Archive for the ‘expression of love’ Category
Raat suhaani khili chaandni
Posted on: April 1, 2023
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5370 | Post No. : | 17608 |
Today’s song is from a Mythological film ” Usha Haran’-1949.
Hindi films or for that matter Indian films are a mix of various Genres. They cater to almost every segment of the society. Some stories are more popular than others and some Genres give surprises. For example, one would feel that comedy films are very popular, but statistics says that Tragedy films too are equally supported by the audience.One glaring example is, the early tragedy films of Dilip kumar ( in which he invariably died at the end ) and meena kumari and Nimmi made them Grade 1 artistes ! On the contrary, none of the3 comedy actors like master Bhagwan, mehmood or even kishore Kumar were ever called A class actors !!
However, there is one type of Genre which has been indisputably a winner all the way and that is films on Love stories, from Romeo Juliet to Bajirao Mastani. From 1931 onwards and even during the Silent Era, film makers made films on various Love stories, from Folklore to Arabian Nights to Mythological stories. Love stories were available in every state and language. The Puranas, the Ramayan and the Mahabharat too were replete with such Love stories.
Famous Love stories are known to most people. Stories like Romeo Juliet, Laila Majnu, Shirin Farhad from outside India were and are well known. Even Historical love stories like Jodha Akbar, Bajirao Mastani, Prithviraj Sanyogita, Salim Anarkali and Amrapali Bimbisar are known to many. From Mythology Radha Krishna, Subhadra Arjun and Uttara Abhimanyu are well known.
However, how many of us know the love stories of Wamiq Azra, Usha Anirudha, Dhola Maru, Mumal Mahendra or Amaravathi Ambikapathy ? It is also interesting to note how films were made on these famous love stories.
| Movie | Year(s) of release | Origin of story |
|---|---|---|
| Romeo Juliet | 1947 | Italian story….Folklore |
| Laila Majnu | 1945/53/56/2012 | Arabian |
| Laila | 1954/84 | Arabian |
| Shirin Farhad | 1931/45/56/2012 | Persian |
| Wamiq Azra | 1946 | Persian |
| Dhola Maru | 1956 | Indian Folklore |
| Jodha Akbar | 2008 | Indian Historical |
| Bajirao Mastani | 2015 | |
| Mastani | 1955 | |
| Salim Anarkali | 1953/60 | |
| Amrapali Bimbisar | 1945/66 | |
| Prithviraj Sanyogita | 1933/46 | |
| Subhadra | 1946 | Indian Mythological |
| Subhadra Haran | 1932/64/74 | |
| Usha | 1935 | |
| Usha Haran | 1940/49 | |
| Uttara Abhimanyu | 1946 |
Today we will present a song from the film Usha haran-1949, which is based on the Love story of Banasur’s beautiful daughter Usha and Shri Krishna’s equally handsome grandson (son of Pradyumn)- Anirudha. This story is unique in our Mythology because it involves a war between Lord Shiv ji and Lord Shri Krishna. Here is the story, as I found in the New Indian Express dated 1-8-2014.
The Asura king Bana was the great grandson of Prahlada, the child devotee most dear to Lord Krishna. Through penance and prayers offered to Lord Shiva, he secured a boon that the great god himself would personally guard his city of Sonitapura. Banasura was an arrogant king and had a thousand arms which he was very proud of. But this is not quite his story. It’s his daughter’s….
Usha, the daughter of Banasura, was a beautiful princess. One night she had a dream in which she saw a very handsome, young man. It was love at first sight for them and they spent many happy hours in each other’s company. But like all good things, dreams too come to an end. And Usha woke up to find that all that passed was nothing but a dream.
When Chitralekha, her best friend, came to find her that morning, she found the princess tearful and greatly upset. “What’s wrong with you today? What happened now?” she asked puzzled, for they had parted the evening before in high spirits.
“You may think me foolish but I had this very vivid dream last night about this handsome young man, a prince, perhaps… I really do not know for I’ve never seen anybody like that.” Usha’s voice trailed off.
“Who is this person? You must have seen him somewhere before, surely… think back…,” urged Chitralekha.
“I’m very sure I’ve never seen him before. I don’t think he even exists.” At this point Usha broke into fresh tears and Chitralekha knew she had to do something.
“Okay, I can paint the likeness of any man or god for I’ve learnt painting from Narada himself. Let me start painting some of the handsomest gods and mortals we have and maybe you will see your beloved’s face among them.”
Chitralekha was soon sketching the faces of gods, devas and gandharvas with an expert’s ease. Finally, she painted Lord Krishna.
“Yes, this looks like him, but not quite…,” said Usha from behind her. Next Chitra painted Pradyumna, son of Krishna. “What about him?”
“Umm… he’s younger… but you are close.” Usha was cheering up, her friend noted. Chitralekha continued to make another sketch and when she showed it to her friend, the princess smiled in delight and her cheeks coloured. “Ah… So this is the prince who has stolen your heart! He’s Aniruddha, the grandson of the Krishna of Dwaraka,” laughed Chitralekha, happy to have solved the mystery. “Is this who you desire? I shall bring him to you tonight!”
“What? How?” Usha could not understand what her friend was saying.
“Relax… don’t worry about anything. Just wait for the night to fall.” Chitralekha’s dark eyes were shining and Usha knew her friend had a plan.
Chitralekha was trained in yoga and could travel to wherever she wished, in record time. That night she flew to the palace of Krishna in Dwaraka and made her way to young Anirudda’s chambers. Lifting the sleeping prince in her arms, (yes, some supergirl she was) she hastened back to Sonitapura and gently laid him beside the sleeping Usha.
Next morning, Aniruddha was woken up by a beautiful stranger and found himself in surroundings unknown to him. “Where am I? And who are you?” he asked the maiden who smiled at him. Usha shyly related to him her dream and how her friend actually went and found him for her. Aniriddha was puzzled and thought that maybe he was in a dream too. But as it seemed pleasant enough, he was happy not to fight it.
Many happy days passed and the two young people fell in love. At least Aniruddha too, we can conclude. But this happy state of affairs could not continue for long. One day, Bana’s guards saw the young couple talking and laughing, and alerted the asura king. Bana walked into his daughter’s chambers unannounced and was shocked to find Aniruddha there. The prince was immediately captured and taken prisoner.
In Dwaraka, everyone was saddened and worried by the sudden disappearance of the young prince. It was sage Narada, who on an apparently ‘casual’ visit there, informed them about how Aniruddha was taken prisoner.
Balarama, Krishna’s older brother, was amused. “So Krishna, we have here a chip off the old block, huh? Now we have to go rescue him, looks like.”
Krishna smiled too. “It’s time we attacked Bana’s city,” he said for all of it happens for a reason. The Yadava heroes, Balarama, Pradyumna, Satyaki, led by Sri Krishna himself, marched towards Sonitapura and attacked the city.
But there was Lord Shiva himself they had to vanquish, for it was he who was entrusted with the city’s protection. So began the battle between the great gods, Shiva and Krishna. Shiva’s son, Kartikeya joined his father and engaged in a battle with Pradyumna.
Divine arrows flew back and forth as devas and other gods watched from the heavens in wonder. Finally Krishna sent forth the Vijrumbhana astra, a sleep inducing arrow which struck Lord Shiva who promptly fell asleep!
Bana, who was fighting Satayaki, came towards Krishna. Krishna effortlessly broke each of his bows and finally threw his divine discus Sudarshana at him, which cut away his thousand arms.
At that point, Lord Shiva woke up and intervened on his devotee’s behalf. “Do not kill him Krishna, he’s a devotee of mine who has sought my protection.”
“Do not worry. I promised Prahlada that I would kill none of his kin. With his thousand arms cut off, he will no longer be so arrogant. Let him remain an attendant of yours, always beside you forever.”
Hearing Krishna’s words, a humble Banasura fell at the feet of the gods.
He then went back to his palace and returned with the young couple, Aniruddha and Usha. He placed them on a chariot and let them return to Dwaraka together.
Film Usha Haran-1949 was directed by Dr. Shanti Kumar – not to be confused with Music with Director Shanti Kumar Desai. In spite of several attempts, I could not get any information on this director for the last so many years. I only know that he has directed 18 films from Police-1944 to Mahasati Behula-1964.
The Music Director was Saraswati Devi – who was the discovery of Bombay Talkies in the mid 30’s. The lead pair was Arun Ahuja(Govinda’s father) and Ratnamala. Today’s duet is sung by Shailesh Mukherjee and Rajkumari. This is only the third song from the film out of 12 songs, to feature here. Enjoy….
