Advertisements

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

Archive for the ‘expression of love’ Category


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 :

3989 Post No. : 15079 Movie Count :

4136

——————————————————————————————
My Railway related reminiscences- 3
——————————————————————————————

In my first article in the series, I discussed my first posting at Secunderabad. In my second articles, I went back into the past and discussed my probation days, including my stay at Vadodara.

In this third episode, I go back to the future ! Here I discuss my second posting.

My first posting was perhaps in the best place in the Railway zone of South Central Railway. I was posted in the capital city. I stayed near Secunderabad Railway station and I got a Railway quarter there. A capital city has so many attractions as well as opportunities. Those were the days when “computer” was a big buzz word. We had computer coaching institutes mushrooming all over India. A typical computer course taught DOS, wordstar, Lotus 123 and dbase3 . Does it ring any bells with some readers ? 🙂

A government employee is supposed to take permission if he/she wants to study in any course while in government service, with the undertaking that his study would not affect his performance in his/her job. I duly took this permission and began to attend one such course in evening.

My boss in my work place was an old fashioned conservation man. Same was the case with my bosses at the Headquarter. One standard advise that I would be given by them was – “concentrate on learning your job instead of learning about computers.” They did not share my “vision” that computers are a big productivity tools and they would play an important role in our lived in the coming days.

My HQ bosses decided that the facilities at the capital city were harmful for me and so they decided to post me to a place where such facilities were non existent.

They identified a place that was poles apart when compared with Secunderabad. It was called Purna, in Marathwada region of Maharashtra. I was posted there.

This news was naturally a setback for me. But there was not much one could do about it. This place was a junction station and it had MG lines.I took a night train called Kacheguda Ajmer express (the most prestigious train in the section). The train started at night from Secunderabad and arrived Purna after midnight at around 4 AM or so.

In Secunderabad, I was a small fish in a big ocean as far as Railways set up was concerned, but I was going to be a big fish in a small pond like Purna. There I was being posted as the incharge of all Mechanical Engineering activities of Railways in and around Purna. My beat covered places up to Manmad (360 km to west), Khandwa (405 km to north), Adilabad (242 km to east) and Nizamabad (150 km to South East). All four places were in different directions and were located in three different states. When I think about it, the area under my jurisdiction was larger than the entire Railway system in some small countries. All this was MG section.

I arrived Purna Railway station at the early hours. Since I was going to be the boss of all I surveyed, people had arrived at the station to receive me. People unfamiliar to me always had difficulty identifying me. I got down from the station and stated looking for people who may have arrived to receive me. Likewise those who had arrived to receive me were lookng for someone who should look like a boss to them. Finally we managed to locate each other. They took me to Railway Officers Guest House, a small two room guest house. One room was booked for me and this room was going to be my place of stay till I got my regular accomodation.

Most people travel in style, carrying large number of suitcases which they have great difficulty fitting inside their train berth and they then secure their suitcases under lock and key. I on the other hand woul travel with very modest looking luggage, typically a bag, and a jhola, and sometimes a suitcase. I would shove them under my train berth. No securing them under lock. In fact even my suitcase would not be locked if I could help it. I secured my suitcase only to avoid the embarrasment of an unlocked suitcase getting open and all its content falling out. And my luggage never got stolen despite lying all unsecured !

The modestness of my luggage was one of the reasons why unfamiliar people coming to receive me at the station would be unable to locate me at first glance. 🙂 Once my luggage waskept at the rest house, naturally it would remain all unlocked.

The small rest house had very small number of staff. Cleaning and dusting of the rooms was done by a lady. He small child would accompany her. The door of the room would remain open all the time.

In the morning I went to my work place. This place was a steam loco shed, located towards south of the Purna Railway station. In its prime, this loco shed had over 60 MG steam locomotives. The number had come down a good deal.

The office was located on the first floor of a old fashioned British Style building. My chamber was quite large and spacious vis a vis the small chamber that I had in my previous place of posting. There were hundred of staff in the office. People there still complained about there being less number of staff. 🙂

A few months later, my top boss (Chief Mechanical Engineer, based at Secunderabad ) paid a visit to Purna. During the course of his “inspection” of the place, he enquired- “how many clerks are there in the shed ?”.

The reply was “The work has reduced drastically, and so has the number of clerks. Now we have ONLY 40 clerks.”

“ONLY 40 clerks. My office at Secunderabad dealing with entire zone only has 39 clerks !”- the Chief Mechanical Engineer exclaimed !

Though I joined at Purna, my heart was still at Secunderabad and I would try to go back to Secunderabad at weekends and holidays, much to the chagrin of my immediate boss. I would leave for Secunderabad on friday and arrive back on Monday morning.

Once I went to Secunderabad on weekend and arrived back on monday morning. While at Secunderabad, I boaght sweets, with the intention of consuming them at leisure in Purna. As usual, my luggage remained unlocked in my room.

When I came back to my room in the evening, I found that out of 20 pieces of sweet, only one piece remained in the bag where I had kept the sweet packet. The cleaning lady and her young son were looking very worried. I realised that the small kid had opened the box, and seeing the sweets, he kept eating the pieces and her indulgent mother could not prevent him in time. Now both of them were very worried.

I looked at the matter from the point of view of the kid and decided that it was alright. I behaved as if nothing happened. The mother and child waited till then morning to see my reaction. I showed no reaction and both of them were mightily relieved. It must have been an unexpected big lucky break for them. I could notice that they were silently thankful for me from the core of their hearts.

With time, I stopped going to Secunderabad at weekends. Instead, I would go to the nearly towns in the first half and be back by night. There was Parbhani (30 km to the north) and Nanded (30 km to the south) from Purna. These two district places had may be 4-5 movie halls each. I would visit one of these places during weekends, watch a movie and would come back to Purna by night.

All this journey was by train, of course. On one such occasion, I had gone to Parbhani. I watched some movie and then boarded the evening train coming towards Purna. The middle aged person seated opposite me in the first class coach was a PWD engineer in Maharashtra Government. He was coming back to his Nanded residence after attending some meeting at Aurangabad. I got introduced to him. He told me “kabhi koi kaam ho to bataana. Indian ka Home minister S B Chawhan ka main family friend hoon.” He also gave me his home address of Nanded.

