Archive for the ‘Udit Narayan-Kavita Krishnamoorthy duet’ Category
Kuchh is tarah do dil miley
Posted on: February 21, 2024
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5696 | Post No. : | 18214 | Movie Count : |
4890 |
‘Bhairavi’ (1996) was produced by Mahesh Bhatt and Amit Khanna under the banner of Plus Films and it was directed by Arunaraje Patil. The cast included Ashwini Bhave and Sridhar in lead roles, supported by Manohar Singh, Anjana Mumtaz, Sulabha Deshpande, Dilip Raj, Umashri etc. It was a musical off-beat film which had a limited theatrical release as it was targeted at the niche audience. The film’s shooting was completed in 45 days and was majorly shot around Mysore.
The film’s lead actor, Sridhar is a well-known Kannada film actor with many awards to his credit. He has also acted in Tamil, Telugu and Malayalam films. ‘Bhairavi’ (1996) was his only Hindi film so far. Sridhar is also a trained Bharatanatyam dancer. He has performed at many dance shows with his wife, Anuradha Sridhar. He was also one of the choreographers for the this film.
The director of the film, Arunaraje Patil is an award-winning producer, director, writer and editor who is the alumni of the Film and Television Institute of India (FTII). She passed out in 1969 with a gold medal. She was the first woman film technician to pass from FTII and the first trained woman technician of the Hindi film industry. Recently, I have read her 238-page autobiography, ‘Freedom – My Story’ (2017) written by her which is a journey of her life. Most of her personal as well as professional journey discussed below is based on her autobiography.
Arunaraje Patil was born on October 17, 1946, in Pune. Her mother, Puttamma Patil was from royal family who stood for women empowerment. Her father, K F Patil was a freedom-fighter from Ranebennuru in Dharwad district (now in Haveri district). He was a member of Forward Block of Netaji Subhash Chandra Bose. Later, he became the member of the Indian National Congress. The family shifted to Pune when her father was inprisoned in Yerwada Jail in Pune during 1942-46. He was disillusioned with the political system post-indepedence India despite holding ministrial posts both in then Bombay State and later in Karnataka. He turned Gandhian and lived an austere life serving for the upliftment of Harijans and for girls’ education in his village.
Arunaraje excelled in inter-collegiate plays and won awards for acting. A brilliant student in her school and college, Arunaraje was coerced into studying medicine and got admission in Grant Medical College, Mumbai. However, in the first year, she failed in Anatomy subject. It was a shocking news for her mother, who finally realised her interest in filmy career. So, she allowed her daughter to apply to FTII. In the interview, she got rejected for the Acting Course but was offered double diploma course in Direction and Editing which she accepted. In 1969, she completed her Diploma course in Direction and Editing with a gold medal. In FTII, she met Vikas Desai, nephew of music director, Vasant Desai (Vikas Desai’s father, Motiram Desai was a cousin of Vasant Desai) who was one year senior to her in FTII. Arunaraje fell in love with him in FTII. They got married just before her graduation ceremony in FTII.
‘Vamsha Vriksha’ (1971), a Kannada film was Arunaraje’s first feature film assignment as an editor as film’s directors, Girish Karnad and B V Karanth had watched her calibre in FTII. However, they were for a shock when she reached the editing room in a wheelchair with a masked on her face, having met with a major accident that resulted in her legs getting fractured and injuries over her face and nose. During the film’s editing work, she worked, ate and slept in the editing room as she was not in a position to climb on the staircase. She kept her commitment to the film’s directors despite her adverse physical conditions. She won Karnataka State Film Award for the Best Editor for the film.
Arunaraje and Vikas Desai were the first husband-wife director duo (named as Aruna-Vikas) in Hindi films, their first film being ‘Shaque’ (1976). Thereafter, the duo directed two more Hindi films, ‘Gehraayee’ (1980) and ‘Situm’ (1982). They also jointly edited Shekhar Kapoor’s ‘Maasoom’ (1983) and T S Ranga’s ‘Giddh’ (1984).
When Aruna-Vikas as director and editor duo were doing fine in their career, tragedy struck to Arunaraje. Gaagi, their elder daughter of 7 years was diagnosed with blood cancer. They tried their best to get her recover from the cancer but in vein. After two years of suffering, in 1983, Gaagi passed away one morning. There was another tragedy waiting for Arunaraje. The very next day of their daughter’s death, Vikas Desai, her husband of her two children shocked her by asking for divorce from her to marry one of Aruna’s closest friends. Apparently, her husband was having an affair with her closest friend even during the illness of her daughter. [Arunaraje’s closest friend whom her ex-husband finally married was Tejashree, daughter of V Shantaram and the sister of Rajshree]. Within 24 hours, Arunaraje had lost her daughter, her husband, and her closest friend. She tried to commit suicide but could not do so as she had a little boy, Hith to take care of. She suffered from acute depression and had to take a psychiatric’s help.
After recovering from the depression, she decided to divert her mind by engaging herself in what she had been trained to do, that is, filmmaking. She set up her film production company, ‘Gaahimedia’ and planned to make a bold woman-oriented film, ‘Rihaaee’ (1988) with her close friend, Smita Patil as a protagonist in the film. The tragedy struck to Arunaraje once again when Smita Patil passed away in 1986. This resulted in the relapse of her depression. She almost shelved the film. But wiser counsel prevailed on her when her friends pointed out that she had taken loan from NFDC which will lapse. So, she restarted the project with Hema Malini.
She continued to make feature films in Hindi and Marathi which included ‘Bhairavi’ (1996), ‘Tum’ (2004), ‘Firebrand’ (2019, Marathi) etc. All of her films have strong women-oriented themes. She has also made advertising films, documentaries and TV Serials. She is the visiting lecturer in FTII and worked full time as the head of Direction in Subhash Ghai’s Whistling Woods International Film School teaching the subjects of Screenplay writing, Direction, Editing and Production. In 2020, she started her own film school, ‘Shift Focus – A School for Cinema and Life’. Presently, she had retired from her filmy career and taken up the assignment in the US-based Landmark Worldwide as a Forum Leader for India.
The gist of the story of ‘Bhairavi’ (1996) is as under:
Govind (Manohar Singh), his wife, Radha (Anjana Mumtaz) lives in a village with their daughter, Ragini (Ashwini Bhave) who is a visually impaired. Govind is a singer and also runs music classes for a living. Radha is worried as to how to get Ragini married because of her disability. With this kind of the tension, her health starts deteriorating and she dies of stroke. Govind, while travelling to another town for discussing with prospective groom for Ragini, he meets with an accident and dies. Now Ragini is living alone and her maternal aunt (Sulabha Deshpande) who is her neighbour, takes care of her. Her father has left her with house, jewelleries and some bank deposits for her sustenance.
Ragini has been trained by her father to be a singer and is also well-versed in household work. She starts teaching music to village children. During one of her singing lesson, Rajan Swamy (Sridhar) meets Ragini and introduces himself as a former student of her father who is now employed. They often meet and eventually fall in love. Soon they get married.
Post marriage, Ragini feels blessed as Rajan is very cooperative, taking care of her personal needs. She feels that Rajan has become her ‘eyesight’. She has been spending with a happy and blissful married life. One day, Rajan goes on a tour on office work and tells Ragini that he would return in a week’s time. Even after a week has been passed, Rajan has not returned, nor he has sent any intimation to Ragini. She consoles herself by assuming that there must be some genuine reason for his delay in return.