Song- Raat suhaani khili Chaandni (Usha Haran)(1949) Singers- Sailesh Mukherjee, Rajkumari, Lyricist- Ramesh Shastry, MD- Saraswati Devi
Both
Lyrics
raat suhaani
khili chaandni
neel gagan lehraaye ae ae
neel gagan lehraaye ae
chanda ka jhoola hai pyaara
taare hain muskaaye ae ae
taare hain muskaaye
jeewan ye anmol milan ki
pyaari ghadiyaan aayee ee ee
pyaari ghadiyaan aayee
nayi nayi aashaayen tere dil mein aa ithalaayin een
dil mein aa ithalaayeen
bhool gaya sansaar humaara
nainan preet samaaye ae ae
nainan preet samaaye
chanda ka jhoola hai pyaara
taare hain muskaaye ae ae
taare hain muskaaye
main bhi prem piyaasi
main bhi prem piyaasi
kisne meri pyaas bujhaayi
main bhi thha anjaan ke kisne prem ki raah bataayi ee ee
prem ki raah bataayi
poore huye humaare sapne
jo thhe sada banaaye ae ae
jo thhe sada banaaye
chanda ka jhoola hai pyaara
taare hain muskaaye ae ae
taare hain muskaaye
gore gore baahon ki tumne daali hai varmaala aa
gore gore baahon ki tumne daali hai varmaala aa
chhaaya hai chahun oar aaj ye
chhaaya hai chahun oar aaj ye
madhur madhur ujiyaala aaa
madhur madhur ujiyaala aa
in nainon ke prem paashh mein
mera man uljhaaye ae ae
mera man uljhaaye >
chanda ka jhoola hai pyaara
taare hain muskaaye ae ae
taare hain muskaaye
Koi kaise unhen ye samjhaaye
Posted on: March 31, 2023
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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For more than a month, I have been coming across short videos (mostly of less than 30 seconds) of a song ‘jaane balma ghode pe kyun sawaar hai’ with young boys lip syncing the song. In some tik tok videos, I have also seen some girls and boys enacting scenes with the song in their own ways. I was attracted to the song as it gave retro vibes of Hindi film music. So, I checked on video sharing platforms as to whether it is filmy or non-filmy song. The song turned out to be from the film ‘Qala’ (2022) which was released on Netflix on December 01, 2022. I also heard the remaining songs from the film which also gave me the same retro feeling.
I read an interesting article on the film which mentioned the similarities in the life of the ghazal singer and a child prodigy, Master Madan and that of the character of Jagan (Babil Khan) in the film. This prompted me to watch the film. Obviously, the film was not available for viewing on the video sharing platforms. So, I watched the film on Netflix..
‘Qala’ (2022) was produced by Karnesh Sharma and was directed by Anvita Dutt. The main actors in the film were Tripti Dimri, Swastika Mukherjee, Babil Khan (son of the late Irrfan Khan) with the supporting cast of Amit Sial, Sameer Kochhar, Girija Oak, Varun Grover, Tasveer Kamil, Anushka Sharma (in a cameo role) and many more. The film is a period family drama with psychological elements.
The film’s story is narrated in many layers of flashbacks. So, I have given the gist of the story as they appear in the film in sequential order.
Qala (Tripti Dimri) wins the Golden Vinyl award for her most popular song. This is followed by a press conference in Kolkata where she is based. One of the journalists asked Qala what happened to her brother who was to be launched by her mother. After some agitation, Qala says that she has no brother as she was the only child. (Actually, journalist was referring to Jagan (Babil Khan) whom Qala’s mother had adopted him to groom as a classical singer).
In a flashback, her mother Urmila (Swastika Mukherjee), a thumri singer, delivers twin, a boy, and a girl at her home in Shimla. However, the boy dies. Urmila is very sad that the boy did not survive but the girl survived. Qala grows up and Urmila decides to teach her Hindustani classical music as a boy to carry forward the family tradition. Ultimately, it is Urmila’s desire to make Qala a great classical singer to get the honour of becoming a ‘Pandit’ rather than a ‘Bai’.
Again, the story goes in the present mode where Qala in Kolkata gets up in the morning to see her photograph with Golden Vinyl award in a newspaper. But it would have pleased Qala more if her mother telephoned her to get the appreciation. But this does not happen, and she gets depressed. Qala goes for a photoshoot during which she suffers from hallucination and sees Jagan who tells her that whatever fame she has got belongs to him. Her secretary, Sudha (Girija Oak) gets worried, and she calls a doctor. He sees no medical problem with Qala and suggests her to take a break and relax.
The story goes again in flashback mode where Urmila is scolding Qala for her poor riyaaz as she has her maiden vocal performance in front of a Ustad after 3 days. The day comes and both mother and daughter go to Solon where the concert is arranged. In the concert, there is one more boy who is also getting opportunity to sing. His name is Jagan. Both Qala and Jagan give their solo vocal recitals during which Urmila is impressed by Jagan’s performance. Qala becomes sad as she did not get such appreciation from her mother. After the performance, Urmila calls Jagan when she comes to know that he is staying in an orphanage in Solon. Judging his potential as a singer, Urmila offers him to teach Hindustani classical music and ask him to shift to her place. This is not liked by Qala as she thinks that her mother is sidelining her.
Jagan tries to be friendly with Qala and suggests that both do the riyaaz together, which she rejects. All the actions of Urmila give Qala a feeling that her mother is promoting Jagan over her own daughter. Slowly, jealousy is born in the mind of Qala towards Jagan. During the same period, Urmila is trying to fix the marriage of Qala with an Air Force Officer so that after her marriage, Urmila can fully concentrate on Jagan in promoting him as a singer.
Urmila hosts a party and invites several influential people including Chandan Lal Sanyal (Sameer Kochhar), an influential and popular film singer. Urmila has instructed Qala to play tanpura for Jagan who is to sing in the party. This is not liked by Qala as she herself is a singer. Just before the party, Qala gives a glass of milk to Jagan which he drinks. During the singing, Jagan falls sick due to bouts of coughing which prompts Urmila to take him to a room. To fill the gap, Qala sings which impresses the guests.
Jagan continues to be sick, and he has almost lost his voice. His fever is not receding. Urmila takes care of him and Qala feels neglected by her mother. Sumant Kumar, a music director, visits Urmila’s house to fix the time for recording the debut song of Jagan. Finding him sick, Sumant Kumar promises Urmila that he would wait till Jagan is fit as he wants his first song to be recorded under his music direction. Qala hears this conversation and feels jealous. She decides to get a chance to record the song under Sumant Kumar by seducing him and she succeeds. In the same night, a depressed Jagan commits suicide by hanging on a tree branch in the vicinity of Urmila’s house. Urmila is devastated as her dream of making Jagan as ‘Pandit’ is shattered.
The next day, Qala informs her mother that she has to leave for Kolkata to record a film song. There is a heated arguments between the two as her mother feels that she would become ’Bai’. She forbids Qala from coming back to their house if she goes ahead with the recording in Kolkata.
Qala leaves for Kolkata to record the film song. Her mental state and the nervousness affect her recording. It is only when she could not sing properly even on the 11th takes, Sumant Kumar decides to cancel the recording. Qala asks for a last chance which she gets after she provides sexual favour to Sumant Kumar. This time her recording is successful as she is reminded of Jagan’s philosophy that a singer should sing for his own pleasure.
This song gives Qala the immense popularity and she becomes one of the most sought after singers. In one of her interviews, while journalists are asking her questions, she suffers from hallucination and sees Jagan in her vision and starts conversations with him. This conversation gets recorded by journalist which was heard by Urmila on the radio. This gives Urmila a doubt whether Qala is responsible for the death of Jagan.
Qala’s mental health deteriorates. While recording a song, she suffers from hallucination forcing the cancellation of recording. Qala attempts suicide by taking an overdose of sleeping pills. She is saved. The doctor calls her mother and informs her of Qala’s suicide attempt. Urmila comes to Kolkata and finds that she has committed suicide by hanging in her bedroom. The film ends with Urmila taking Qala’s dead body on her lap with ‘amma puchh di sun dhiye meriye’, a folk song of Himachal Pradesh, playing in the background.
The two most important thing to learn from this film are (i) never breaks communication with near and dear ones, especially with those having mental health issues, and (ii) parents/teachers should give the equal treatment their wards irrespective of their gender.