I got down at Purna.

I was a “different” kind of Railway officer. I believed in things like honesty, fairplay etc. My immediate boss (based at Secunderabad), on the other hand was an archtypical Government official who believed in sucking up to the boss as the easy and only way of success. And he expected me to do the same. There were occassions when “failures” would take place and he would ask me to suspend someone. I would carry out my investigation into the failure and would found that the person required to be suspended was innocent. So I would refuse to suspend the innocent man.

This happened on quite a few occasions. He at his level would tell the division boss”(DRM)- “driver was responsible for late start of train. I have asked my Purna officer to suspend the driver.” I would investigate the matter and I would find that the driver was innocent.

The boss looked for opportunity to get his own back. One usual opportunity was to write adversely about my performance in my annual confidential report. I was an unusual kind of person who did not give a damn and I felt that spoiling my ACR was a non issue. He got his opportunity to actually hurt me. I wanted to take leave because my parents were calling me. It is nt difficult for people to realise the probable reason. 😉 I foolishly informed my boss of the reason why I wanted leave. So he got a great opportunity to harass me. It is not possible to give you leave right now. But you will be given leave next month. He would tell me. I woul;d belibve him and ask for leave the next month. Then also he would say the same thing. This went on for three months and by the time it was clear t one and all that my boss was using this opportunity to harrass me.

I felt very low when I was denied leave for the third time. I felt helpless. Then I remembered the Nanded based man. I went to Nanded and met him. I asked him to help. He was of course taken aback. He was no doubt a family friend of Indian home minister and a school mate of his son but what he had told me in the train may have been an exaggeration of his influence. In any case, meeting with him and talking with him served as some balm and gave me some mental relief.

A few weeks later, I received a telegram- “father serious, come home immediately.” I , alongwith my staff were naturally aghast, my supervisor (Loco Foreman) raised hell with the division headquarter and arranged for my leave on urgent basis. I was actually quite worried till I reached home and I was relieved to know that my father was alright. It was the usual time tested way of securing leave if the proper way of obtaining leave failed.

This episode taught me a valuable lesson that I tell everyone to follow. You should never tell others (especially your boss) about your “problems” and expect him to sympathise with you. Your vulnerabilities will be used against you. You should give the impression that you have no problems whatsoever. I have followed this lesson after this experience. I have rarely asked for any leave during the last 20 years of my service. And I tell everyone that I am happy wherever I am posted. And whatever I state happens to be the truth as well.

The movie that I had watched at Parbhani that evening (when I met that PWD Engineer) may have been either “Daamini” (1993) or “Dil Aashna Hai”(1992) or some other movie. I am not sure now. Let me assume that it was “Daamini” (1993).

This movie was directed by Rajkumar Santoshi. It had Rishi Kapoor, Meenakshi Seshadri, Sunny Deol, Amrish Puri, Tinu Anand, Kulbhushan Kharbanda, Anjan Srivastava, Rohini Hattangadi, Aamir Khan, K K Raina, Paresh Rawal, Sulbha Arya, Vijayendra Ghatge, Viju Khote, Achyut Potdar, Asha Sharma etc in it.

The movie had five songs. Here is the first song from the movie to appear in the blog.

This song is sung by Kumar Sanu and Alka Yagnik. Sameer is the lyricist. Music is composed by Nadeem Shrawan.

The song is picturised on Rishi Kapoor and Meenakshi Sheshadri.

With this song, “Daamini”(1993) makes its debut in the blog.


Song-Gawaah hain chaand taare gawaah hain (Daamini)(1993) Singers-Kumar Sanu, Alka Yagnik, Lyrics-Sameer, MD-Nadeem Shrawan

Lyrics

gawaah hain
chaand taare gawaah hain
gawaah hain
chaand taare gawaah hain
tere mere milan ke
apne deewaanepan ke
nazaare gawaah hain aen
gawaah hain
chaand taare gawaah hain
gawaah hain
chaand taare gawaah hain
tere mere milan ke
apne deewaanepan ke
nazaare gawaah hain

gawaah hain
chaand taare gawaah hain

tumko rakhoonga dil mein basaa ke
meri dhadkan tum ho
dekhoonga tumko shaam o sahar main
mera darpan tum ho
tumko rakhoonga dil mein basaa ke
meri dhadkan tum ho
dekhoonga tumko shaam o sahar main
mera darpan tum ho
jee na sakoonga main hoke juda aa aa
gawaah hain
chaand taare gawaah hain
gawaah hain
chaand taare gawaah hain
tere mere milan ke
apne deewaanepan ke
nazaare gawaah hain aen

gawaah hain
chaand taare gawaah hain
daamini daamini
daamini
o meri daamini
daamini daamini
daamini
o meri daamini

bhool gayi main is duniya ko
pyaar hua jab se
tere siwa kuchh aur na maangoon
main to mere rab se
bhool gayi main is duniya ko
pyaar hua jab se
tere siwa kuchh aur na maangoon
main to mere rab se
seene mein armaan hain
lab pe dua aa aa

gawaah hain
chaand taare gawaah hain
gawaah hain
chaand taare gawaah hain
tere mere milan ke
apne deewanepan ke
nazaare gawaah hain aen
gawaah hain
chaand taare gawaah hain

gawaah hain
chaand taare gawaah hain
daamini daamini
daamini o meri daamini
daamini daamini
daamini o meri daamini
daamini daamini
daamini main teri daamini
daamini daamini
daamini main teri daamini

Advertisements

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 : 3988 Post No. : 15077

“Garam Khoon”(1980) was produced by Tez Nath Zar and it was directed by A Salaam for Zar International, Bombay. This movie had Vinod Khanna, Sulakshana Pandit, Bindu, Ajit, K.N.Singh, Nazir Hussain, Dhumal, Keshto Mukherjee, Brahmachari, Ram Avtaar, Satish Kaul, Helen, Uma Dhawan, Johnny Whisky, Hercules, Shivaraj, Imthiaz Khan, Chand,Shashi Puri, Rajan Haksar, Sulochana Latkar, C.L.Shah, Dog Tiger, Kamal Roy, Komila Virk, Master Raja, Nilofer, Master Rana, Pratibha Sinha, Ratan Gaurang, S.Mauji, Sabi Oberoi,Sheel Kumar, Shetty, Shyam etc in it.