In the meanwhile, Ragini finds her jewellery missing from the house. She visits bank where she gets to know from the bank manager that all her deposit has been withdrawn and fixed deposits enchased by Rajan, leaving a paltry sum in her saving account. He has also committed fraud in his office. Still, Ragini believes that there may be some misunderstanding as she cannot believe of Rajan doing this to defraud her. It is only after his office and the bank file a police complaint, police get hold of Rajan and put him behind bar. Rajan tells the police officer very confidently that his wife would come and arrange his bail as she loves him. She does come to the police station to get him released on bail. In the police station, Ragini overhears this conversation which makes her very clear that Rajan does not love her. He is using her to get him out of jail. She tells Rajan that he cannot take her for granted because she is his wife. She leaves the police station by telling him that she has nothing to do with him anymore. While returning him, While returning home she crosses the River Kaveri by a coracle, takes out her manalsutra and immerses it in the river, signifying that her husband is as good as dead for her.
The film ends with Ragini continuing her life with singing in the temple and teaching music as hitherto.
‘Bhairavi’ (1996) had 7 songs written by Amit Khanna which were raag-based musical compositions by Laxmikant-Pyarelal. I am presenting the first song from the film. ‘kuchh iss tarah do dil miley’ to appear on the Blog. The song is rendered by Udit Narayan and Kavita Krishnamurthy. The song is picturised on Sridhar and Ashwini Bhave. The song is pictuirsed in around River Kaveri with the last scene of the song picturisation with the background of Gaganchukki Falls of the River Kaveri near Malvalli village.
This song fetched Amit Khanna the National Film Award for the best lyrics in 1996.
Video Clip:
Audio Clip:
Song-Kuchh is tarah do dil miley (Bhairavi)(1996) Singers-Udit Narayan, Kavita Krishnamurthy, Lyrics-Amit Khanna, MD-Laxmikant Pyarelal
Both
Lyrics
kuchh iss tarah
do dil miley
kuchh iss tarah
do dil miley
jaise miley ik raag mein
tere gaaye geet
mere gaaye geet
tere gaaye geet
kuchh iss tarah
do dil miley
kuchh iss tarah
do dil miley
jaise miley ik raag mein
tere gaaye geet
mere gaaye geet
tere gaaye geet
saanson ki pagdandiyon se gujarte huye
khwaabon ke jungle mein hum kho gaye
taaron ki waadiyon mein chalte huye
ajnabi raahgeer ik ho gaye
kuchh iss tarah
do dil miley
kuchh iss tarah
do dil miley
jaise khilen ik yaad mein
tera ateet
mera ateet
tera ateet
shabnam ke katron se naazuk ye pal
hathheli se apni girne naa do
mausamon se kaho
youn basant hi rahe
samay dhalne na do
isey badalne naa do
kuchh iss tarah
do dil miley
kuchh iss tarah
do dil miley
jaise miley sadiyon ke meet
sadiyon ke meet
sadiyon ke meet
sadiyon ke meet
aa aa aa aa aa aa
aa aa aa aa aa aa
aa aa aaa
khushbuyon ke baagh mein jhilmilaaten huye
jugnuyon kaa melaa lagaa
chaandni ki aag mein khilkhilaate huye
paani ke bulbulon kaa
relaa jagaa
kuchh iss tarah
do dil miley
kuchh iss tarah
do dil miley
jaise phale teri meri preet
meri teri preet
teri meri preet
meri teri preet
kuchh iss tarah
kuchh iss tarah
do dil miley
do dil miley
kuchh is tarah
kuchh iss tarah
do dil miley
do dil miley
jaise miley ik raag mein
tere gaaye geet
tere gaaye geet
mere gaaye geet
mere gaaye geet
tere gaaye geet
tere gaaye geet
mere gaaye geet
mere gaaye geet
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5551 | Post No. : | 18016 | Movie Count : |
4827 |
Maqbool Fida Husain (17/09/1915 – 09/06/2011), better known as M F Husain, has been a celebrated painter not only of India but for world over. He has been also called as ‘Picasso of India’. He was the highest paid painter of India. It is said that the great artists have their own muse which motivate them to excel in their chosen form of arts. Madhuri Dixit was Husain’s first among his other Bollywood muses when he got hooked to her film, ‘Ham Aapke Hain Kaun’ (1994). He painted her umpteen times. In ‘Mohabbat’ (1997) in which Madhuri Dixit played the role of an artist, her paintings in the film were actually done by M F Husain.
M F Husain’s association with Hindi films was as old as mid 1930s when he undertook the work of painting cinema posters while he was studying at Sir J J School of Arts in Mumbai. In 1967, he made his first short film, ‘Through the Eyes of a Painter’ for Film Division. The film was screened at the Berlin International Film Festival and won a Golden Bear. In the fag-end of his career, Husain got interested in making feature films in Hindi with his first muse. At the age of 85, M F Husain directed his first feature film, ‘Gaja Gamini’ (2000) which I am discussing in this article.
The film was produced by M F Husain and Rakesh Nath (Madhuri Dixit’s secretary). Madhuri Dixit played the title role of Gaja Gamini supported by Shah Rukh Khan, Inder Kumar, Naseeruddin Shah, Shabana Azmi, Shilpa Shirodkar, Raisa Husain (M F Husain’s daughter), Mohan Agashe, Ashish Vidyarthi, Farida Jalal, Tej Sapru, Kalpana Pandit etc. The film was a disaster at the box office.
I had watched this film for the first time in 2014. I could not understand as to what the film intended to convey to the audience. It is interesting to note that Naseeruddin Shah, who had done the role of Leonardo Da Vinci in the film, had said that he could not comprehend the film and felt bewildered while doing it. He said he would not recommend watching the film. It was also reported in the newspapers that when the film was shown during the Mumbai International Film Festival before its release, most of the audience left the hall halfway. Most probably, the rest of the audience sat till last, out of respect for M F Husain.
Recently, I watched the film once more mainly for comparison purpose when I was working on an article on M F Hussain’s second film, ‘Meenaxi’ (2004). The article is already posted on the Blog. Now, I have broadly understood that M F Husain was trying to convey through the film that Gaja Gamini was a mysterious woman in her various avatars through centuries. But still I have not fully understood the film. Most of the symbolism used in the film appears abstract to me, barring a few like when Madhuri Dixit sings a song carrying on her head a heavy ‘gathri’ (load), symbolising the burden on the womanhood. I have a doubt whether the film was shot with any formal script/ screenplay.
It is interesting to note that Satyajit Ray was also a painter and graphic designer. I remember to have seen on the internet the manuscript of a ‘red book’ (Kheror Katha) of a film which is not the script or screenplay of the film but a complete document of a film in the making, encompassing screenplay, dialogues, scenes and costumes in sketches, music notations etc. Satyajit Ray’s writing of scenes for the films will have some perspectives of a painter and the graphic designer apart from cinematic requirements. Probably, M F Husain as a painter has visualised his scenes more from a painter’s perspective then the cinematic requirements. Just as a common man cannot interpret his painting, so is his film ‘Gaja Gamini’ (2000). This is the crux of the problem for the common cine audience to understand his film. To some extent, M F Husain had rectified this issue in ‘Meenaxi’ (2002).
Coming back to the film, ‘Gaja Gamini’ (2000), is the film for the adornment of womanhood. Madhuri Dixit as Gaja Gamini (English meaning: walking majestically like an elephant) is a mysterious woman who appears in the film in four main characters. She is Gaja Gamini/Sangita to Kamdev (Inder Kumar), Shakuntala to Kalidas (Mohan Agashe), Mona Lisa to Leonardo Da Vinci (Naseeruddin Shah) and Monica to a photojournalist (Shah Rukh Khan). She is a woman of different moods and intellects to man through different periods, the Monica being the characters of the current century. In the view of M F Husain, just as Shakespeare’s plays of 14th centuries are still staged in 21st century with different actors for the same characters, he has also taken liberty to show Kamdev, Leonardo Da Vinci and Kalidas meeting together at Banaras ghat crossing over from one century to another, discussing their common mystery woman, the muse, Gaja Gamini who is unseen.
The idea of M F Husain in making ‘Gaja Gamini’ (2000) is nicely set out in an article by Professor Preeti Oza which may be of interest to the readers of the Blog. Whether his idea has been properly conveyed through the cinematic form is a different issue. Some had called it after its release as a senseless film.