The honour for the top performance in the film goes to Tripti Dimri for her difficult role of a singer with psychometric problems. She effectively depicts the emotions with her body movements and the facial expression. Next in honour is Swatika Mukherjee in the role of a dominating mother with bias towards patriarchy. Babil Khan has done well in his debut film. His one scene which caught my attention is the facial expression of his helplessness and disappointment when he is holding tanpura for riyaaz but he has lost his voice. In some camera angles, he has the look of his father, Irrfan Khan. In addition, credit must go to the Art Director and the Costume Designer to create a rich and ‘true to the life’ ambivalence of retro period.
Director, Anvita Dutt’s visualization of the story has some streak of the parallel cinema. She has used symbolism very effectively. For instance, when Qala finds Jagan’s dead body hanging on a tree, she hug him tightly with her face showing deep regret. Probably, she did not expect that her jealousy would result in his death. In the same scene, Urmila is seen holding the dead body of Jagan in her lap symbolising that she has once again lost a son.
‘Qala’ (2022) has six songs which are in sync with the golden period of Hindi film music as the film’s story is set in that period. Songs are written by Sant Kabir (2), Amitabh Bhattacharya (1), Varun Grover (1), Kausar Munir (1) and Swanand Kirkire (1). The songs are set to music by Amit Trivedi except for one Kabir song by Sagar Desai. In keeping with the story setting of 1940s, music director, Amit Trivedi has avoided electronic musical instruments and mostly used Accordion, Dholak, Tabla, Violin, Sitar, Rabab etc. All the six songs are inseparable part of the film.
I am presenting the first song from the film, ‘Qala’ (2022) which has become viral on social media. The song is ‘jaane balma ghode pe kyun sawaar hai’ sung by Sireesha Bhagavatula. The song is written by Amitabh Bhattacharya and is set to music by Amit Trivedi. Lyrics of the song give an impression of a teasing cum preaching song. But the song has a deep meaning that falling in love is not a T-20 cricket match but a Test Match where patient is required.
With this song, Sireesha Bhagavatula has become the internet sensation. She hails from Machilipatnam in Andhra Pradesh, born to a musically inclined parents. She is a gold medalist in her engineering graduation and worked in an IT company before she took playback singing as her professional career. She participated in Indian Idol Season 12 which gave her opportunity to meet eminent music directors. A R Rahman gave her the first break as a playback singer in a Tamil film in 2019. Later, she did playback singing for some more Tamil and Telugu films. ‘Qala’ (2022) is her debut Hindi film as a playback singer in which she renders 3 songs.
The song under discussion appears in the film on two different frames. The first, at the time of the recording of the song during which only the mukhda is played. The background to this scene is that due to her mental condition and nervousness, Qala (Tripti Dimri) gets the song okayed only after 11 retakes. The song appears in the film for the second time as a part of the song picturization on Devika (Anushka Sharma) of a film produced by Rai. (The hint is that Rai could be Himanshu Rai and Devika could be Devika Rani, both of Bombay Talkies). Unfortunately, the video clip of the song does not contain this part. It is interesting to note that Majrooh (Varun Grover) is the name of the character doing the role of a song writer for this song.
In a TV interview on the eve of the release of audio album of the film, Amit Trivedi revealed that this song was recorded along with musicians playing simultaneously as was being done in 1940s. So, any one of the musicians or the singer doing wrong would have resulted in retake of the full song afresh.
The overwhelming responses for this song before and after the release of the film proves that the Hindi film music of the golden period is still popular among the current generation of the 21st century.
Audio Clip (Full Song):
Video Clip (Partial Song):
Song-Koi kaise unhen ye samjhaaye (Qala)(2022) Singer-Sireesha Bhagavatula, Lyrics-Amitabh Bhattacharya, MD-Amit Trivedi
Lyrics (Based on Audio Clip)
koyi kaise unhen ye samjhaaye
sajaniya ke mann mein abhi inkaar hai
jaane balma ghode pe kyun sawaar hai ae
jaane balma ghode pe kyun sawaar hai
dheere dheere jatan karne se
dulhaniya ke khulte hriday ke dwaar hai
jaane balma ghode pe kyun sawaar hai ae
jaane balma ghode pe kyun sawaar hai
ho o o
ho o o
ho o o
baalon mein badh ke gajra lagaana
nazdeek aane kaa hai bahaana
sab jaan ke bhi chhaliya ke chhal se
mushkil hai bach paana
ho..o..o ankhiyon se thhag ke
bharna woh jaane
batiyon se zurmana
haan jo main tokoon
kaha na mera maane
bhavon ko aise taane
bahas bekaar hai
jaane balma ghode pe kyun sawaar hai
jaane balma ghode pe kyun sawaar hai
koyi kaise unhen ye samjhaaye
sajaniya ke mann mein abhi inkaar hai
jaane balma ghode pe kyun sawaar hai
jaane balma ghode pe kyun sawaar hai
ha aa aa aaa
ha aa aa aaa
ha aa aa aa aa
ha aa aa aa aa
la la la la ra la ra laa
la ra laa
ha aa aa aa aaaaaaaaa
Ulajh gaye nainwaa
Posted on: March 28, 2023
- In: "Aankh" song | Actor-Singer song | Artist century song in blog | Begum Akhtar Songs | Begum Akhtar Songs from Films | Century songs for the blog | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Lyrics by Prakashchandra | Lyrics contributed by readers | Songs of 1940s (1941 to 1950) | Songs of 1942 | Yearwise breakup of songs
- Leave a Comment
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.
This article marks the 100th song of Aarzoo Lucknowi in the blog as a lyricist.
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5366 | Post No. : | 17598 |
‘Roti’(1942) was directed by Mehboob Khan for Mehboob Productions, Bombay. The movie had Chandramohan, Sheikh Mukhtar, Sitaaraa Devi, Akhtari Fayzabadi, Ashraf Khan, Kayam Ali, Jamshedji, Misra,Wasker, Chobeji, Nawab, Agha Jani etc. in it.
‘Roti’ (1942) had 14 songs in it. Ten songs have been covered so far.
Here is the 11th song from movie to appear in the blog. The song is sung by Akhtari Faizabadi. Aarzoo Lucknowi is the lyricist. Music is composed by Anil Biswas.
Akhtari Faizabadi, who acted as well as sang her songs in the movie, later went on to become a legendary ghazal singer – “Malika e Ghazal” under the name Begum Akhtar. She was a recipient of Sangeet Natak Academy award in 1972. She was also a recipient of Padma Shree and Padma Bhushan.
The movie has three lyricists, namely Aarzoo Lucknavi, Dr.Safdar ‘Aah’ Sitapuri and Behzad Lucknawi. This song is penned by Aarzoo Lucknowi.
Aarzoo Lucknowi (1874 – 16 April 1951) was born as Sayyad Anwar Husain Kazmi in Lucknow. It was his guru Ustaad Jalaal Lucknowi who suggested to him to use Aazoo Lucknowi as his pen name.
Miss Jahananra Kajjan, the famous singer of those days (1920s), recommended the name of Aarzoo Lucknowi to Maadan Theatres owner. That is how Aarzoo Lucknowi came to Calcutta (now Kolkata) and began his career writing plays for Madan Theatres. In 1931, when movies began to talk and the Talkies era began, Aarzoo Lucknowi began to write lyrics for Hindi movies.
For the first decade, he was active in Calcutta. There, he wrote songs for movies like ’Manzil’ (1936), ‘Khudaai Khidmatgaar’ (1937), ‘Mukti’ (1937), ‘Abhaagin’ (1938), ‘Adhikaar’ (1938), ‘Ban Ki Chidiya’ (1938), ‘Street Singer’ (1938), ‘Dushman’ (1939), ’Jawaani Ki Reet’ (1939), ‘Kapaal Kundla’ (1939), ‘Aandhi’ (1940), ‘Haar Jeet’ (1940), ‘Nartaki’ (1940), ‘Qaidi’ (1940), ‘Doctor’ (1941), ‘Lagan’ (1941), ‘Maasoom’ (1941) etc.
Then he shifted base to Bombay. Here he penned lyrics from movies such as ‘Jawaani’ (1942), ‘Lala Ji’ (1942), ‘Roti’ (1942), ‘Yaad’ (1942), ’Fashion’ (1943), ‘Nai Zindagi’ (1943), ‘Najma’ (1943), ‘Paraaya Dhan’ (1943), ‘Parakh’ (1944), ‘Milan’ (1946), ‘Rangbhoomi’ (1946), ‘Shaahkaar’ (1947), ‘Tohfa’ (1947), ‘Laal Dupatta’ (1948), ‘Shauhar’ (1948), ‘Duniya’ (1949),’Raat Ki Raani’ (1949), ‘Saawan Aaya Re’ (1949), ‘Sipahiya’ (1949), ‘Beqasoor’ (1950), ‘Khel’ (1950), etc.