The movie had five songs in it. Two songs have been covered in the past.

Here is the third song from the movie to appear in the blog. this song is sung by Lata. Singhaar is the lyricist. Music is composed by Shankar Jaikishan.

The song is picturised on Sulakshana Pandit and Vinod Khanna.

According to a comment in youtube, Singhaar was none other than Sharda, the favurite singer of Shankar. I have assumed that this information is correct.I request our knowledgeable readers to throw light on this matter.


Song-Ik chehra dil ke qareeb aata hai (Garam Khoon)(1980) Singer-Lata, Lyrics-Singhaar, MD-Shankar Jaikishan

Lyrics

Ik chehra dil ke kareeb aata hai
khayaalon ko door door le jaata hai
ik chehra dil ke kareeb aata hai
khayaalon ko door door le jaata hai
ik chehra

mausam pe jawaani hai
raahon mein sitaare hain aen
mausam pe jawaani hai
raahon mein sitare hain
jab wo hai nigaahon mein
duniya mein bahaaren hain aen
ik chehra dil ke kareeb aata hai
khayaalon ko door door le jaata hai
ik chehra

madmaati ye raaten hain
jalwon ki baaraaten hain
madmaati ye raaten hain
jalwon ki baaraaten hain
sochoon to bahak jaaun
kuchh aapas ki baaten hain aen
ik chehra dil ke kareeb aata hai
khayaalon ko door door le jaata hai
ik chehra

khushbu si jo mehki hai
shaayad koi aaya hai ae
khushbu si jo mehki hai
shaayad koi aaya hai
khaamosh ishaaron se
mehfil ko sajaaya hai ae
ik chehra dil ke kareeb aata hai
khayaalon ko door door le jaata hai
ik chehra


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3983 Post No. : 15070

——————————————————————————————
My Railway related reminiscences- 2
——————————————————————————————

Couple of days back, I discussed a song of 1991, with my reminiscences of Hyderabad/ Secunderabad, where I was based at that time. Those were the early days of my career and that was my first posting.

That post gave me an idea that I should discuss my experiences of my stays in various places of India during my career. When I began to think about my experiences of those days, many interesting memories came to the fore. So I thought that I should discuss those memories (alongwith movies that I saw at those places) in a series form. I decided to name this series “my reminisces in Railways”. The article accompanyng the 1991 song thus began the fist part of the series.

Secunderabad was my fist posting, but that was preceded by period of probation which was during late 1980s and early 1990s. Those were the days when we would visit various places in Indian Railways located all around the country and undergo “training”. I describe it as “training” and not training because very few people actually trained at these places. It was more like site seeing and getting a first hand experience of how to manage to travel in trains, often without confirmed reservations and often without any confirmed accomodations at the places of our “training.” Those experiences were the real learning experiences for us.

People would form small groups of a few probationers and would travel and “train” together. My group used to be the smallest possible, viz two of us. 🙂

Most of these trainings were of one or two weeks. At the end of the “training”, we would be interviewed by the head of that organisation and then we would get a certificate that we had successfully completed the training. We used to dread the interview and would hope that the head would spare us and give us the certificate without actually interviwing others.

One of these training programmes took us to New Katni junction. We were supposed to undergo training in Diesel shed there. After the end of two weeks, the most dreaded occasion, viz interview with the head of the diesel shed, arrived. The head, one Mr Marcus, a very strict disciplinarian, started to grill the two of us on what we had learnt about diesel locomotives. Both of us were largely clueless on the subject and so I hoped that interviewer would vent his frustration equally on the two of us. My groupmate, Suresh had managed to memorise a few buzz words of Diesel locomotives and I was not familiar with even those words. So, I was singled out by Mr Marcus and he gave me a mouthfull. Learn from Mr Suresh, he at least knows a few terms about Diesel locomotives, I was told.

Suitably chastened, I came out and resolved that I would actually take the training seriously in future. But it was a resolution that I could never keep. 🙂

But that experience gave me an important life and management lesson. When a tiger appears before a herd of deer, the deers need not outrun the tiger. They only need to ensure that they outrun the slowest deer among them. 🙂 The tiger would catch the slowest of the deers and the other deers would escape.

While most trainings were for small durations and they were for probationers in small groups, there were some centralised trainings in large groups and of longer durations in designated locations.

For example, all probationers of all services had to mandatorily undergo two trainings. The first was called “Foundation”” course and it was followed by “Induction” course. These courses would be of one month duration and they would take place at Railway Staff College, Vadodara.

The need for centralised training of Railway officers was first felt in 1920s in pre independence era and a “Railway Staff College” was established in Dehradun in 1930. Within two years, some senior Railway Man decided that training of Railway Officers was a luxury that Railways could ill afford and so that “Railway Staff College” at Dehradun was closed down. Its premises were sold to Army. The present day Indian Military Academy at Dehradun is located where the original “Railway Staff College” stood from 1930 to 1932.

Two decades later, it was once again realised that training of Railway officers was not a luxury but a necessity so Railway Staff College was again established. This time it was set up at Vadodara. Railways took Pratap Vilas Palace of Vadodara on lease in 1949. Subsequently Railways bought this premise outright in 1964.

The magnificent Pratap Villa Palace was designed by Charles Frederick Stevens in 1914. Readers may recall that Bombay VT was built by Frederick Williams Stevens in 1887, who was the father of Charles Frederick Stevens. I find it interesting that Charles Frederick Stevens, though an Englishman was named in Marathi-Gujrati manner, viz. Name of the person, followed by father name, followed by Surname. 🙂

The first principal of Railway Staff College, Vadodara was Mr P C Bahl, from 1952 to 1956. His son Lt Commander Rajnish Bahl of Indian navy married film actress Nutan.