In the film, there are some more woman characters as counterparts of the of Gaja Gamini. They are Nirmala (Shabana Azmi), from Munshi Premchand’s novel, who is struck in tragedies, Phulvania (Raisa Husain), the flower girl whose husband has been murdered, Sindhu (Shilpa Shirodkar) and Noorbibi (Farida Jalal).
There is a couple of scenes of Kalidas (Mohan Agashe) with a Scientist (Ashish Vidyarthi) arguing on literature versus science. I like one dialogue which Kalidas says that scientist talks from brain while a laureate talks from brain as well as from the heart.
All the sets used in the film look like the colour paintings, the most predominant set being that of Banaras ghat. I will call ‘Gaja Gamini’ (2000) a film in which M F Husain plays a ‘lead actor’ through his paintings and paintings-like sets and Madhuri Dixit, the lead actress shuffles through these paintings-like sets. The actors in the film remind the viewers that it is a film and not a montage of painting.
The film has six songs written by Maya Govind (4), Javed Akhtar (1) and M F Husain (1) which are set to music by Bhupen Hazarika. In addition, there are two Sanskrit chants of Mahakavi Kalidas. I am presenting the first song, ‘do sadiyon ke sangam par milne aaye hain’ from the film to appear on the Blog. The song is written by Javed Akhtar and is rendered by Udit Narayan and Kavita Krishnamurthy.
The picturisation and the situation in the film appears like a typical song from the mainstream Hindi film. The reason is that Monica (Madhuri Dixit) is in her avatar of the current century who is in love with a photojournalist (Shah Rukh Khan). But there is a difference in shooting. The entire song of about 4 minutes is picturised on the same set which looks like a replica of M F Husain’s painting. There is a brick wall in the middle of the set, symbolising the division between two centuries. On the one side of the wall is the old cycle and in the other side of the wall is a vintage car symbolising the old and the new centuries.
Video Clip:
[https://www.dailymotion.com/video/x2etssc]
dailymotion id=x2etssc
Audio Clip:
Song-Do sadiyon ke sangam par milne aaye hain (Gaj Gamini)(2000) Singers-Udit Narayan, Kavita Krishnamurthy, Lyrics-Javed Akhtar, MD-Bhupen Hazarika
Both
Lyrics (based on audio clip)
do sadiyon ke sangam par
milne aaye hain
do sadiyon ke sangam par milne aaye hain
do sadiyon ke sangam par milne aaye hain
ek sadi kee shaam jahaan par
ek sadi ka wahin savera
samay na daale kahin bhi dera aa
ek samay lekin
do sadiyaan
do sadiyaan
ek samay lekin
do sadiyaan
do sadiyaan
do sadiyon ke beech uthhi…
do sadiyon ke beech uthhi
ehsaas kee ik deewaar
ehsaas kee ik deewaar
iss deewaar ke peechhe jaa ke ae
iss deewaar ke peechhe jaa ke
bhes badalta ye samay
bhes badalta ye samay
yaad karta hai shringaar
do sadiyon ke sangam par milne aaye hain
do sadiyon ke sangam par milne aaye hain
ek sadi kee shaam jahaan par
ek sadi ka wahin savera
samay na daale kahin bhi dera aa
ek samay lekin
do sadiyaan
do sadiyaan
ek samay lekin
do sadiyaan
do sadiyaan
neele rang ke iss daaman mein
kitne sukoon bhare lamhe hain
neele neele rang mein aen
rooh ke saare geet ghule hain
surkhi jaise garam lahu hai
chhalak sharaab hai surkhi
surkhi taaza zakhm jaise
khilta gulaab hai surkhi
ho jism mein behtee saari surkhi
rooh ke saare neele naghme ae
do sadiyon ke sangam par milne aaye hain
do sadiyon ke sangam par milne aaye hain
ek sadi kee shaam jahaan par
ek sadi ka wahin savera
samay na daale kahin bhi dera aa
ek samay lekin
do sadiyaan
do sadiyaan
ek samay lekin
do sadiyaan
do sadiyaan
- In: Devnagri script lyrics by Sudhir | Duet | Evening song | Feelings of heart | Guest posts | Kavitha Krishnamurthy Songs | Lyrics contributed by readers | Post by Sadanand Kamath | Songs of 1990s (1991 to 2000) | Songs of 2000 | Udit Narayan Song | Udit Narayan-Kavita Krishnamoorthy duet | Yearwise breakup of songs
- 5 Comments
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5548 | Post No. : | 18011 | Movie Count : |
4822 |
Recently, I came across an audio clip of a song from ‘Mil Gayee Manzil Mujhe’ (1998), a film directed by Lekh Tandon. Online resources shows that the film was completed in 1997 but remained unreleased. The audio album of the songs was released in January 1998. I got confused as there was another film in the same title with Mithun Chakraborty and Moon Moon Sen in lead roles which was released in 1989. Things got somewhat cleared when I came across an interview of Milind Gunaji, one of the main actors of the film, which appeared on rediff.com on January 9, 1998. He said that after the completion of about 70 percent of the shooting, Lekh Tandon left the film. However, after some time, he was persuaded to complete the film which he did in December 1997. Still the film did not get released.
Milind Gunaji also revealed that he was doing a role of a Veerappan type of a character and Meenakshi Seshadri as a TV journalist who gets opportunity to interview him. Her cameraman, Kanwaljeet Singh who is actually an undercover commando, deceitfully arranges his killing and Meenakshi Seshadri cries over his dead body. With this background, I tried to locate the video clip of the song as well as the full movie but could not find anywhere. Finally, I got the video clip of the song under the name of the film, ‘Do Raahen’ (1998). With this name, I searched for the video of the full movie, and I got it. I watched the film and got the information from its credit titles.
‘Do Raahen’ (2000) was certified by the Censor Board as such on 31/08/2000, even though the film was ready by the end of 1997 as per Milind Gunaji’s interview referred to above. The film was produced by Plus Films (which means the connection of Mahesh Bhatt and Amit Khanna) and was directed by Lekh Tandon. The star cast included Meenakshi Seshadri, Kanwaljeet Singh, Milind Gunaji, Deepak Qazir. Saleem Shah, Shiva Rindani, Masood Akhtar, Rana Jung Bahadur, Prabha Mishra, Madhumalati etc. I am not sure whether the film got a theatrical release. But the film was released on DVD by Ultra. The song album was released in January 1998 with the original name of the film, ‘Mil Gayee Manzil Mujhe’. Probably, at the time of submission of the film to Censor Board, the film’s title was changed to ‘Do Raahen’ (2000).
I am giving below the detailed story of the film as it is not available anywhere online.
Kannagi (Meenakshi Seshadri) a TV journalist with Channel 16, has been assigned to cover the tribal uprising under the leadership of Rajappa (Milind Gunaji) during fires on tribals, killing some of them. Kannagi reports in her TV programme that the police forces had no reason to brutally repulse the peaceful demonstration. As a revenge, the police officer who is responsible for the killing of some tribals is kidnapped by Rajappa’s men and is hacked to death. There is a uproar among the people of the State for law-and-order problems. The State’s Chief Minister (Deepak Qazir) calls a press conference in which he reveals that the State Government has taken a decision to form a Committee under the chairmanship of a retired judge to look into the problems of tribals. Kannagi questions Chief Minister as to why no tribal representatives have been included in the Committee to which he replies that they first need to give up the uprising against the state government.
Rajappa is very much impressed by the reporting of Kannagi as her presentations on the TV is favourable towards tribals. He is also infatuated with her. So, he sends a message to her that he is ready to give his first ever interview to her provided she comes alone. Kannagi is happy but at the same time she is apprehensive about visiting alone due to the risk involved. While she was a looking for a person who could shoot while taking interview, she gets a reference of Shubhankar (Kanwaljeet Singh) who is a wild-life photographer. She picks him as her cameraman telling him that she is taking him for shooting for a documentary film on the wildlife in a forest. Shubhankar is actually an undercover commando of the police force which Kannagi is unaware.