To my mind, he is arguably the first lyricist to pen a tonga song, car song and rail song in HFM. All these songs were in ‘Doctor’ (1941).
On out Blog, Aarzoo Lucknow has been in the ‘nervous ninetees’ since 17 June 2020 (day 4372 of the blog). He has spent 996 days on nineties ! Not any longer. Here is his 100th song in the blog.
Music of this song is composed by Anil Biswas. It was the first movie of Aarzoo Lucknowi with Anil Biswas. Subsequently they would collaborate in ‘Jawaani’ (1942), ‘Milan’ (1946) and ‘Beqasoor’ (1950) as well.
Let us listen to this song from ‘Roti’ (1942). Lyrics of the song were sent to me by Prakashchandra.
It may sound like just another song, but it is a song that marks the entry of yet another artist into the blog century club. Aarzoo Lucknowi becomes the 34th lyricist and 96th artist overall to complete century of songs in the blog.
Audio
Song-Ulajh gaye nainwaa (Roti)(1942) Singer- Akhtari Faizabadi (aka Begum Akhtar), Lyrics-Aarzoo Lucknowi, MD-Anil Biswas
Lyrics (Provided by Prakashchandra).
ulajh gaye nainwaa aa aa
ulajh gaye naainwaa aa aaa
chhootey nahin chhudaaye
ulajh gaye naainwaan aan aa aaa
ulajh gaye naainwaan aan aa aaa
baankaa joban tirchhee chitwaan
baan pe baan chalaaye
baankaa joban tirchhee chitwaan
baan pe baan chalaaye
baan pe baan chalaaye baalam
ghaayal kar kar jaaye
baan pe baan chalaaye baalam
ghaayal kar kar jaaye
ulajh gaye nainwaa aan aa aaa
ulajh gaye nainwaa aa aa
akhiyan ras kee boond zaraa see ee eee
akhiyan ras kee boond zaraa see
jalti aag bujhaaye
akhiyan ras kee boond zaraa see
jalti aag bujhaaye
jalti aag bujhaaye baalam
bujhee aag dehkaaye
jalti aag bujhaaye baalam
bujhee aag dehkaaye
ulajh gaye nainwaa aa
ulajh gaye naainwaa aa aaa aa
chhootey nahin chhudaaye
ulajh gaye naainwaa aa aa aa
ulajh gaye naainwaa aan aa aaa
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
उलझ गए नैनवा..आ..आ
उलझ गए नैनवा..आ..आ
छूटे नहीं छुड़ाए
उलझ गए नैनवा..आ..आ
उलझ गए नैनवा..आ..आ
बांका जोबन तिरछी चितवन
बाण पे बाण चलाये
बांका जोबन तिरछी चितवन
बाण पे बाण चलाये
बाण पे बाण चलाये बालम
घायल कर कर जाये
बाण पे बाण चलाये बालम
घायल कर कर जाये
उलझ गए नैनवा..आ..आ
उलझ गए नैनवा..आ..आ
अखियन रस की बूंद ज़रा सी..ई..ई
अखियन रस की बूंद ज़रा सी
जलती आग बुझाये
अखियन रस की बूंद ज़रा सी
जलती आग बुझाये
जलती आग बुझाये बालम
जलती आग बुझाये
जलती आग बुझाये बालम
उलझ गए नैनवा..आ..आ
उलझ गए नैनवा..आ..आ
छूटे नहीं छुड़ाए
उलझ गए नैनवा..आ..आ
उलझ गए नैनवा..आ..आ
Piya in charanan bali jaaun
Posted on: March 27, 2023
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5365 | Post No. : | 17594 |
Today’s song is from a religious film ” Raami Dhoban”-1953. It is described and classified as a ” Bhakti Pradhan” (भक्ती प्रधान ) Genre film in HFGK.
Those who own copies of HFGK, know that every film that is featured herein is classified and described to which genre it belongs to – like Historical, Social, Comedy, Stunt, Folklore, Imaginary, Costume, Mythological, Mystery etc etc. To indicate ‘ Dharmik’ films, 2 Genres are used. One is Mythological (पौराणिक ) and the other is Religious (भक्ती प्रधान ). Now, what is the difference between these two ? The difference is about the source of the story. All stories from Ramayan, Mahabharat and all Puranas are classified as Mythological and all other stories about the Bhaktas, Saints, Folkstories and stories about The god and the religion carried through generations and storybooks are listed as Religious films. Thus, a film on Ramayan story or Waman Avtar is Mythological and a film on Dussehra or Yatrik is called Religious. I hope this point is clear now.
Today’s film Raami Dhoban-1953 is a Religious film or भक्ती प्रधान film. This is because this story is not from any Holy Scripture but it is a Folklore carried through generations and religious books. In Hindu religion there are 2 ‘DHOBANS’ (washerwomen), who were famous. One was who came in the Uttarakhand part of Ramayana , whose husband refused her entry into his house stating that he is not Shri Ram to forgive her night out somewhere else, like Seeta. This had led to the exile of Seeta etc. The second Dhoban was during the 15th Century, in Bengal, where her love story with a Vaishnav Priest-Chandidas was compared to love of Radha and krishna. In those times this love affair of a Vaishnava invited a lot of criticism also.
For a long time since the ” Bhakti Movement” in India, in the period from the 6th Century to the 17 th Century, the disputes between the ‘ Shaivas’ and the ‘Vaishnavas’ virtually divided the educated classes all over the country. They are clearly identified from their Tilak on the forehead. V Shaped perpendicular Tilak on the forehead (as on Balaji) means ‘ Vaishnav’ and the 3 lined horizontal Tilak on forehead (like Shiv ji) means ‘Shaiva’. These followers of Vishnu and Shiv, once upon a time were quite diehards, but in today’s modern era most people neither know the difference nor they care two hoots !
The story of Raami Dhoban is not new to Hindi films. Calcutta’s New Theatres had made a film in Banglea – Chandidas in 1932 on this story. A Hindi remake of this film was made as Chandidas in 1934, with Saigal and Uma Shashi. R.C.Boral had composed excellent songs in it ( famous song was ‘ Prem nagar mein basaungi ghar main’). The same story was made into today’s film Raami Dhoban-1953. The producer Ramesh vyas made this film under his own banner-Navkala Niketan, bombay. The film was directed by Hiren Bose and the music director was also Hiren Bose !
There are rare cases in Hindi films where the director and the composer are the same for a film. During the 1930’s it was Pt. Badri Prashad (2 films) and in the 1940s it was Pt. S.N.tripathi (18 films), who were directors as well as composers of their some films. After these 3 cases, I have not known any other such case in Hindi films. Perhaps there were no multifaceted artistes anymore in the film industry, like the oldies.
Hiren Bose was actually the Mentor of Anil Biswas. On his suggestion and help only he shifted to Bombay from Calcutta. While film music crossed several barriers, the films themselves proved to be a mix of experts from every corner of India. Hindi films have actors, Directors and composers from almost every state. In this, however, Bengal has taken a lead in providing the raw material.
Several well known actors came from Bengal. Many Directors like Bimal Roy ,Hrishikesh Mukherjee, Nabendu Ghosh, Basu Chaterjee, Basu Bhattacharya, Shakti Samant, Amiya Chakravarty, Gyan Mukherjee etc. enriched the Hindi cinema. Music directors who came from Bengal like, Hemant Kumar, Salil Chaudhari, S D Burman, Anil Biswas, K C Dey, Pankaj Mullik etc provided us wonderful everlasting music. Most of the directors and composers from Bengal are well known to most of us,but there was ONE name that appeared in many categories like Actor, Director, Story writer, S/Play writer, Lyricist, and Composer too, yet that name is as obscure today as it can be !
That name is HIREN BOSE ( Hirendra Kumar Bose).
Born in Calcutta on 26-9-1903,Hiren completed his college education and learnt classical music & Rabindra sangeet to such proficiency that soon he earned titles of “Vidya Bhushan” and “Sangeet Ratna “. He wrote in Bengali papers and for Bangla films too. In the years 1928 to 1932, Hiren had joined HMV as a Music Director. Here he became a close friend of Kazi Nazrul Islam and Dhiren Das. Both Kazi and Hiren wrote lyrics for songs in HMV .
