake eyes’ which I just cannot resist mentioning. 🙂 For all those who have seen and remember ‘Chhoti Si Baat’ (1972). Yes, I am referring to the song “Jaaneman Jaaneman Tere Do Nayan”. Amol Palekar is watching the film in a theatre. Onscreen the song is being performed by Dharmendra and Hema Malini. And within a few seconds, Amol Palekar goes into this ‘dream of wide awake eyes’, and through his eyes, we see the song being performed on screen by himself and Vidya Sinha. The reverie is quiet painfully broken as the villain appears at the end of the song and hits the hero with a belt. (Just from that split second profile, my feeling has been that it was actor Manmohan, the villain I mean.)
Ah so, we have a new category of songs to mull over – ‘dream of wide awake eyes’. And I am sure the readers will recall many such songs in Hindi films – yes, we do that a lot. 🙂
Enjoy today’s wonderful reuse treat and let’s wait for the next – what more such entertaining surprises are coming up.
Song – Pyaar Hua Iqraar Hua Hai (Salaam Memsaab) (1979) Singer – Manna Dey, Lata Mangeshkar, Lyrics – Shailendra, MD – Shanker Jaikishan
Manna Dey + Lata Mangeshkar
Lyrics
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
(aaa aaa aaa)
iqraar hua hai
(aaa aaa aaa)
pyaar se phir kyun darta hai dil
(aaa aaa aaa)
kaho ke apni preet ka
geet na badlega kabhi
tum bhi kaho is raah ka
meet na badlega kabhi
pyaar jo toota
saath jo chhoota
chaand na chamke ga kabhi
aaa haaa haaa
aaa haaa haaa
aaaaa haaa haaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
(aaa aaa aaa)
iqraar hua hai
(aaa aaa aaa)
pyaar se phir kyun darta hai dil
(aaa aaa aaa)
raaten dason dishaaon se
kahengi apni kahaaniyan
geet hamaare pyaar ke
dohraayengi jawaaniyan
main na rahoongi
tum na rahoge
phir bhi rahengi nishaaniyaan
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
(aaa aaa aaa)
iqraar hua hai
(aaa aaa aaa)
pyaar se phir kyun darta hai dil
(aaa aaa aaa)
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
(आ आ आ)
इक़रार हुआ है
(आ आ आ)
प्यार से फिर क्यों डरता है दिल
(आ आ आ)
कहो के अपनी प्रीत का
गीत ना बदलेगा कभी
तुम भी कहो इस राह का
मीत ना बदलेगा कभी
प्यार जो टूटा
साथ जो छूटा
चाँद ना चमकेगा कभी
आ हा हा
आ हा हा
आss हा हा
आ आ आ
आ आ आ
आ आ आ
आ आ आ
आ आ आ
आ आ आ
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
(आ आ आ)
इक़रार हुआ है
(आ आ आ)
प्यार से फिर क्यों डरता है दिल
(आ आ आ)
रातें दसों दिशाओं से
कहेंगी अपनी कहानियाँ
गीत हमारे प्यार के
दोहराएंगी जवानियाँ
मैं ना रहूँगी
तुम ना रहोगे
फिर भी रहेंगी निशानियाँ
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
कहता है दिल
रास्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
(आ आ आ)
इक़रार हुआ है
(आ आ आ)
प्यार से फिर क्यों डरता है दिल
(आ आ आ)
Jaaneman jaaneman tere do nayan
Posted on: May 22, 2009
Most Bollywood movies are make believe ones where the main characters lead dream lives that are far removed from reality.
Read more on this topic…
Aa mere hamjoli aa
Posted on: February 12, 2009
“Jeene Ki raah” had some very popular songs sung by Rafi. I have already posted one song from this movie.
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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