After a couple of days of surveillance of Shubhankar by the Rajappa’s men in the forest, they are allowed to meet Rajappa in his hideout. During this period, Kannagi and Shubhankar become close. But both of them do not explicitly express their love for each other. On the other hand, Rajappa because of his infatuation of Kannagi spends time with her in the guise of showing her the life of tribals in the forest. In the meanwhile, Shubhankar has arranged commando forces to be ready in the vicinity of the forest as cover.
In one of his meetings with Kannagi, Rajappa reveals his love for her. He says that just to prove his love, he is prepared to die for her. On the other hand, Shubhankar after getting exposed as an under-cover commando, gets a reprieve from Rajappa simply because Kannagi tells him to do so at the cost of her life. He is taken out of the forest by two guards of Rajappa. However, they are killed by Shubhankar on the way, and he returns to Kannagi’s tent to formally tell her that he loves her, and it is his duty to save her from Rajappa.
The chief of the commando force (Shiva Rindani) joins Shubhankar. Both of them decide to make Kannagi as a bait to lure Rajappa to meet them on the negotiating tables under the assurance that he will not be arrested or killed even if the negotiation fails. Since this offer has come from Kannagi, Rajappa agrees to meet them against the strong advice of his Baba, the brain behind the tribal uprising. When Rajappa comes near the white flag, he is killed instantaneously by the commando forces which makes Kannagi very sad. She strongly feels that commando forces have gone against their assurances both to her and Rajappa. The next day, she gives a live TV news from the Bandipore forest about the death of Rajappa. She tells that she is against any killings whether by Rajappa or the police forces. The collective will of the people should prevail as to who should govern them.
The story of the film appears to be partly based on the life of Veerappan. Milind Gunaji in the role of a rebel leader of the tribals is named as Rajappa and he is shown to operate in around Bandipore forest region. However, there is a love angle added to his character which becomes his obsession and eventually his end. On the other hand, there is also a love angle between Kannagi and Shubhankar which leads to his defying the order from his chief to abandon the plan once he is exposed and return to the base at once. And what a coincidence! There are some similarities in the death of Rajappa and Veerappan. Rajappa in the film is killed in deceit by the undercover commando in the guise of a TV cameraman while four years later, Veerappan was killed in deceit by the Tamil Nadu Police Task Force, by a member who was in the guise of a driver of an ambulance van.
‘Do Raahen’ (2000) has six songs, all written by Javed Akhtar and set to music by Bhupen Hazarika. I am presenting the first song from the film, “Shaam Dhai Ban Mein Mehki Hawa” to appear on the Blog. The song is rendered by Udit Narayan and Kavita Krishnamurthy and is picturised on Kanwaljeet Singh and Meenakshi Seshadri in the forest on their way to meet Rajappa (Milind Gunaji). In the song, some men of Rajappa are seen keeping a close surveillance on both of them.
The tune of the song sounds like that of a folk song. The santoor played in the prelude music gives an impression like a call of the valley. A search on the internet took me to an Assamese song, “O Bideshi Bondhu” written and sung by Bhupen Hazarika in the National Film Award winning Assamese film, ‘Chameli Memsaab’ (1975). The film was made with the same title in Bangla and Hindi in 1979 and the song with the same tune was also incorporated in these films.
I have also given below the audio clip of the Assamese original song for the comparison purpose. I find the rendition of Bhupen Hazarika in the Assamese film more emotional than in its counterpart in the film under discussion. The reason is that in the Assamese film, the song is for ‘missing the loved one’ while in the film under discussion, it is a love song.
Audio Clip (Assamese original song):
Video Clip:
Audio Clip:
Song-Shaam dhalee ban mein mehkee hawaa (Do Raahen)(2000) Singers-Udit Narayan, Kavita Krishnamurthy, Lyrics-Javed Akhtar, MD-Bhupen Hazarika
Both
Lyrics (based on audio clip)
shaam dhali ban mein
mehki hawa
shaam dhali ban mein
mehki hawa
dheere se tum ne
kya hai kaha
sun ke ye mann jhoome
mera. . .
shaam dhali ban mein
mehki hawa
mehki hawa
mehki hawa
gun gun suron se goonjen basere
panchhi jab gaayen
soyi thhi mann mein kya jaane kab se
jaagi wo aashaayen
humko tum jo mil gaye
phool kitne khil gaye
mann ke aangan mein. . .
shaam dhali ban mein
mehki hawa
shaam dhali ban mein
mehki hawa
dheere se tum ne
kya hai kaha
sun ke ye mann jhoome
mera. . .
shaam dhali ban mein
mehki hawa
mehki hawa
mehki hawa
bal kha ke chalti ithlaati nadiyaan
khele kinaare se
paani pe jhukti phoolon ki daali
kare ishaare se
jaane tum ho kyun gumsum
paas aa ke hum ko tum
baandh lo bandhan mein aen
shaam dhali ban mein
mehki hawa
dheere se tum ne
kya hai kaha
sun ke ye mann jhoome
mera. . .
shaam dhali ban mein
mehki hawa
mehki hawa
mehki hawa
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
शाम ढली बन में
महकी हवा
शाम ढली बन में
महकी हवा
धीरे से तुमने
क्या है कहा
सुन के ये मन झूमे
मेरा॰ ॰ ॰
शाम ढली बन में
महकी हवा
महकी हवा
महकी हवा
गुन गुन सुरों से गूँजें बसेरे
पंछी जब गायें
सोई थी मन में क्या जाने कब से
जागी वो आशाएँ
हमको तुम जो मिल गए
फूल कितने खिल गए
मन के आँगन में
शाम ढली बन में
महकी हवा
धीरे से तुमने
क्या है कहा
सुन के ये मन झूमे
मेरा॰ ॰ ॰
शाम ढली बन में
महकी हवा
महकी हवा
महकी हवा
बलखा के चलती इठलाती नदियां
खेले किनारे से
पानी पे झुकती फूलों की डाली
करे इशारे से
जाने तुम हो क्यों गुमसुम
पास आ के हम को तुम
बांध लो बंधन में
शाम ढली बन में
महकी हवा
धीरे से तुमने
क्या है कहा
सुन के ये मन झूमे
मेरा॰ ॰ ॰
शाम ढली बन में
महकी हवा
महकी हवा
महकी हवा
Ye Shaamen, Sab Ki Sab Shaamen
Posted on: August 23, 2023
- In: Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Love song | Lover's tête-à-tête | Lyrics contributed by readers | philosophical song | Post by Sadanand Kamath | Songs of 1990s (1991 to 2000) | Songs of 1993 | Udit Narayan Song | Udit Narayan-Kavita Krishnamoorthy duet | Yearwise breakup of songs
- Leave a Comment
This article is written by Sadanand Kamath, 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 : |
5514 | Post No. : | 17960 | Movie Count : |
4804 |
As per Hindu mythology, the Sun god is travelling in the sky on a chariot pulled by seven horses. After pulling the chariot for a long time, the six horses are tired. It is the seventh horse who remains and continues to pull the chariot signifying it to be the horse of dreams and aspirations for the future. In 1952, Dr Dharamvir Bharati published his novella, ‘Suraj Ka Saatvan Ghoda’. I read the novella in full which is available online. The novella is written in narration style in which the protagonist, Manik Mulla narrates to his three friends, three separate romance stories relating to three girls. What is of interest is that Manik Mulla is not only the narrator of the stories, but he is also the characters in all the three stories who loves these three girls at different points of time in his life. As Agyeya said in his foreword to the novella, ‘Suraj Ka Saatvan Ghoda’ is not the one story comprising three stories, but three stories constituting one story. The author, in his introduction, has revealed that during his early period of writing, he was influenced by Marxist objectives rather than hardcore Marxism. In this novella, some indications of that objectives can be inferred. The full novella in Hindi can be read here.