Around 1929,a new , young and attractive singer came to HMV. Her name was KANAN BALA. She came for recording songs. Soon the handsome Hiren cast his spell on Kanan and she started considering him as her mentor in HMV. They were a quartet of friends, Kanan, Hiren, Kazi and Dhiren. In HMV Kanan recorded many songs set to tune or written by Hiren Bose. In 1932,this team left HMV, on the issue of Royalty and joined the newly formed Megaphone Recording company. Here too after 2 years, this team left Megaphone and joined Columbia recording company. By 1934,Hiren wrote in his autobiography- JATI SMAR (My memories)-later that he had lost interest in Kananbala.
Hiren’s eyes were now set on a bigger Horizon -BOMBAY. he knew that remaining in Calcutta may not be suitable for him. Meanwhile he had met another Struggler, ANIL BISWAS. Hiren advised him to go to Bombay for a brighter future and also promised him all his help. Although, by then ANIL BISWAS was comfortably placed in Calcutta, he left for Bombay as per Hiren’s advice. Hiren Bose was a highly respected name in the musical circles of Calcutta.
Hiren started working in Bombay. His fame as a versatile film person had already reached Bombay and he had no difficulty in getting work there. Hiren directed Dharam ki Devi-35, followed by Piya ki Jogan-36 and then Mahageet 1937. As per his promise he gave a chance to Anil Biswas to give music,independently to DHARAM KI DEVI-1935. As such earlier he had composed a song in Bharat ki Beti-35- “Tere poojan ko Bhagwan” sung by Rattan bai. But then he had shared the Music direction with Zande Khan. That song had become quite popular then.
Hiren Bose was very fond of acting in films and he also acted in MAHAGEET-1937. It was in this film that Anil Biswas FIRST introduced playback singing in a Bombay film. (In Calcutta R C Boral had started playback in 1935 itself). The FIRST ever Playback song in this film was ” Jeevan hai ek kahani, Duniya bhi hai ek kahani ” . It was sung by Anil Biswas and was filmed on Hiren Bose on the screen. Thus Hiren Bose’s name became a Historical name in Bombay film industry. This was, Anil Biswas repaid the debt of Hiren Bose, in helping him to get established in the Bombay Music field.
(Ref- ‘The early composers- Music beyond Boundaries by Dr. Ashok Ranade pp 183-186).
After Mahageet, Hiren Bose got an offer from Madras to direct a Telugu film- Bhakta Jaydev-1938,which he did successfully.
Hiren Bose kept on shuttling between Bombay and Calcutta, doing some films here and some there. He also acted in some Bangla films during that period. He was so versatile in many departments that he did acting, directing, lyrics, singing, and composing. His complete Filmography is not available but some details are available.
As a Director 15 films are to his credit- Chup-31, Mahua-34, Dharm ki Devi-35, Piya ki Jogan-36, Mahageet-37, Bhakta jaidev-38, India in Afica-39, Amar Geeti-40, Kabi Joydeb-41, Daasi-44, Banjarey-48, Sree Tulsidas-50, Ghungroo-52, Raami Dhoban-53 and Ektara-57.
He acted in Rishir prem-31, Chup-31, Udayer pathe-44, Towards the Light-44, Sesh Raksha-44 and Mahageet-37. As a writer- Meerabai (s/Play and story)-32 and Rajrani Meera(story)-33. As a composer- India in Africa-39, Kabi Joydeb-41, Raami Dhoban-53.
After directing his last film Ektara in 1957, Hiren Bose lived a retired life. His last few years were mostly unhealthy and he spent time writing lyrics for geets in Bangla which were usually sung by Hemant Kumar, Kanan Bala and Suprova sarkar. Hiren Bose died on 18-6-1987 and one of the most versatile, multifaceted and multilingual artiste disappeared forever….
The story of the love between Chandidas and Raami was not an ordinary one. The other day I found this story on speakingtree.in, on the internet. Here it is….
Chandidas was the son of a Brahman priest. He was very handsome, charming and of a quiet countenance, but was forever lost in some world of his own. His father, tired of him, died, and Chandidas was forced to succeed him as the purohit of the local temple of a goddess.
Chandidas’ heart was never into these frivolities. He was devoted to Lord Krishna immensely. Then, one day, as he was sitting silently on the banks of the river in their village, his heart filled with sadness and disillusionment at the world. Legend has it that the Devi of the temple of their village appeared there, and told him that he would become a great poet and philosopher.
Then, when he was returning, he beheld a washerwoman washing clothes. When she got up, the two looked at each other, and it was love at first sight.
Chandidas thought that Rami, the washerwoman, was divinely beautiful. She was the source of strength and courage to him, just as Radha had been for Krishna. And this marked the beginning of Chandidas’ poetry.
Chandidas’s brother, who was ashamed of Chandidas because of his romantic involvement with the low-caste Rami, forced him to take part in a shudhikaran ceremony and purge himself of the sin of Rami’s touch. But just at that moment, Rami came, weeping and struggling as guards stopped her. ‘Chandithakur, would you leave me forever for society? Do I have just this much value for you?’
Chandidas was put in a dilemma. Here was the woman he loved like no one else, who always stood by him when people turned on him. And on the other side, the society his father had structured, and the people who revered his family, still stuck in social conventions and stupid rites and traditions.
Chandidas made his decision on the spot. He walked towards Rami, took her hand, and led her away from the village forever. They stopped at the house of Ganesha the singer, where Chandidas and Rami spent the rest of their lives singing hymns for Krishna and Radha.
Let us now enjoy the duet by two Bengali singers – Geeta Roy and Hemant kumar….
Song-Piya in charanan bali jaaun (Raami Dhoban)(1953) Singer-Geeta Dutt, Hemant Kumar, Lyrics-Rammurty Chaturvedi, MD-Hiren Bose
Both
Lyrics
piya aa aa aa aa aa
in charanan bali jaaun
piya charanan bali jaaun
jeewan maran janam janam inko na bhulaaun
jeewan maran janam janam inko na bhulaaun
piya charanan bali jaaun
in charanan bali jaaun
hamri ee ee lagan
tumhre charan aa aa aa a aa
laagi prem phaansi
hamri lagan
tumhre charan
laagi prem phaansi
tan man inpe nisaar
aaj bani daasi
tan man inpe nisaar
aaj bani daasi
sakhi ree ee ee ee ee
sun sun dhoban raami
sun sun dhoban raami ee ee
kaise main samjhaaun
kaise main samjhaaun
tere in sheetal charanan ki
chhaaya mein sukh paaun
tere in shital charanan ki
chhaaya mein sukh paaun
sharanan mein main aau
sharanan mein main aaun
sharanan mein main aaun
jeewan maran janam janam tumhaari preet paaun
jeevan maran janam janam tumhaari preet paaun
Mohe baandhh prem ki dor
Posted on: March 26, 2023
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 : |
5364 | Post No. : | 17591 |
#the Decade of Forties – 1941 – 1950 #
————————————————————————
In this post I present a wonderful song which I came across while browsing and listening to a few songs.
This song is from the ‘1949’ movie ‘Janmapatri’ or ‘Janmpatri’.
It was directed by K.P. Shahani for ‘Popular Productions, Bombay’.
The cast of this movie had Sudha Rao, Hamid, Zebunnisa, Chandabai, Vijay Kumar, Leela Gupte, A. Shah, Susheela, Nazir Kashmiri, Pran, Ratan Piya, Khatana, Shamo, Abdul and others.
‘Janmpatri-1949’ has eight songs in it. Lyrics for all these eight songs were written by Aziz Kashmiri. Music for this movie was composed by Gulshan Soofi.
Khan Mastana, Soofi, Hamida Bano and Rajkumari had given their voices to the songs in this movie.
‘Janmpatri-1949’ made its debut on the blog with its song ‘wo aa gaye hain pyaar ki duniya liye huye’ . This post was presented on 16.09.2016 by our respected Shri Sadanand Kamath ji with detailed information on the lyrics writer of this movie i.e. Aziz Kashmiri.
The second song from this movie was presented by Shri Atul ji and it was posted on 28.10.2017. The song in this post is ‘dil mera tadpaane waalaa shaad rahe Aabaad rahe’.
Today we present the third song from this movie. This song is sung by Rajkumari andfemale chorus.
This song is a ‘missing the beloved’ type song where the girl is sharing her thoughts with her ‘sakhis’, who are actively supporting her to find the solution. 🙂
Let us now listen to this wonderful song …
Only audio of this song is available.