It was in this Railway Staff College that I underwent my Foundation Course. There were around 40 probationers in the batch. They were accomodated in hostel rooms, two probationers in each room.

I had decided that I would take Foundation course seriously, and as a part of my seriousness, I chose a room partner who himself was a serious student. No, not the abovementioned Suresh, but another person named Rahul.

Vadodara was (it still is) a nice place. Classes were held in day time for five days a week. Saturday and Sunday were free.

We would typically go out to watch night show of movies in Vadodara after dinner time. It was on one such night that Rahul suggested that we should go watch a new movie called “Dil”(1990). This movie had two newcomers in lead roles. The hero was one Aamir Khan, who had made a successful debut with “Qayamat Se Qayamat Tak” (1988). The leading lady was Madhuri Dixit, who had become an all India rage after the song “ek do teen” in “Tezaab” (1988).

We went for the night show of “Dil”(1990). We left our hostel at 9 PM and we were worried that we would be late for the show. But when we arrived there, we found that we were well in time. The previous show was still playing. We kept waiting and waiting. The earlier show ended after 10 PM. Our night show began at 10-30 PM, which is too late for a night show to start.

It was well past 1 AM when the show finally ended. In my younger days, I would remain wide awake and aware and would not miss any moment of the movie, not even newsreels and ads. But those days were in the past. I was feeling sleepy throughout the movie. So I missed much of the story and so I was not aware what was going on in the movie.

This movie “Dil” (1990) is not yet covered in the blog. Here is the first song from the movie to appear in the blog. The song is sung by Udit Narayan and Anuradha Paudwal. Sameer is the lyricist. Music is composed by Anand Milind.

The song is picturised on the lead pair of Aamir Khan and Madhuri Dixit, both looking so young and fresh faced vis a vis today. But then this movie had come three decades ago !

The song from the movie under discussion is titled “mujhe neend na aaye” , but it was a case of “mujhe neend hi neend aaye” for me in the movie hall in that show. 🙂


Song-Mujhe neend na aaye (Dil)(1990) Singers-Udit Narayan, Anuradha Paudwal, Lyrics-Sameer, Anand Milind
Chorus

Lyrics

aa aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa
aa aa aa

mujhe neend na aaye
neend na aaye
neend na aaye
mujhe chain na aaye
chain na aaye
chain na aaye

mujhe neend na aaye
ho
mujhe neend na aaye
mujhe chain na aaye
koi jaaye jara dhundh ke laaye
najane kaha dil kho gaya aa
na jane kaha dil kho gaya
najane kaha dil kho gaya aa
na jane kaha dil kho gaya
mujhe neend na aaye
mujhe chain na aaye
koi jaaye zara dhoondh ke laaye
na jaane kahaan dil kho gaya
na jaane kahaan dil kho gaya
na jaane kahaan dil kho gaya aa
na jaane kahaan dil kho gaya

aa aa aa aa aa aa

haalat kya hai
kaise tujhe bataaun main
karvat badal badal ke raat bitaaun main
haalat kya hai kaise tujhe bataaun main
karvat badal badal ke raat bitaaun main

poochho zara poochho kya haal hai
haal mera behaal hai
poochho zara poochho kya haal hai
haal mera behaal hai
koi samajh na paaye kya rog sataaye
koi jaaye zara dhoondh ke laaye
na jaane kahaan dil kho gaya
na jaane kahaan dil kho gaya
na jaane kahaan dil kho gaya
na jaane kahaan dil kho gaya

aa aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa aa aa

jaan se bhi pyaara mujh ko mera dil hai
uske bina ik pal bhi jeena mushqil hai
jaan se bhi pyaara mujhko mera dil hai
uske bina ik pal bhi jeena mushqil hai
tauba meri tauba kya dard hai
dard bada bedard hai
tauba meri tauba kya dard hai
dard bada bedard hai
kabhi mujhko hansaaye
kabhi mujhko rulaaye
koi jaaye zara dhoondh ke laaye
na jaane kahaan dil kho gaya
na jaane kahaan dil kho gaya

mujhe neend na aaye
neend na aaye
neend na aaye
mujhe chain na aaye
chain na aaye
chain na aaye

aa aa aa aa aa aa

mujhe neend na aaye
mujhe chain na aaye
koi jaaye zara dhoondh ke laye
na jaane kahaan dil kho gaya
na jaane kahaan dil kho gaya


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3980 Post No. : 15068

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 34
——————————————————————————————
My Railway related reminiscences- 1
——————————————————————————————

When I look back into days gone by, I find that my recollections of the past can be divided neatly into decades. I have vague recollections of 1960s as I was quite young in that decade. 1970s is the decade that I recall most vividly as well as most fondly as I was as my precocious best in this decade, being in my teens in this decade.

I find that my recollections of subsequent decades are rather more vague. I can tell you what I was doing in 1975, but I do not have similar vivid recollections of 1985, 1995 or even 2005 !

The above applies to my recollections on Hindi movies and HFM as well. I cannot recall even one Hindi movie song of 2005 or 2015 if my life dwepended on it, but I can readily recollect dozens of songs of 1975.

Since our younger regulars never tire of reminding us that good songs were created in 1990s and later as well, I thought that I should try and discuss some songs from those years even though my recollections of those days are not as vivid as my recollections of 1970s. 🙂

Much of my 1980s was spent in my “higher” education. From 1990s onwards, I found myself posted in various parts of the country.

My initial postings were in South, in what was South Central Railway, with its HQ at Secunderabad. My initial days there were spent in twin cities of Hyderabad and Secunderabad. My first posting was very much in that place. Later, I was posted at a small place in Marathwada called Purna.

I watched quite a few movies in Hyderabad/ Secunderabad. Those were Hindi movies, Telugu movies as well as English movies.