After four decades since the novella was published, Shyam Benegal adapted its story in toto to make a film by the same name, ‘Suraj Ka Saatvan Ghoda’ (1993). When Shyam Benegal approached Dr Bharati for his permission to adapt his novella into a feature film, he gave permission without any hesitation. However, some well-wishers of Dharmvir Bharti cautioned him about some filmmakers deviating from the literature. But Dharmvir Bharti brushed aside their concern by telling them that he has entrusted his work to Shyam Benegal and not just any filmmaker and he has immense faith in him. He also did not go through the screenplay written by Shama Zaidi. [Source: The Hindu, 17/09/2017].
The film was produced by NDFC and Doordarshan and was directed by Shyam Benegal. The cast included Rajit Kapur, Rajeshwari Sachdev, Pallavi Joshi, Neena Gupta, Amrish Puri, Anang Desai, Riju Bajaj, Lalit Tiwari, Ila Arun, Raghuveer Yadav, Ravi Jhankal, Suresh Bhagwat, KK Raina, Virendra Saxena, Shashibala Sahay, Mohini Sharma etc.
The three stories pertain to three girls. First, Jamuna (Rajeshwari Sachdev) who has been brought up in a middle-class family. Second, Leela/Lily (Pallavi Joshi), who belongs to an upper-middle class family and is educated, strong and independent-minded. The third girl, Sati (Neena Gupta), a destitute brought up by an ex-army man since her childhood. Her origin is from a gypsy family. Manik Mulla (Rajit Kapur) loves all the three girls at different points of time but love does not fructify. The tragedy is that Manik Mulla witnesses the marriage ceremonies of Jamuna and Lily and becomes a moot spectator to Sati being dragged out of his house where she has come to him for shelter. Although the three stories are different, they get intertwined as some characters are common in all the three stories and they are based in the same village.
The gist of the film’s story is as under:
The film starts with Manik Mulla, a railway employee serving watermelons to his three friends, Shyam (Raghuveer Yadav), Omkar (Siraj Ahmed) and Prakash (Rakesh Dhar) who normally assemble in his house in a series of afternoons to hear love stories from him. After the conclusion of each story, his three friends critically evaluate the stories, and he responds to their queries pertaining to the story.
The first story is that of Jamuna who is a school dropout. She is in love with her neighbor, Tanna (Riju Bajaj). At the same time, she has friendly disposition towards another neighbor, Manik Mulla who has some sort of platonic love for her but cannot express explicitly. Jamuna could not marry Tanna because of his cowardliness as he had no guts to defy his father, Maheshwar Dalal (Amrish Puri) who is money minded (dowry) and also a womanizer. She tells her disappointment to Manik Mulla and meets him almost every day. Eventually, Jamuna’s mother gets her married to an old landlord (Suresh Bhagwat) who is a widower with lot of wealth. But he dies within a short time. Jamuna finds solace in having inherited a good financial security apart from having extra-marital relationship with a horse-cart man, Ramdhari (Ravi Jhankal).
The second story is that of Leela/Lily, the only daughter of a widowed mother (Ila Arun). She has a wealthy background. Manik Mulla loves Lily which she reciprocates. But her widow-mother gets Lily married to Tanna against her wish. Tanna’s father, Maheshwar Dalal sees a double opportunity in this marriage. He sees a chance to flirt with Lily’s widow-mother and also her wealth which Lily will eventually inherit. However, Lily is not happy with this marriage as she does not find her husband in the same intellectual level as she is. After Lily becomes pregnant, she leaves her husband permanently and shift to her mother’s house by saying that she has got everything, and she does not need a man.
The third story is of Sati who belongs to the lower strata of the society. She earns a living by making soap. She genuinely loves Manik Mulla. His elder brother (KK Raina) does not like Manik’s liaison with her and threatens him to stop his college studies and get him employed. Maheshwar Dalal has an eye on Sati with bad intentions. He showers monetary benefit on her guardian, Chaman Thakur and makes him drunk to kidnap Sati. She runs away to Manik Mulla’s house to take shelter to save herself from the clutches of Maheshwar Dalal and Chaman Thakur. Afraid of his elder brother, Manik Mulla remains a moot spectator when Sati is being dragged out of his house by Maheshwar Dalal and Chaman Thakur. Sati is raped and probably killed by Maheshwar Dalal.
After the third story, Manik Mulla becomes emotional, and he tells his friends that he would not narrate any more stories. Somewhere in his conscious he felt that had he not betrayed Sati, she could have been saved. At the end of the film, the protagonist says that ‘the love which does not contribute to social progress and personal development is not love’.
This is one of those few films where watching the film will give more satisfaction than reading the story and reviews. For, the story switches between the protagonist narrations depicted on the screen and the scenes where protagonist and his friends discuss among themselves, the pros and cons of each story. Each main characters in the story have more than one layer of their personality which is hard to bring out in the reviews.
I have watched almost all the feature films directed by Shyam Benegal but, in my view, the film under discussion is his cult classic masterpiece though the film flopped miserably at the box office. I never thought that storytelling aspects in the novella could be cinematically presented so effectively as if I was refreshing the novella on the screen. The film keeps the viewers engrossed because at the end of the film, one gets confused whether the stories narrated by the protagonist is fiction or real or partly fiction and partly real. Perhaps, Dharmvir Bharati has left the conclusion to the readers of his novella and so also Shyam Benegal to the viewers of the film.
This was Rajit Kapur’s debut film as an actor and he has given an excellent performance as Manik Mulla where he has different layers of characters in each story. All the three ‘heroines’, Rajeshwari Sachdev, Pallavi Joshi and Neena Gupta have maintained their reputation as the great actors of mid/parallel cinema. I liked the non-maniac and soft villainous role of Amrish Puri in this film. The film won the National Film Award for the best feature film in Hindi in 1993.
The film has only two songs, one of which I am presenting here today. The song is “Ye Shaamen Sab Ki Sab Shaamen” which is the first song from the film to appear on the Blog. The song written by Vasant Dev is rendered by Udit Narayan and Kavita Krishnamurthy and is set to music by Vanraj Bhatia. The song is picturised on Rajit Kapur and Pallavi Joshi. The second part of the first stanza of the song gets played again in the background when Manik Mulla (Rajit Kapur) witnesses his beloved, Lily (Pallavi Joshi) getting married to Tanna (Riju Bajaj). The video clip contains both the parts.
Song – Ye Shaamen, Sab Ki Sab Shaamen (Suraj Ka Saatwan Ghoda) (1993) Singer – Udit Narayan, Kavitha Krishnamurthy, Lyrics – Vasant Dev, MD – Vanraj Bhatia
Udit Narayan + Kavitha Krishnamurthy
Lyrics
ye shaamen
sab ki sab shaamen
kya inka koi arth nahin
ghabra ke tumhe jab yaad kiya
kya un shaamon ka arth nahin
kya un shaamon ka arth nahin
aa aa aa
ye shaamen
sab ki sab shaamen
kya inka koi arth nahin
ghabra ke tumhen jab yaad kiya
kya un shaamon ka arth nahin
kya un shaamon ka arth nahin
o o o
ye shaamen
sab ki sab shaamen
soonepan ke in lamhon mein
apni chhaaya se baaten ki
jin mein koi bhi swar na rahe
wo tooti veenaayen phenki
ye bheege panchhi the lamhe
ye bheege panchhi the lamhe
kya inka koi arth nahin
kya inka koi arth nahin
ye shaamen
sab ki sab shaamen
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
ये शामें
सब की सब शामें
क्या इनका कोई अर्थ नहीं
घबरा के तुम्हें जब याद किया
क्या उन शामों का अर्थ नहीं
क्या उन शामों का अर्थ नहीं
आ आ आ
ये शामें
सब की सब शामें
क्या इनका कोई अर्थ नहीं
घबरा के तुम्हें जब याद किया
क्या उन शामों का अर्थ नहीं
क्या उन शामों का अर्थ नहीं
ओ ओ ओ
ये शामें
सब की सब शामें
सूनेपैन के इन लम्हों में
अपनी छाया से बातें की
जिन में कोई भी स्वर ना रहे
तो टूटी वीनाएँ फैंकीं
ये भीगे पंछी थे लम्हे
ये भीगे पंछी थे लम्हे
क्या इनका कोई अर्थ नहीं
क्या इनका कोई अर्थ नहीं
ये शामें
सब की सब शामें
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.