Song-Mohe baandh prem ki dor (Janmpatri)(1949) Singer-Rajkumari, Lyrics-Aziz Kashmiri, MD-Gulshan Soofi
Chorus
Lyrics
mohe baandh prem ki dor
haaye ae
mohe baandh prem ki dor
sajan kis ore gaye ae
ho o
kis ore gaye ae
main dhhoondhh rahi
din rain
main dhhoondhh rahi
din rain
kahaan chitchor gaye ae
ho o
chitchor gaye ae
bagiyaa dekhin
kaliyaan dekhin
kaliyaan dekhin ee
ho o o o
apne gaaon ki galiyaan dekhin
galiyaan dekhin
o o bedardi ee
naazuk dil mera tod gaye
ho o o
dil tod gaye
o o o bedardi ee
naazuk dil mera tod gaye
ho o o
dil tod gaye
mohe baandh prem ki dor
sajan kis ore gaye ae
ho o o
kis ore gaye ae
baithhi hoon main
aas lagaa ke
aas lagaa ke ae
ho o o
do nainon ke deep
jalaa ke
deep jalaa ke ae
o o bedardi ee ee
kaahe akeli mohe
chhod gaye ae
o o o
dil tod gaye ae
o bedardi ee ee
kaahe akeli mohe
chhod gaye ae
o o o
dil tod gaye ae
man kaa paakhi
nazar naa aaye
nazar naa aaye ae
ho o o o
man dukhiyaaraa
chain naa paaye
chain naa paaye
o o o
bedardi
bin poochhe ae
mukhdaa mod gaye
o o o
dil tod gaye
o o o
bedardi
bin poochhe ae
mukhdaa mod gaye
o o o
dil tod gaye ‘
mohe baandh prem ki dor
haaye ae
mohe baandh prem ki dor
sajan kis ore gaye ae
ho o
kis ore gaye ae
main dhhoondhh rahi
din rain
main dhhoondhh rahi
din rain
kahaan chitchor gaye ae
ho o
chitchor gaye ae
Gaaun gaaun main filmy taraana
Posted on: March 25, 2023
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 : |
5363 | Post No. : | 17589 |
#the Decade of Fifties –1951 – 1960 #
——————————————————————
In this post we cover a song from the movie “Deepak-1951”.
This movie made its debut on the blog on 11.01.2017 with its song ‘sooraj chaand sitaare jab tak’. Later, two more songs from this movie were posted on the blog on 09.09.2017 and 23.06.2018 respectively.
Today we present the fourth song from this movie on the blog.
“Deepak-1951” was directed Chandrashekhar for ‘Ram Ganguly Productions’. It was produced by Ram Ganguly the music composer.
Before this movie he had composed music for movies like ‘Maharana Pratap-1946’, ‘Mahasati Tulsi Vrinda-1947’, ‘Aag-1948’, ‘Banwaasi-1948’, ‘Jalsa-1948’, ‘Anmol Moti-1949’. (These are movies already available on the blog and I have noted them in order of their release as mentioned in the blog.).
‘Deepak-1951’ was passed by Censor Board on 07.02.1951.
“Deepak-1951” had Prithviraj, Vijaylakshami, Umesh Sharma, Arun Ganguly, Sajjan, Kamal Mehra, Shanti Madhok and others.
This movie has ten songs. Seven songs were penned by Madhukar Rajasthani and two by Pt Narendra Sharma. Lyricist is not known for one song.
Here are the detail sof the songs of this movie:-
| SNo | Song Title | Lyricist | Singer/s | Posted On |
|---|---|---|---|---|
| 01 | Aa ri, aa ri nindiyaa ri aa | Narendra Sharma | Uma Devi | |
| 02 | Gaaun gaaun main filmi taraanaa | Narendra Sharma | Uma Devi, Sailesh Kumar | Being discussed in this post |
| 03 | Armaanon ki laash liye kandhe par | Madhukar Rajasthani | Uma Devi | |
| 04 | Dil ko bhaayaa, man ko bhaayaa | Madhukar Rajasthani | Uma Devi | 09.09.2017 |
| 05 | Ashqon ka kaarwaan chalaa phoota huaa naseeb le | Madhukar Rajasthani | Uma Devi | 23.06.2018 |
| 06 | Sooraj chaand sitaare jab tak | Madhukar Rajasthani | Uma Devi | 11.01.2017 |
| 07 | Aa loot maze jawaani ke | Madhukar Rajasthani | Ameerbai Karnataki | |
| 08 | Chaman ujdaa hai… sautan ke ghar rehte hai | Not known | Not known | |
| 09 | Armaanon ki laash liye…sadme khaaye jaa | Madhukar Rajasthani | Ameerbai Karnataki | |
| 10 | Kisi ki raah mein … | Madhukar Rajasthani | Zohrabai Ambalewaali |
From the above table we can see that the three songs already posted on the blog were all penned by Madhukar Rajasthani.
Today we present a song written by Pt Narendra Sharma (one of his two songs from this film).
Today’s song is ‘playful’ parody song sung by Uma Devi and Shailesh Kumar (or Sailesh Kumar?).
Only the audio of the song is available.
Let us now enjoy the song …
Audio
Song-Gaaun gaaun main filmi taraana (Deepak)(1951) Singers-Sailesh Kumar, Uma Devi, Lyrics-Pt Narendra Sharma, MD-Ram Ganguly
Lyrics
gaaun gaaun main filmi taraanaa aa
aanaa aanaa
hamaari gali aanaa aa
ho gori
gaaun gaaun main
filmi taraanaa aa
gaaun gaaun main
filmi taraanaa aa
aanaa aanaa
hamaari gali aanaa aa
aanaa aanaa
hamaari gali aanaa
ho gori
ho goraa
ho gori
ho goraa
gaaun main
filmi taraanaa aa
gaaun gaaun main
filmi taraanaa aa
ho gori gaaun main
filmi taraanaa aa
gaaun gaaun main
filmi taraanaa aa
haan aan aan aan
sunday monday
ande pakaaun
censor ke main
dande khaaun n
bane raagini
kasam(?) ki dholak
phir(?) ho gaana bajaana
ho gori
phir(?) ho gaanaa bajaanaa
gaaun gaaun main
filmi taraanaa aa
gaaun gaaun main
filmi taraanaa aa
aanaa aanaa
hamaari gali aanaa
aanaa aanaa
hamaari gali aanaa
ho gori
gaaun main filmi taraanaa aa
ho gaaun gaaun main
filmi taraanaa aa
kavitaa ki main
taang tod doon
haaye ae
haan aan aan
kavitaa ki main
taang tod doon
bol bol ki
baanh mod doon
baazigar ban kar ke
dikhaa doon oon oon
ho o
sab ko naach nachaanaa
o dekho
sabko
naach nachaanaa
gaaun gaaun main
filmi taraanaa aa
gaaun gaaun main
filmi taraanaa aa
aanaa aanaa
hamaari gali aanaa aa
aanaa aanaa
hamaari gali aanaa
ho gori
gaaun main filmi taraanaa aa
gaaun gaaun main
filmi taraanaa aa
haan aan aan
taansen ko bhool jaayen sab
dhan ghamand mein
bhool jaayen sab
? jaayen sab
gunijanon ke praan sukhaa doon
haaye haaye
(haaye , maar daalaa aa )
mujhe aataa hai paisa kamaanaa
ho gori aataa hai paisa kamaanaa aa
ho goraa aa
ho gori ee
ho goraa aa
ho gori
gaaun main filmi taraanaa aa
o gaaun gaaun main
filmi taraanaa aa
aanaa aanaa
hamaari gali aanaa
aanaa aanaa
hamaari gali aanaa
gaaun gaaun main
filmi taraanaa aa
gaaun gaaun main
filmi taraanaa aa
Aise kyun haan kyun haan kyun
Posted on: March 24, 2023
This article is written by Gajendra Khanna, 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 : |
5362 | Post No. : | 17587 | Movie Count : |
4727 |
It has been a while since I have been meaning to write my eighth post for the blog (technically ninth, the first one didn’t appear due to being a Pakistani film song!). Eight is considered a very round number and It would be a good idea to get out of its loop fast (has been long enough since my last post came in 2019 before the pandemic!!).
Hence, I decided to go ahead with two back to back posts about two versions of the same song which appeared in two different seasons of the same series with different lyrics and main singers being used.