I was a firm believer that one should walk on foot in any new place wherever you wanted to go. That helped you familiarise yourself with various landmarks of the place. I applied my theory rigidly. I would walk six km daily from my residence to my workplace in the morning and then come back by walk in the evening. So I used to walk 12 km daily. 🙂

On weekends, I would plan to watch movies. I used to buy all the three English daily newspapers published in the city, namely Deccan Chronicle, Hindu and Indian Express. The three newspapers together form such a bulk that sometimes people would mistake me for a newspaper vendor. 🙂

I would look at the cinema hall ads to find which movies were playing in which movie halls. After identifying which movie to watch and where to watch, I would decide how to reach there.

It was sometime in 1991 or may be 1992 that I decided to go and watch “Phool Aur Kaante”(1991).

THe movie was playing in a movie hall in old city of Hyderabad. I stayed in Secunderabad near the Secunderabad Railway Stations at a distance of 15 km. How to reach there.

I boarded a local train from Secuderabad and reached Kacheguda Railway station. From there I walked towards old city, in the general direction of Hyderabad(aka Nampally) Railway station. I had a map of the twin city and I would consult it often to find locations of interest to me.

I kept walking on and on and came across old city, full of densely populated areas. I did not have to go Huderabad Railway station. The movie hall was somewhere in between Kacheguda and Hyderabad Railway stations.

I arrived the hall well in time so I had little difficulty buying a ticket for for matinee show. Now, show beginning at 3 PM is matinee show for me, as I was born and brought up in North India, but in Hyderabad, it was called first show there. I think it is still called first show in those parts.

That was not the only difference. What I knew as “cold” drink in north was called “cool” drink there. 🙂

I soon found lots of movie watchers arriving at the movie hall. Now, more than two decades later, I have read about the movie going audience of Hyderabad from our beloved inhouse encylopaedia Mr Arunkumar Deshmukh in many of his articles. Bulk of movie watchers who had gathered belonged to that kind. There were burkha nasheen females accompanied by lots of small kids. It was not as if this movie had a well known hero. This movie had debutants in lead roles. I wondered why all of them had so eagerly gathered to watch the movie where a newcomer was the hero.

The show began after some wait. It goes withot saying that bulk of movie watchers enjoyed the movie thorougly. I would have enjoyed this movie like them if I was two decades younger. But during these two decades, I had learnt thinks like “logical” thinking etc. I was applying logic on the movie and was not able to find much to enjoy. Now, the hero and heroine are college students. But they were hardly seen studying even for one minute. They would be seen singing dancing and romancing for the entire duration of the movie. Come on, how can one even get admitted to a decent college if all one does is teasing the female students and making passes on them. And in which college one finds females falling in love with the eve teaser. In real life India, such male students would get expelled from the college, and here in the movie he is being glorified. Moreover, how can such students even survive the academic rigours of college life ?

Moreover, I believe that one goes to college to study and not to romance. There is plenty of time and opportunity left in life in future for such romantic pursuits once you have successfully completed your studies and have become financially independent.

Conscientious movie watchers like me are in minority and no movie makers do any thing to appease movie goers like me. Movie makers merrily go on to make movies like this which are big hits at the box office and which are happily lapped up by simple minded movie goers.

I have covered one song from this movie in the past. That “past” happened to be 11 june 2009, viz exactly ten years ago. So, this movie becomes an ideal case of blog ten year challenge.

So here is the second song from “Phool Aur Kaante” (1991) on this day viz 11 june 2019, exactly ten years after covering the first song of the movie in the blog. This song is sung by Kumar Sanu and Anuradha Paudwal. Sameer is the lyricist. Music is composed by Nadeem Shrawan.

This movie was produced by Dinesh Patel and directed by Kuku Kohli. This movie had Ajay Devgun, Madhoo, Amrish Puri, Raza Murad, Raghunath, Jagdeep, Goga Kapoor, Suresh Chatwal, Aruna Irani etc in it. The movie was the launch vehicle of Ajay Devgun. His stunt master father Veeru Devgun was behind the production of this movie.

Watch the picturisation of the song. The song is quite enjoyable to listen to and watch to in you can switch off your conscience and sensibilities. But I have great difficulty doing that.

Nevertheless, here is this song from “Phool Aur Kaante” (1991) which was hugely popular those days and continues to remain so till this day.

Video (one stanza missing)

Audio (Full)

Song-Maine pyaar tumhi se kiya hai (Phool Aur Kaante)(1991) Singers-Kumar Sanu, Anuradha Paudwal, Lyrics-Sameer, MD-Nadeem Shrawan
Chorus

Lyrics

maine pyaar tumhi se kiya hai
tururururu
maine dil bhi tumhi ko diya hai
tururururu
maine pyaar tumhi se kiya hai
tururururu
maine dil bhi tumhi ko diya hai
tururururu
ab chaahe jo ho jaaye
main duniyaa se ab naa daroon
tujhi se main pyaar karoon
main duniya se ab naa daroon
tujhi se main pyaar karoon

maine pyaar tumhi se kiya hai
tururururu
maine dil bhi tumhi ko diya hai
tururururu
ab chaahe jo ho jaaye
main duniya se ab naa daroon
tujhi se main pyaar karoon
main duniya se ab naa daroon
tujhi se main pyaar karoon
maine pyaar tumhi se kiya hai
turururu
maine dil bhi tumhi ko diya hai

ailaan yahi
karne aaya
main aaj yahaan
marne aaya
ruswa tujhe main
kar jaaunga
khaa ke zahar ab
mar jaaunga
khaa ke zahar ab mar jaaunga
maine pyaar tumhi se kiya hai
turururu
maine dil bhi tumhi ko diya hai
turururu
ab chaahe jo ho jaaye
main duniya se ab naa daroon
tujhi se main pyaar karoon
main duniya se ab naa daroon
tujhi se main pyaar karoon

maine pyaar tumhi se kiya hai
turururu
maine dil bhi tumhi ko diya hai
aaa aaa aaa aaa aaa
aaa aaa aaa aaa

dilwaale agar
mil jaayen yahaan
phir neend kise
phir chain kahaan
ye
tere liye aahen
bharta hai dil
teri aisi baaton se
darta hai dil
teri aisi baaton se darta hai dil