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Blog Day : |
4832 | Post No. : | 16613 | Movie Count : |
4524 |
Hullo Atuldom
10th October is the birth date of the ageless Bollywood Diva Bhanurekha Ganesan.
I don’t remember which was my first post on the blog on her birthday, but over the last few years I have been trying to write out a song and present her with an actor who was not one of her regular heroes; meaning someone except Amitabh Bachchan, Dharmendra, Jeeetendra, Rajesh Khanna, Vinod Mehra etc. Today’s song is also one such song.
This song is from the 2000 release “Bulandi” which was directed by T. Rama Rao. It had a cast of Rajnikanth (special appearance), Anil Kapoor, Harish (from South Indian films), and Rekha, Raveena Tandon, Aruna Irani along with Shakti Kapoor, Ranjeet, Kulbhushan Kharbanda, Paresh Rawal, Sadashiv Amrapurkar in supporting cast. Songs of the movie were penned by Anand Bakshi and tuned by Viju Shah. The playback singers used were Udit Narayan, Kavita Krishnamurthy, Kumar Sanu, Anuradha Paudwal, Jaspinder Narula, Sukhwinder Singh, Abhijeet and Alka Yagnik -in short all the popular singers of the 90s.
The movie was the tale of a family of Zamindars which is headed by Rajnikanth who has a sister -Aruna Irani and three sons Anil Kapoor (double role plays two brothers) and Harish Kumar. Rekha plays the zamindar’s elder daughter-in-law who is the bhabhi-maa to her devars. And here I would like to mention that the two Anil Kapoors are not twins. Today’s song happens at the girl’s family meeting the boy’s family ritual and the older Anil Kapoor is the groom-to be. Aruna Irani the would-be atyaa (paternal aunt) starts the song as cue to the coy Bride-to-be who then begins singing and also fantasizing about her hubsand married life etc
There have been many instances when big a star/ actor accepts a role in a film because the main actor/ character is being enacted by a senior star/actor of whom the junior is a fan. Like for example, Amitabh Bachchan played Dilip Kumar’s son in Ramesh Sippy’s “Shakti”. Similarly Rekha played miniscule role in one of Dev Anand’s final movie, “Censor” and also one of Manoj Kumar’s last directorial.
Anil Kapoor did a second rung character in this film as he was sharing screen space with a senior (workwise)-Rekha. And the dance that accompanies sees Rekha and Anil Kapoor matching each other decently well. It is only recently I found out that there is just two year age gap between these two actors but one began working in 1966 (age 12) when the other might have been in school and not even given a thought to what career to pursue. That must be one of the reason why the viewer may feel that Anil Kapoor was acting with a much senior actress, she was a senior only because she was already in the entertainment business for 14 years before Anil made his debut.
The singers for this song are Kavitha Krishnamurthy and Udit Narayan.
Happy birthday to Rekha. May we keep seeing her on the silver screen.
Audio
Video
Song-Teri ankhiyon mein jeena hamen marna (Bulandi)(2000) Singers-Kavita Krishnamurthy, Udit Narayan, Lyrics-Anand Bakshi, MD-Viju Shah
Both
Lyrics
aa aa aa aaaa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aaaa
aa aa aa
chhedo naa mujhko chhedo
aise naa mujhko dekho
jo dekhna hai kuch tumko hai
to phir mere dil ko dekho
hum pyaar ke hain raahi
dil pyaar ki hai manzil
kis kaam ki yeh mehfil
dil se na mila jo dil
hoga milna hamaara mushkil
hoga milna hamaara mushkil
hoga milna hamaara mushkil
dekho dekho dekho
aise mujhko naa chhedo
kya kahega yeh zamaana
ban jaayega fasaana
badi hogi badnaami
hamen hogi pareshaani
hum pyaar ke hain raahi
dil pyaar ki hai manzil
kis kaam ki yeh mehfil
dil se na mila jo dil
hoga milna hamaara mushkil
hoga milna hamaara mushkil
hoga milna hamara mushkil/em>
teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna
teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna
teri marzi tu jaane
meri marzi main jaanoon
maine kar liya faislaa aa aa aa
ho
teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna
teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuch karna
teri marzi tu jaane
meri marzi main jaanoon
maine kar liya faislaa aa aa aa
ho teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna
vaadon ka hai aaj mausam
hum koi vaada karen
arre yeh jaan bhi tumko de di
ab kya zyaada karen
tera naam liya
tujhe yaad kiya
sab kuchh main bhool gayi
o teri marzi tu jaane
meri marzi main jaanoon
maine kar liya faislaa aa aa a
o teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna
o teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna
maange agar tu sitaare
main tod laaoon sanam
ho karne hain kya yeh sitaare
tu chaand se kya hai kam
haaye deewaana hua mastaana hua
dil aise jhoom gaya
teri marzi tu jaane
meri marzi main jaanoon
maine kar liya faislaa aa aa aa
ho teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna
ho teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna
dekho dekho dekho
aise mujhko naa chhedo
kya kahega yeh zamaana
ban jaayega fasaana
badi hogi badnaami
hamen hogi pareshaani
hum pyaar ke hain rahi
dil pyaar ki hai manzil
kis kaam ki yeh mehfil
dil se na mila jo dil
hoga milna hamara mushkil
hoga milna hamara mushkil
hoga milna hamara mushkil
Tu cheez badi hai mast mast
Posted on: October 26, 2020
- In: Dance song | Duet | Guest posts | Kavitha Krishnamurthy Solo Songs | Kavitha Krishnamurthy Songs | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Multiple version song | Post by Peevesie's mom | Songs of 1990s (1991 to 2000) | Songs of 1994 | Udit Narayan Song | Udit Narayan-Kavita Krishnamoorthy duet | Yearwise breakup of songs
- 4 Comments
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : |
4483 | Post No. : | 15996 | Movie Count : |
4381 |
Hullo Atuldom
Wishing all a happy Dassera. I know parts of India celebrated the festival on Sunday and parts are celebrating it today. I think that has something to do with the movement of the Moon from one constellation to another or mostly the phases of the moon which doesn’t necessarily follow the Gregorian calendar. I was confused as to the exact date for Vijaya Dashami or Dassehra and put the query to a group of knowledgeable friends and this is the reply I got:
October 23 Friday 7:00 onwards Ashtami
October 24 Saturday 7:00 onwards Navami
October 25 Sunday 7:45 onwards Dashami
October 26 Monday 9:00 onwards Ekadashi.
Now going by that reply we have Dashami till 9 a.m. today but for convenience sake (read working day/ holiday) there are many (in Kerala atleast) who would have celebrated the festival. But for the pandemic even Ram Leela would have come to a close yesterday (Sunday) with RavanDahan, as Dashami was present in the evening hours. Don’t know if it was held this year!!!!
But today’s post is not a lesson on the Panchang that Indians follow and neither am I the competent authority to comment on the Sun, Moon and the planetary movements. As always my post is to wish a celebrity on turning an year older.