The pandemic has seen this gradual shift in audience interest from the screen towards series that come on OTT (“Over the Top”) platforms like Netflix, Amazon Prime, Disney Hotstar, Zee5 etc. OTT refers to the technology that allows streamed content to be made available over the internet. One no longer needs cable networks to get access to serials and movies thanks to such platforms. Thanks to these platforms we have various artists getting an opportunity to participate in projects which are ‘different’ in terms of stories and treatment free from the restrictions imposed by feature films. Such series also give an opportunity to artists to display a wide area of emotions and character curves as there is no restriction of 2 hours etc to tell the story. Many movies have also started releasing directly on these platforms now and the viewer is spoilt for choice. Many of these series and movies are having some lovely songs in them as well. One can see movies and series of even big superstars releasing in OTT platforms as they are ready to pay the huge amounts for exclusive streaming rights to such content. Content is now king and users don’t mind getting a yearly subscription to such platforms in what would probably be lesser than one movie outing for a normal middle class family.
The first version which I am taking up today is from first season of an OTT series. The series in question is called ‘Mismatched’. This season had released on 20th November 2020 but it had been in the making for almost two years before. It is often seen that movie and serial makers often adapt from existing literary works which is the case here as well. This is the brief about the series with some information taken from Wikipedia page of the series.
Mismatched is a 2020 Indian Hindi-language coming-of-age romantic drama web series on Netflix, based on Sandhya Menon’s 2017 novel When Dimple Met Rishi. It was adapted by Gazal Dhaliwal and directed by Akarsh Khurana and Nipun Dharmadhikari. It is produced by Ronnie Screwvala’s RSVP Movies. Starring Prajakta Koli, Rohit Saraf, Rannvijay Singha and Vidya Malvade in prominent roles, the series is about Rishi, a die-hard romantic who believes in traditional ways of dating, who falls for Dimple, a gamer, and eventually wants to marry her. There are many other familiar artists in the series like Aditi Govitrikar, Jugal Hansraj and Suhasini Mulay. It also has Tarruk Raina who I have seen in a couple of series who seems to be a promising actor who can sign decently as well. Dhaliwal adapted the novel in early 2018, with the script being tweaked for the series. While the novel is set in the United States, the story was adapted to take place in Jaipur. The series features cinematography handled by Avinash Arun and Milind Jog, with editing done by Sanyukta Kaza and Namrata Rao. Mismatched features a soundtrack album composed by Jasleen Royal, Samar Grewal, Anurag Saikia, Prateek Kuhad, Shashwat Singh, Taaruk Raina, Deepa Unnikrishnan, Abhijay Negi and Hiphop Bhaiya, with Saikia also composing background score for the series.
The song under discussion today is titled “Aise Kyun”. Its lyrics are by Raj Shekhar and It has been composed by Anurag Saikia.
Anurag Saikia (born in December 1988) is an Indian film score composer , music director , music producer and instrumentalist from Assam, India. He is one of the youngest composers to be awarded with Rajat Kamal for Best Non-Feature Film Music Direction for the short Assamese film Yugadrashta (2013) at the 61st National Film Awards ceremony which took place in 2014.
His mother Dipali Saikia, is an All India Radio artist and teacher and his father Dr. Anil Saikia is an academician, who was conferred the Pratima Barua Pandey memorial Award on 27 December 2011 for his contributions towards the preservation and popularization of folk culture and music of the State of Assam.
After completing graduation from Cotton College, Anurag was admitted into the Swarnabhumi Academy of Music (SAM), Chennai. One of the latest movies he composed music for, is Thappad. He has worked with many popular artists like Sonu Nigam, Arijit Singh etc.
Saikia is known for his initiative of syncing Borgeets to the symphonic orchestra. Some of the movies he has composed for include Holding Back, The Job, One Last Question (2015), Dikchow Banat Palaax (2016), Maj Rati Keteki (2017). Toba Tek Singh (2018), High Jack (2018), Karwaan (2018), Mulk (2018), Article 15 (2019), Thappad (2020), Kaun Pravin Tambe? (2022), Anek (2022) and Bheed (2023). He also sings and writes songs occasionally. He has also composed for this series as well as some others like Cubicles, Gullak and Panchayat. He does the majority of the singing in this song.
The female vocals are provided by Nikhita Gandhi. Nikhita Gandhi (born 1 October 1991) is an Indian playback singer who has worked in Indian films in four different languages. She is half Punjabi and half Bengali. She has worked on Tamil, Hindi, Telugu, Bengali, and Kannada film projects. She sang as the face of Deepika Padukone in Raabta for the title track “Raabta”. Her song ” Ullu ka Pattha” dual with Arijit Singh from the film Jagga Jasoos is a hit song. She sang for Sachin: A Billion Dreams, Chef, Jab Harry Met Sejal, and Ittefaq. She also sang a Bengali song “Mithe Alo” with Atif Aslam for Cockpit. Her song “Aao Kabhi Haveli Pe” and “Poster Lagwa Do” also became popular.
Here is the music video for the song:-
Song-Aise kyun haan kyun haan kyun(Mismatched season one)(2020) Singers-Anurag Saikia, Raghav Chaitanya, Nikhita Gandhi, Lyrics-Raj Shekhar, MD-Anurag Saikia
Lyrics
Zara Zara Abhi Baatein Shuru Hi Hui
Magar Khush Hoon Main Aaj Kal
Hmm Abhi Talak Meri Shaam Toh Aisi Na Thi
Jaise Halki Hai Aaj Kal
Kya Hai Ye Maajra
Kuch To Hai Mil Raha
Ya Fir Main Hi Bas Mann Hi Mann
Kisse Banaane Laga
Aise Kyun Haan Kyun Haan Kyun
Tu Kuchh Bole Na
Aise Kyun Haan Kyun Haan aan aan Kyun
Tu Kuchh Bole Na Bole Na
Ho Ik Din Haule Se
Tujhse Hai Ye Poochhna
Raatein Teri Bhi Thhodi
Firozi Firozi Si Hain Bhi Kya
Ho Ik Din Raat Bhar Jo Tu Dekhe Jaag Kar
Kehna Sapne Sawere Gulabi Gulabi Se Hain Bhi Kya
Ho Ik Din Akele Mein Dil Se Sochna
Ik Din Akele Mein Khud Se Bolna
Kya Hai Ye Maajra
Kuchh To Hai Mil Raha
Ya Fir Main Hi Bas Mann Hi Mann
Kisse Banaane Laga
Aise Kyun
Haan Kyun
Haan Kyun
Tu Kuchh Bole Na
Aise Kyun
Haan Kyun
Haan Kyun
Tu Kuchh Bole Na Bole Na
Aise Kyun
Kuchh To Likhti Hoon
Likh Ke Mitaati Hoon Main Raat Bhar
Aise Kyun Baatein Khud Ki Hi
Khud Se Chhipaati Hoon Main Aaj Kal
Par Ye Sab Sochna
Dil Ko Yun Kholna
Sab Kuch Keh Kar Hi
Sab Ko Bataana Zaroori Hai Kya
Aise Kyun Haan Kyun Haan Kyun
Kyun Hai Bolna
Aise Kyun Haan Kyun Haan Kyun
Kyun Hai Bolna Bolna
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Devnagari script Lyrics(Provided by Gajendra Khanna)
————————————
ज़रा ज़रा अभी बातें शुरु ही हुईं
मगर खुश हूँ मैं आज काल
ह्मम अभी तलक मेरी शाम तो एसी ना थी
जैसे हल्की है आज कल
क्या है ये माजरा
कुछ तो है मिल रहा
या फिर मैं ही बस मन ही मन
किस्से बनाने लगा
एसे क्यों हाँ क्यों हाँ क्यों
तू कुछ बोले ना
एसे क्यों हाँ क्यों हाँ क्यों
तू कुछ बोले ना
हो एक दिन हौले से तुझसे है ये पूछना
रातें तेरी भी थोड़ी
फिरोज़ी फिरोज़ी सी हैं भी क्या
हो एक दिन रात भर जो तु देखे जाग कर
कहना सपने सवेरे गुलाबी गुलाबी से हैं भी क्या
हो एक दिन अकेले में दिल से पूछना
एक दिन अकेले में खुद से बोलना
क्या है ये माजरा
कुछ तो है मिल रहा
या फिर मैं ही बस मन ही मन
किस्से बनाने लगा
एसे क्यों हाँ क्यों हाँ क्यों
तू कुछ बोले ना
एसे क्यों हाँ क्यों हाँ क्यों
तू कुछ बोले ना
एसे क्यों कुछ तो लिखती हूँ
लिख के मिटाती हूँ मैं रात भर
एसे क्यों बातें खुद की ही
खुद से छिपाती हूँ मैं आज कल
पर ये सब सोचना
दिल को यूँ खोलना
सब कुछ कह कर ही
सब को बताना ज़रुरी है क्या
एसे क्यों हाँ क्यों हाँ क्यों
क्यों है बोलना
एसे क्यों हाँ क्यों हाँ क्यों
क्यों है बोलना बोलना
Prem baansuriya bajaao saajan
Posted on: March 23, 2023
- In: "Baansuri" song | Actor-Singer song | Blog Ten Year Challenge (2013-2023) | expression of love | Feelings of heart | Lyrics by Prakashchandra | Lyrics contributed by readers | Pankaj Mullick movie songs | Pankaj Mullick songs (as Singer) | Song of 1940 | Songs of 1930s (1931 to 1940) | Yearwise breakup of songs
- Leave a Comment
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 : |
5361 | Post No. : | 17582 |
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Blog 10-Year Challenge (2013-2023) – Song No.54
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On this date ten years ago (23 March 2013), five songs from five different movies were covered in the blog. Here are the details:-
| Post No | Song Title | Name of the movie | Remarks |
|---|---|---|---|
| 7738 | Maan na kar ab sajni | Aandhi (1940) | 3 songs covered out of 12 by now |
| 7739 | Rotee aankhon mein teri yaad liye jaati hoon | Nargis (1946) | Movie YIPPEED by now |
| 7740 | Shaam huyi o panchhi aa | Maa Baap(1944) | 8 songs covered out of 9 by now |
| 7741 | Sach sach sach o dear sach sach | Bewaqoof(1960) | Movie YIPPEED by now |
| 7742 | Mere dil se aa ke lipat gayee | Neela Aakash (1965) | Movie YIPPEED by now |
We observe that three movies (out of five) whose songs were covered on this date ten years ago (on 23 march 2013) have since been YIPPEED. That leaves us with two unYIPPEED movies that are eligible for Blog Ten Year Challenge today (23 March 2023).