maine pyaar tumhi se kiya hai
turururu
maine dil bhi tumhi ko diya hai
turururu
ab chaahe jo ho jaaye
main duniya se ab naa daroon
tujhi se main pyaar karoon
main duniya se ab naa daroon
tujhi se main pyaar karoon

maine pyaar tumhi se kiya hai
turururu
maine dil bhi tumhi ko diya hai

baahon mein teri
din raat rahoon

jag chhod doon main
o tere saath rahoon
o saanson mein basa loon aaja tujh ko
tere bina jeena nahin mujh ko
tere bina jeena nahni mujh ko
maine pyar tumhi se kiya hai
turururu
maine dil bhi tumhi ko diya hai
tururururu
ab chaahe jo ho jaaye
main duniya se ab naa daroon
tujhi se main pyar karoon
main duniya se ab naa daroon
tujhi se main pyar karoon

maine pyar tumhi se kiya hai
turururu
maine dil bhi tumhi ko diya hai
turururu
ab chaahe jo ho jaaye
main duniya se ab naa daroon
tujhi se main pyaar karoon

main duniya se ab naa daroon
tujhi se main pyaar karoon
main duniya se ab naa daroon
tujhi se main pyaar karoon

main duniya se ab naa daroon
tujhi se main pyaar karoon


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3979 Post No. : 15065

Today’s song is from film ‘Aaj Ki Baat’ (1955).

In one of his earliest posts, Atul ji had said that the Indian people like to talk about 3 things – politics, films and cricket. How true it was. . . till Whatsapp and Facebook became an obsession for most people in India. Now you see different, sometimes even strange topics being discussed with taste. Additionally, there are wise people to give you free doses of a variety of knowledge. In all this crowd, sometimes one finds even a few intelligent posts too !

Recently, I saw a video by National Geographic. It showed how a mother bear saves her wayward baby bear, from almost certain clutches of a hungry lion. Motherly love or love for children is a common factor among animals and humans. While animals try to protect their babies from enemies, starvation and life threatening situations, human parents try to provide the goodies of life and a paying career line to their children.

Film people are no different in this. Almost every successful star wishes that his children join this line and be famous and successful. However, they forget that in their own case they had struggled hard to earn their place in the life and more importantly they forget that talents are not necessarily hereditary !

When I chose today’s Talat song from film ‘Aaj Ki Baat’, I realised that this was the launching film for Ajit Chitnis – son of ace actress Leela Chitnis. Unfortunately, the film career of Ajit Chitnis never took off beyond his first and the only film. Actually, Ajit was a qualified commercial pilot, but he could not get a job in any air line. Consequently, he became a victim of alcoholism and was spoiled further. To help him settle in life, his mother-Leela Chitnis tried to bring him in film line. When she noticed her contemporary, Shobhana Samarth produced a film ‘Hamari Beti’ (1950), to launch her daughter Nutan, Leela too decided to produce a film to launch one of her two sons as an actor. She chose Ajit as he was elder and needed help. Manvendra (Leela used to call him as ‘Meena’) was not launched ceremoniously, but later he acted in 4 films in side roles. In his last film,’Ramu To Deewana Hai’ (1980) he even shared the credits with his mother. The history of most star sons in films is not very encouraging. In fact, success and failure ratio may be 10 to 90 percent in success and failures.

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

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

They all were given a fair opportunity to display their talent on the screen , but unfortunately despite their honest effort  their skill could not come out  & the viewers were left unimpressed . They were selected by big banners and well experienced directors were there to guide them. But  their talent remained hidden inside them and with their nonexistent artistry they disappointed their mentors. Non-actor Sohan Kapila was in the romantic lead of Filmistan’s ‘Babar’, which was released in 1960. This film was directed by Hemen Gupta, the distinguished director, who earlier had directed ‘Anand Matth’ (1952) for Filmistan. The film, also had the winning combination of Sahir and Roshan.  Dependable character actor Gajanan Jagirdar played the role of the great Mughal Emperor Babar . But the movie flopped, as the new hero failed pathetically to register  any emotion on his face. A big jolt for Seth Tola Ram Jalaan, who was already facing financial problems. Mr. Kapila appeared in 2-3 movies in inconsequential roles and disappeared from scene for ever. His daughter Padmini Kapila also pursued a career in films, but could not achieve much success .

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

‘Malhaar’, as the name suggests, is a musical film produced by the great singer Mukesh in 1951 . It had story by veteran actor SK Prem and its evergreen music was composed by Roshan. The movie had new comers Arjun and Shammi (Nargis Rabaadi). Arjun did get another chance in ‘Daku Ki Ladki’ (1954) to please the viewers with his emoting before the camera, but could not succeed and it was end of his career.

Rattan Chopra, the lucky boy was selected for films, among hundreds of aspirants. Mohan Kumar had suffered a huge set back when ‘Aman’ flopped. He  took the newcomer for ‘Mom Ki Gudia’ (1972) opposite Tanuja, with great hopes.  Unfortunately, the film failed to dispel the gloom and sank to the rock bottom. Acting was not his cup of tea, Rattan Chopra understood and wisely opted out of the race of stardom.

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

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

There were some more like Pratibha Sinha, Archan Gupta, Jayant Gupta, Ashok Sharma,  Nusrat Kardar, Rajeev Kapoor, Manish Kumar, Navin Chandra, Aroop Kumar, Prashant, Shalini, Kaycee Mehra, Vikram, Shekhar Suman, Deepak Kumar, Ajay, Som Dutt and many more. Among them, some film names which I remember off hand are Deepak Kumar in ‘Aabroo’ (1968), ‘Ajay’ in ‘Wapas’ (1969), Som Dutt in ‘Mann Ka Meet’ (1968), Vikram in ‘Julie’ (1975), Rajeev Kapoor in ‘Raam Teri Ganga Maili (1985), Shekhar Suman in ‘Utsav’ (1984), Kaycee Mehra in ‘Chhabilee’ (1960) and Mem Didi (1961), Prashant in ‘Sehra’ (1963), Ashok Sharma in ‘Hamari Yaad Aayegi’ (1961), Ajit Chitnis in ‘Aaj Ki Baat’ (1955), Nusrat Kardar in ‘Dard’ (1947), Manish in ‘Saraswati Chandra’ (1968), Rajiv in ‘Nayi Umar Ki Nayi Fasal’ (1965), Aroop Kumar in ‘Bezubaan’ (1962) etc. There could be more such examples. Readers can give their comments.