This celebrity is the daughter of Producer/ director of ‘Anhonee’, ‘Khel Khel Mein’ ‘Khuddar’ etc.Ravi Tandon’s daughter- Raveena Tandon turns an year older today. She made her debut in 1991, at the age of 17,in a movie produced by G.P.Sippy and directed by Anant Balani “PattharKePhool” which had Salman Khan as the hero. She then went on to act with Sunny Deol, Govinda, Akshay Kumar, Shahrukh Khan, Anil Kapoor. 1994 saw her star in “Zamaane Se Kya Darna” with Sanjay Dutt, “Dilwale” with Suneil Shetty and Ajay Devgan, “Insaniyat” with Sunny Deol, “Imtihaan” with Saif Ali Khan and Sunny Deol, “Laadla” with Anil Kapoor, “Andaz Apna Apna” with Aamir Khan, “Aatish” again Sanjay Dutt and Mohra with Akshay Kumar. She also played herself in a song-cameo in Saif Ali Khan- Akshay Kumar starrer “Main Khiladi Tu Anari” and a role in a Tamil movie in 1994. She took a hiatus post marriage but was seen in a cameo in PuriJagannadh directed “Bbuddah… Hoga Tera Baap” (2011) as she got a chance to do a romantic scene with Amitaabh Bachchan whose sister she had played in “Bade MiyanChhoteMiyan” in the ‘90s. Since 2011 we see her in a movie or two per year plus she has conducted a few shows on television. On her personal front, she had adopted two young girls when they were 10 and 8 when she herself was only in her 20s. After marriage she has two children of her own.
Her most popular song of the 1994 earned her the nickname the ‘mast mast’ girl. Though she has never claimed to be ‘Mast’ meaning wonderful. So also the other birthday personality.
He is our own Rajaji. He is (to use a Hindi expression) a ‘yaaron ka yaar’. He is a devoted family man. He is deeply sensitive and touched by many current occurrences in this world of ours. But the one thing that introduced us to him or shall I say the two things that got us connected to him-Cricket and Hindi Film Music are also dear to his heart.
He can write pages and pages about his love for the works of Sahir Ludhianvi and ponder about what would have been Sahir’s take on the life in this age and time. And he can do the same when he writes posts on his favourite Rajesh Khanna, Dev Anand, Mohd Rafi. He has told me that he can keep listening to Rafi songs all day and night and not tire of it. But that doesn’t mean he doesn’t appreciate Kishore Kumar, Amitabh Bachchan etc. He claims that he is just discovering movies of the 80s which he had banished for their deteriorating quality and quantity, he gives them a “Pass” certificate only no high marks to them. But even there he may relish and enjoy individual scene of the typical masala kind. I am sure he will enjoy the visual that the accompanying song has to offer.
It has the comic cop Paresh Rawal running around trying to dance in step with Akshay Kumar and Raveena Tandon. We have Tej Sapru exchanging a briefcase with an associate (would like to know who it is). Suniel Shetty is stalking them and please keep in mind that Akshay Kumar is a cop in disguise out to catch Tej Sapru and his associate.
This is a new age song which should appeal to the other birthday girl of this group. She is not an active participant and her father is. I hope she is a “Mast” child, meaning wonderful child.
There is another person, my first playmate, who has her birthday today. I cannot imagine how I was as a toddler before she entered my family in the arms of my Mom.
With this post I wish Raveena Tandon, Rajaji and the two unnamed girls “A Very Happy Birthday” May God bless them with lots of Health and Happiness.
(duet version) (video)
(Female solo version) (video)
Song-Tu cheez badi hai mast mast (Mohra)(1994) Singers-Udit Narayan, Kavita Krishnamurthy, Lyrics-Anand Bakshi, MD-Viju Shah
Lyrics (Provided by Avinash Scrapwala)
———————–
Duet version
———————–
paa ni sa aa
ni sa paa ni ma pa
ma pa sa ni
sa ni
paa ni sa aa
ni sa paa ni ma pa
ma pa sa ni
sa ni
pa pa
ni ni
sa sa
ma ma
pa ni dh ni
dha pa sa ni
sa ni dh pa
sa ni dh pa
paa ni sa aa
paa ni sa aa
tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast
nahin tujhko koi hosh hosh
nahin tujhko koi hosh hosh
us par joban ka josh josh
nahin tera aa
nahin tera koi dosh dosh
madhosh hai tu har waqt waqt
tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast
aashiq hai tera naam naam
aashiq hai tera naam naam
dil lenaa tera kaam kaam
meri baahen ae
meri baahen mat thaam thaam
badnaam hai tu bad mast mast
tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast
ni sa ga ma ni sa ga
sa re
sa re ga ma pa dha ni
sa ni dh pa
sa ni dh pa
sa ni dh pa
bol zaraa tu jaan e mehboobi ee
mujhme aisi kyaa hai khoobi
bol zaraa tu oo
aa aa aa
jaan e mehboobi ee ee
aa aa aa
mujhme aisi kyaa hai khoobi
aa aa aa
tu ik resham ki dor dor
tu ik resham ki dor dor
teri chaal pe aashiq mor mor
teri zulf ghani ee
teri zulf ghani chitchor chor
ghanghor ghataa badmast mast
tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast
paa ni sa aa
ni sa paa ni ma pa
ma pa sa ni
sa ni
paa ni sa aa
ni sa paa ni ma pa
ma pa sa ni
sa ni
pa pa
ni ni
dh dh dh
ma ma
sa sa
ma ma
pa ni dh ma pa sa ni
sa ni dh pa
sa ni dh pa
?
paa ni sa aa
paa ni sa aa
ye dil teri aankhon mein doobaa aa
ban jaa meri tu mehbooba
ye dil teri aankhon mein doobaa aa
aa aa aa
ban jaa meri tu mehbooba aa
aa aa aa
mat teer nazar ke maar maar
mat teer nazar ke maar maar
ye chot lagegi aar-paar
aasaan
aasaan samajh mat yaar yaar
ye pyaar badaa hai sakht sakht
tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast
nahin tujhko koi hosh hosh
nahin tujhko koi hosh hosh
us par joban ka josh josh
nahin tera aa
nahin tera koi dosh dosh
madhosh hai tu har waqt waqt
tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast
aashiq hai tera naam naam
aashiq hai tera naam naam
dil lenaa tera kaam kaam
meri baahen ae
meri baahen mat thaam thaam
badnaam hai tu bad mast mast
tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast
aa aa
tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast
aa aa
tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast
aa aa
————————-
Female solo version
————————-
(sigh & laughing sound)
main cheez badi hoon
mast mast mast mast mast
main cheez badi hoon
mast mast
main cheez badi hoon mast
main cheez badi hoon
mast mast
main cheez badi hoon mast
nahin mujhko koi hosh hosh
nahin mujhko koi hosh hosh
us par joban ka josh josh
nahin mera aa
nahin mera koi dosh dosh
madhosh hoon main har
waqt waqt
main cheez badi hoon
mast mast
main cheez badi hoon mast
main cheez badi hoon
mast mast
main cheez badi hoon mast
o o aankhon pe chhaaya aa
ye kaisa kohraa aa aa aa
kaun baadshah
kaun hai mohraa aa
aankhon pe chhaaya aa
ye kaisa kohraa aa aa aa
kaun baadshah
kaun hai mohraa aa
jaane mera kya naam naam
ho jaane mera kya naam naam
jaane tera kya naam naam
par naam se hai kya
par naam se hai kya kaam kaam
kar jaam ka bandobast mast
main cheez badi hoon
mast mast mast mast mast
main cheez badi hoon mast
mast mast
main cheez badi hoon mast
main cheez badi hoon
mast mast
main cheez badi hoon mast
(laughing sound)
o o
rakh yaad magar tu oo
mere deewaane ae
tera kya hogaa anjaam
na jaane ae
rakh yaad magar tu oo
mere deewaane ae ae
tera kya hogaa aa anjaam
na jaane ae
dil kitne toote baar baar
ho kitne toote baar baar
sab aashiq doobe aar paar
shaahon ke ae
shaahon ke chhoote yaar yaar
is pyaar mein taaj o takht takht
main cheez badi hoon
mast mast mast mast mast
main cheez badi hoon
mast mast
main cheez badi hoon mast
main cheez badi hoon
mast mast
main cheez badi hoon mast
nahin mujhko koi hosh hosh
us par joban ka josh josh
nahin mera
nahin mera koi dosh dosh
madhosh hoon main har
waqt waqt
main cheez badi hoon
mast mast
main cheez badi hoon mast
main cheez badi hoon
mast mast
main cheez badi hoon mast
(laughing sound)
- In: Blog ten year challenge (2010-2020) | Duet | expression of love | Feelings of heart | Guest posts | Kavitha Krishnamurthy Songs | Post by Avinash Scrapwala | Songs of 1990s (1991 to 2000) | Songs of 1994 | Udit Narayan Song | Udit Narayan-Kavita Krishnamoorthy duet | Yearwise breakup of songs
- Leave a Comment
This article is written by Avinash Scrapwala, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4235 | Post No. : | 15446 |
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Blog 10-Year Challenge (2010-2020) – Song No. 7
——————————————————————————
Welcome all to this post under the ‘Blog ten-year challenge’ – (2010-2020).