“Aandhi”(1940) is one of the two movies. This movie was directed by Dinesh Ranjan Das for New Theatres, Calcutta. The movie had Pankaj Mullick, Molina, Khrushid Muzammil, Srilekha, Kumari Manjari, K.C.Dey, Nemo, Roopkumari, Shaam Laahaa, J.L.Vaid, Siraaj etc in it.
“Aandhi”(1940) had 12 songs in it. # songs have been covered by now.
Here is the fourth song from the movie to appear in the blog. The song is sung by Pankaj Mullick and Radharani. Rashid Gorakhpuri is the lyricist. Music is composed by K C Dey.
Only audio of the song is available. Pankaj Mullick acted in the movie so it is clear that he sang for himself in the movie. Radharani may have given playback for the leading lady (Molina ?). I request our knowledgeable readers to throw light on the picturisation of the song.
Lyrics of the song were sent to me by Prakashchandra.
audio link:
Song-Prem baansuriya bajaao saajan (Aandhi)(1940) Singers-Pankaj Mullick, Radharani, Lyrics-Rashid Gorakhpuri, MD-K C Dey
Lyrics(Provided by Prakashchandra)
prem bansuriyaa bajaao saajan
prem bansuriyaa bajaao oo
prem ki aag lagee hai man mein
prem ki aag lagee hai man mein
aur isey lehkaao
aur isey lehkaao saajan
prem bansuriyaa baajaao saajan ….nnn
muskaaye sangeet nain mein
barse amrit ras jeevan mein
muskaaye sangeet nayan mein
barse amrit ras jeevan mein
prem kaa aisaa raag sunaao o o
prem kaa aisaa raag sunaao saajan …nnn
prem bansuriyaa bajaao saajan…nnn
jiskee dhun par
jiskee dhun par jeevan naachey
thhumak thhumak man ghoonghar baaje
jiskee dhun par jeevan naachey
thhumak thhumak man ghoonghar baaje
sur kee aisee baan chalaao
sur kee aisee baan chalaao
saajan prem bansuriyaa bajaao
prem bansuriyaa bajaao oo
man kaa manhar raag sunaakar
jeevan ko sangeet banaa kar
prem dev ban jaao o
man kaa manhar raag sunaa kar
jeevan ko sangeet banaa kar
man kaa man har raag sunaa kar
jeevan ko sangeet banaa kar
prem dev ban jaaoo saajan
prem bansuriyaa bajaao o
prem ki aag lagee hai man mein aen
prem ki aag lagee hai man mein
aur isey lehkaao saajan
prem bansuriyaa bajaao saajan…nnn
Sainyaan chhod de mera haathh
Posted on: March 22, 2023
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 : |
5360 | Post No. : | 17578 |
#the Decade of Sixties – 1961 – 1970 #
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I do not remember to have listened to the songs from this movie ‘Dev Kanya-1963’. So, when I came across this movie on the blog, I listened to its only song available on the blog. And what a song it is. I immediately fell in love with this duet song ‘zaraa pehchaano to main kaun kahaan se aayi’.
As mentioned by Atul ji in this post this movie seems to be a forgotten movie. That could be the reason the beautiful songs from this movie may have failed to catch the attention of music lovers. I have listened to the few songs from this movie already available on the internet and all of them appear to be nice songs to me.
As per information available in HFGK Vol-IV (1961-1970) ‘Dev Kanya-1963’ was directed by Sri Nath Tripathi (S.N. Tripathi) for ‘Sur Sagar and Amrit Films’.
It had Anita Guha, Mahipal, B.M. Vyas, Mukri, Krishna Kumari, Babu Raje, Mishrilal, Sheela Kashmiri, S.K. Shukla, Ratnamala, Radheshyam, Shri Bhagwan, Uma Khosla, Tiwari, Sudarshan Kumar, Madhumati and others.
This movie has seven songs penned by B.D. Mishra. And these were composed to music by S.N. Tripathi.
Singer’s name is not mentioned for one song and the singer’s names that we get from the other six songs are Asha Bhonsle, Mukesh, Mohd Rafi, and Mahendra Kapoor.
As mentioned above only one song from this movie has been posted on the blog earlier on 08.09.2013. That was long ago.
Today we listen to the second song from this movie. It is another nice duet song sung by Mohd Rafi and Asha Bhonsle.
Only audio of this song is available.
I would request knowledgeable readers to throw more light on this movie and its songs.
Let us enjoy this duet song from ‘Dev Kanya-1963’ now…
Song-Sainyyaan chhod de mera haathh (Dev Kanyaa)(1963) Singers-Asha Bhonsle, Mohd Rafi , Lyrics-B D Mishra, MD-S N Tripathi
Lyrics
sainyyaan chhod de
mera haathh
haaye dhadke jiyaa aa
sainyyaan chhod de ae
mera haathh
haaye dhadke jiyaa aa
kaise chhod doon
teraa haathh
toone mera dil liyaa
haaye dil liyaa
sainyyaan chhod de ae
aise to mat chhed baalma
padoon main tore painyyaa
sainyyaan
padoon main tore painyyaa aan
lootaa huaa dil
waapas de de
tabhi main chhodoon bainyyaan
haaye ae
tabhi main chhodoon bainyyaan aan
hoye dil kaa lootnaa
main kyaa jaanoon
abhi umar larkaiyyaan
sainyyaan aan chhod de
mera haathh
haaye dhadke jiyaa aa
kaise chhod doon
teraa haathh
toone mera dil liyaa
haaye dil liyaa aa
sainyyaan chhod de ae
ghoom ghoom kar
aage peechhe
ghadi ghadi kyun ghere
sakhiyaan
ghadi ghadi kyun ghere ae ae
diye ki lau par jal jaane ko
hoy hoy hoy hoy hoye
haaye
diye ki lau par jal jaane ko
kare patangaa phere
hoye ae
kare patangaa phere ae
oye jaan jaayegi
phir naa aayegi
ho o o o o o
jaan jaayegi
phir naa aayegi
jo ham se uljhe re
sainyyaan aan
chhod de
mera haathh
haaye dhadke jiyaa aa
kaise chhod doon
teraa haathh
toone mera dil liyaa
haaye dil liyaa aa
sainyyaan chhod de ae
pyaar to hai phaansi kaa phandaa
galey mein tu kyun daale
rasiyaa
galey mein tu kyun daale ae ae
aisi phaansi se
kab darte
pyaar pe marnewaale
hoye ae
pyaar pe marnewaale ae
oye mar ke dikhaa de
ek baar
dil kardoon tere hawaale
sainyyaan aan
chhod de
mera haathh
haaye dhadke jiyaa aa
kaise chhod doon
teraa haathh
toone mera dil liyaa
haaye dil liyaa aa
sainyyaan chhod de ae ae
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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