According to what Leela Chitnis wrote in her autobiography, ‘Chanderi Duniyet’ (‘चंदेरी दुनियेत’), during the period 1952-53 she was in a very bad financial position. Her health had worsened due to a wrong operation and then a corrective surgery. Valuable time and all money was lost in this. To come out of this situation, she planned to produce a film launching Ajit. As the luck would have it, the film started in 1953, but took 2 years to complete. The rights were sold to a distribution company. They released the film first in Punjab, where it flopped miserably. Then it was not released anywhere at all and went into the cans forever. This was a great shock to Chitnis family.

The film had 8 songs. 2 songs are already discussed here. This is the 3rd song, sung by Talat Mehmood. Written by Raj Baldev Raj, it was composed by the ‘Gentleman Maestro’ – Snehal Bhatkar.

White full shirt, ironed white Pyjama, spectacles with big powerful lenses and the trademark white Gandhi Topi. He could easily be mistaken for a ‘Pandharpur Warkari‘ (a regular pilgrim to Pandharpur) or a member of a ‘Bhajani Mandali’ or simply a middle class ‘Marathi Manoos’. Such was the appearance of one of Hindi filmdom’s talented yet not so famous, music maestro VASUDEV GANGARAM BHATKAR or Snehal Bhatkar as we all love to know him.

In Hindi film music field, there were some talented composers like Ghulam Mohd, Mohd Shafi, Iqbal Qureshi, Daan Singh, C Arjun, Ramlal, Sardar Malik, Ajit Merchant, Jamaal Sen, Dattaram, Ganesh, Snehal Bhatkar etc., who could never reach the peaks of their careers. They really deserved this, but luck did not favour them. Big Banners never approached them and the losers were the lovers of music in India. They did not know, perhaps, how to sell their art. May be, they never wanted to enslave the music to gain name and fame, instead they preferred to settle for service to the music!

Bhatkar was one such composer. ‘Simple living and high thinking’ – never worked in this mayanagari, but he had no regrets. Till the end he was contented with whatever God gave him, whatever name and success he achieved. He was born into a family and grew in such atmosphere which was surrounded by traditional devotional music all around. In the lower middle class, the people had their entertainments in singing bhajans and doing keertans in temples en masse.

He was born on 17-7-1919. Vasudev G. Bhatkar knew at least 100 Bhajans by heart by the time he was in his 10th class. He was invited to sing in Ganesh Melas and other celebrations and soon became a well known name in the locality. Because of his singing and skills in playing harmonium and other instruments, he got a job in HMV in Bombay. Here he used to give accompaniment on harmonium to renowned classical singers. At the same time, taking cognizance of his singing skills, many Marathi bhavgeets and bhajans were recorded by HMV in those days. Some of them are popular in Maharashtra even today.

All the while, Bhatkar was looking for opportunity to compose in films. Sudhir Phadke, who too served in HMV and recorded some songs from 1943 to 1945, joined hands with Bhatkar and made a pair – Vasudev-Sudhir. They got a film of Baburao Painter ‘Rukmini Swayamvar’ in 1946 for music direction. The problem was due to his service in HMV, he could not openly work outside, hence he only gave his name as Vasudev. After this film the pair separated and Phadke went to give music to films like ‘Gokul’, ‘Aagey Badho’ etc. Due to financial constraints Bhatkar was unable to leave the job also.

In 1941, Bhatkar had come to know Kidar Sharma while recording songs for his film ‘Chitralekha’, which he was making for Ranjit Studios. Sharma had just come from Calcutta, to establish himself in Bombay. He had a knack of identifying talents. He gave chance to Bhatkar first to sing some songs with Leela Sawant in his film ‘Kaliyan’ (1944). After ‘Rukmini Swayamvar’, Kidar Sharma gave him his first break as independent composer in his ‘Neel Kamal’ in 1947. For this film, Bhatkar used the name  B Vasudev. Kidar Sharma had launched Raj Kapoor and Madhubala in adult roles as the lead pari in this film. It also launched Bhatkar, albeit in a pseudo-name. In the subsequent years Bhatkar used different names for different films-

  • ‘Suhaag Raat’ (1948) – as Snehal
  • ‘Sant Tukaram’ (1948) – as VG Bhatkar (he sang 6 songs also)
  • ‘Thes’ (1949) – as Snehal
  • ‘Sati Ahilya’ (1949) – as VG Bhatkar
  • ‘Pagle’ (1950) – as VG Bhatkar

After completing ‘Thes’ and ‘Sati Ahilya’, Bhatkar resigned from HMV.

He and Kidar Sharma were very good friends. Kidar gave him ‘Neki Aur Badi’ in 1949. He started the work. Meanwhile, Kidar Sharma met Roshan Nagrath in some musical event. Sharma was terribly impressed with Roshan and wanted to give him a break in his film. At that point of time, Kidar had just started work on ‘Neki Aur Badi’. He had a heart to heart talk with Bhatkar and Bhatkar gladly left the film for Roshan. Thus Roshan got his break with this film. Roshan never forgot Bhatkar’s magnanimity in his life and always respected Bhatkar.

In return Kidar Sharma gave ‘Hamari Beti’ (1950) to Bhatkar.  As he was a free bird now, Bhatkar started using the name Snehal Bhatkar from this film onward. Snehal was the short form of Snehalata, his daughter. Snehal Bhatkar did many Marathi films and recorded many bhajans in Marathi, which are ever popular. He did 27 films in Hindi and 12 films in Marathi. Out of 27 Hindi films, 9 were made by Kidar Sharma.