Once again we have a movie which has completed a ‘decade’ on the blog with only one of its song posted on the blog.
This movie is ‘Raja Babu-1994’.
Regulars on the blog would be surprised why I am presenting a song from this movie? I am neither a Govinda fan nor is this a song that triggers any memories in my mind.
I want to clarify that I do have a connected memory associated with this movie and I watched it too. But it was not by choice, rather to make used of my waiting time, when I was forced to endure wait of twelve to sixteen hours at Guna (M.P) Railway station.
I was reminded of that incident when I came across the name of thjis movie while checking for the ‘blog ten-year challenge’.
I was travelling from Nagpur to Kota via Bina. At Guna station our train was terminated as there was some problem on the Guna-Kota route. Onward journey was possible only next day. My cousin (from Nagpur) was also travelling with me so we decided to take a round of Guna. There was a theatre near the railway station running this movie ‘Raja Babu-1994’ so (reluctantly for me, because I was not much interested in watching all the new movies then) we decided to watch this movie.
I don’t remember now if I like it then or not.
I think I had only watched very few of Govinda movies viz. ‘Marte Dam Tak-1987’, ‘Swarg-1990’, ‘Hum-1991’, ‘Aankhen-1993’ when I was staying at Kota and watching movies with colleagues on Sundays/holidays was ‘customary’.
However, later on I like him very much in ‘Coolie No.1-1995’, ‘Deewana Mastaana-1997’, ‘Bade Miyaan Chhote Miyaan-1998’ etc.
Recently I get to watched his ‘Bhaagam Bhaag-2006’ on TV.
Coming back to today’s post, one song from ‘Raja Babu-1994’-the much talked about song (or the most popular?) from this movie- has already been posted on the blog. Today’s song is the second song from the movie to be posted on the blog.
Two songs were posted on the blog on this day ten years back i.e. on 21.02.2010;
| Song | Movie title-Year | Remarks |
|---|---|---|
| Sarkaay lyo khatiyaa jaada lage | Raja Babu-1994 | 01 of 07 songs posted |
| Din control ke aye … itni lambi chaudi duniya | Mr. Sampat-1952 | 03 of 13 songs posted |
‘Raja Babu-1994’ was directed by David Dhawan for ‘Sapna Arts’. It was produced by Nandu G. Tolani. It had Govinda, Karishma Kapoor, Shakti Kapoor, Aruna Irani, Gulshan Grover, Prem Chopra and Kadar Khan, and others.
Story and screenplay of this movie was written by K. Bhagyaraj. Dialogues were written by Anees Bazmee. A.K. Rana was the Chief Asstt. Director and A Muthu was the Editor of this movie.
This movie was passed by Censor Board on 10.01.1994.
Lyrics for the seven songs (including one multiple version song) in this movie were written by Sameer and music was composed by Anand-Milind.
Only one song from this movie has been posted earlier and the today’s song is the second song from this movie to be posted on the blog.
Today’s song is a duet song sung by Kavita Krishnamurthy and Udit Narayan and its picturized on Govinda, Karishma Kapoor and others.
Let us now listen to this song …
(Note: (1) – The words in the ‘mukhda’ of this song are different as ‘Yaad sataaye teri neend churaaye, ab dil naa lagey dilbar’ in the separate audio/video links available on YT however in the movie (available online) the words are ‘Yaad sataaye teri neend churaaye meri, dil naa lagey dilbar’. Lyrics noted here are as per the audio link given below (longer version).
Note: (2) – The audio version is having one extra ‘antaraa’ (the second one, which is not in the video) which has been included in the lyrics below).
Video
Audio (Longer)
Song-Yaad sataaye teri neend churaaye (Raja Babu)(1994) Singers-Kavita Krishnamurthy, Udit Narayan, Lyrics-Sameer, MD-Anand Milind
Lyrics
aaja aa aa aa
aaja aa aa aa
yaad sataaye teri
neend churaaye
ab dil naa lagey dilbar
yaad sataaye teri
neend churaaye
ab dil naa lagey dilbar
aa galey lagaa le
main tadpoon akele
ab raat raat bhar
yaad sataaye teri
neend churaaye
ab dil naa lagey dilbar
aa galey lagaa le
main tadpoon akele
ab raat raat bhar
yaad sataaye teri
neend churaaye
ab dil naa lagey dilbar
aaja aa aa aa
aaja aa aa aa
yaad sataaye teri
neend churaaye
ab dil naa lagey dilbar
yaad sataaye teri
neend churaaye
ab dil naa lagey dilbar
aa galey lagaa le
main tadpoon akele
ab raat raat bhar
yaad sataaye teri
neend churaaye
ab dil naa lagey dilbar
ho yaad sataaye teri
neend churaaye
ab dil naa lagey dilbar
tere liye maine ae
chhod diya sab ko o
teri mohabbat mein ae
bhool gaya rab ko o
tere liye maine ae
chhod diya sab ko
teri mohabbat mein ae
bhool gaya rab ko
mujhko duniya mil gayi
tujse naata jod ke ae
jaaunga na main kabhi
tera aanchal chhod ke
aa galey lagaa le
main tadpoon akele
ab raat raat bhar
yaad sataaye teri
neend churaaye
ab dil naa lagey dilbar
ho yaad sataaye teri
neend churaaye
ab dil naa lagey dilbar
jeena nahin mujhko o
saathi kabhi tere bin
jaan luta doongi ee
tere liye ik din
jeena nahin mujhko
saathi kabhi tere bin
jaan luta doongi ee
tere liye ik din
ab to hamko saathiya
jeena marna sang hai
kehta jaayega sadaa
ye to pyaar ka rang hai
aa galey lagaa le
main tadpoon akele
ab raat raat bhar
yaad sataaye teri
neend churaaye
ab dil naa lagey dilbar
yaad sataaye teri
neend churaaye
ab dil naa lagey dilbar
sej saji apni ee
mehki bahaaron se ae
maang sajaa doon main
chaand sitaaron se ae
sej saji apni ee
mehki bahaaron se ae
maang sajaa doon main
chaand sitaaron se ae
palkon (?) ki doli saji
baithhi sapnon ki Dulhan
neele ambar ke taley
aaj huaa apna milan
aa galey lagaa le
main tadpoon akele
ab raat raat bhar
yaad sataaye teri
neend churaaye
ab dil naa lagey dilbar
yaad sataaye teri
neend churaaye
ab dil naa lagey dilbar
aaja aa aa aa
aaja aa aa aa
aaja aa aa aa
aaja aa aa aa
aaja aa aa aa
aaja aa aa aa
aaja aa aa aa
aaja aa aa aa
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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