The song which made Mubarak Begum and Bhatkar famous in India was “Kabhi Tanhayion Mein, Hamari Yaad Aayegi” from the film ‘Hamari Yaad Aayegi’ (1961). (This film was was originally named ‘Jawaan Muhabbat’). Actually this song was to be done by Lata Mangeshkar. Lata had already recorded two songs for this film. Due to her extremely busy schedule she was unable to do this song, so she suggested the name of Asha Bhosle. However, already upset over Lata’s refusal, Kidar Sharma opted for Mubarak Begum and the rest is history-as they say. She made a gold of this song with her special voice.

After 1960, the musical scene in India was undergoing drastic changes and there was no space for composers like Bhatkar, who used minimum orchestra and dwelt upon melody. His films came after long intervals. Even Kidar Sharma left him after ‘Fariyad’ (1964) (only to return in ‘Pehla Kadam’ in 1980). Finally Bhatkar did his last film ‘Sehme Huye Sitaare’ in 1994, which featured his son Ramesh Bhatkar-who was already a popular hero in Marathi film, stage and TV. This obscure film did nothing good to Bhatkar.

After retirement Bhatkar devoted his time for children’s welfare and his original love – bhajan mandali singing.

Snehal or Vasudev Gangaram Bhatkar, together with cousin Devji Bhatkar and Panchambuwa Pandurang Shivalkar, was the founder member of ‘Vishwambhar Prasadik Bhajan Mandal’ in Dadar. It is still in operation after 50 years, with new set of singers. Bhatkar was very kind hearted. Every year, during Ganapati festival he used to visit his ancestral village ‘Bhate’ in Ratnagiri district and participate in singing bhajans.

Lata, Talat and Mukesh were his favourite singers. Talat, though has not sung many songs for him, his song “Zindagi Kis Mod Pe Laayee Hamein” from ‘Diwali Ki Raat’ (1956) was very popular. When rehearsals for this song were being done, Bhatkar had used only tabla and sitar for the practice session. The producer who chanced upon this rehearsal was so much impressed with this that he insisted recording the song only with minimum instruments. So, this song has only tabla, Sitar and another instrument for accompaniment.

Though there were many melodious songs composed by Bhatkar like, Khusro’s “Lakhi Baabul More Kaahe Ko Deeni Bides” sung soulfully by Mukesh in ‘Suhag Raat’ (1948); “Ro’oge Pachhtaoge” by Mukesh and Rajkumari in ‘Thes’ (1949); Lata’s “Chanda Tumko Laaj Na Ayee” from ‘Bhola Shankar’ (1951); Suman Kalyanpur’s “Haal e Dil Un Ko Sunaana Tha” from ‘Fariyaad’ (1964), except Kidar sharma no other big banner producer opted for Snehal Bhatkar. May be, his compositions were not so simple for common man to hum or sing, although they were quality songs.

Inspite of several melodious songs Bhatkar was never counted among the 1st line composers. Kidar Sharma also returned to him in 1980, but by that time Snehal Bhatkar was already on a descending track.

Snehal Bhatkar, a talented but not much applauded music director died peacefully on 29-5-2007 at his Dadar home.

Here is the song by Talat Mehmood from film Aaj ki baat-1955.

(My thanks to Shri MN Sardana ji for his post in ‘Voh Din Yaad Karo’ on Facebook, from which some information has been used herein.)

Song – Pyaar Ki Nazron Se Un Ko Dekhta Jaata Hai Dil (Aaj Ki Baat) (1955) Singer – Talat Mehmood, Lyrics – Raj Baldev Raj, MD – Snehal Bhatkar

Lyrics

aaaaaa aaaaaa
aaaa aaaaa aaaaaa
aaaaaa aaaaaa aaaaaaa
aaaa aaaa aaaa aaaaaa

pyaar ki nazron se un ko
dekhta jaata hai dil
pyaar ki nazron ki nazron se un ko
dekhta jaata hai dil
baat un ke saamne kehne se
ghabraata hai dil

kya hua mujhko
hai mere dil ki dhadkan tez tez
kya hua mujhko
hai mere dil ki dhadkan tez tez
thaamna mujhko ke seene se
uda jaata hai dil
baat un ke saamne kehne se
ghabraata hai dil

aaye hain wo zindagi
aaye hain wo zindagi
kadmon mein un ke daal de
kadmon mein un ke daal de
dil ko samjhaati hain nazren
mujhko samjhaata hai dil
baat un ke saamne kehne se
ghabraata hai dil

ho gai shaayad mohabbat
ho gayi un se mujhe
ho gai shaayad mohabbat
ho gayi un se mujhe
jab khayaal aata hai un ka
khud behal jaata hai dil
baat un ke saamne kehne se
ghabraata hai dil

———-———————————————–
Hindi script lyrics (Provided by Sudhir)
———————————————————

आsssss आsssss
आsss आssss आsssss
आsssss आsssss आssssss
आsss आsss आsss आsssss

प्यार की नज़रों से उनको
देखता जाता है दिल
प्यार की नज़रों से उनको
देखता जाता है दिल
बात उनके सामने कहने से
घबराता है दिल

क्या हुआ मुझको
है मेरे दिल की धड़कन तेज़ तेज़
क्या हुआ मुझको
है मेरे दिल की धड़कन तेज़ तेज़
थामना मुझको के सीने से
उड़ा जाता है दिल
बात उनके सामने कहने से
घबराता है दिल

आए हैं वो ज़िंदगी
आए हैं वो ज़िंदगी
कदमों में उनके डाल दे
कदमों में उनके डाल दे
दिल को समझाती हैं नज़रें
मुझको समझाता है दिल
बात उनके सामने कहने से
घबराता है दिल

हो गई शायद मोहब्बत
हो गई उनसे मुझे
हो गई शायद मोहब्बत
हो गई उनसे मुझे
जब खयाल आता है उनका
खुद बहल जाता है दिल
बात उनके सामने कहने से
घबराता है दिल


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3972 Post No. : 15058

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 34
——————————————————————————————

Ten years back, 3rd June, 2009, five songs and five films. The films are,

Shart 1954
Return of Mr Superman 1960
Ganga Jamuna 1961
Khoj 1971
Ek Baar Muskura Do 1972

The film ‘Shart’ from 1954 made its debut on the blog with the iconic “Naa Ye Chaand Hogaa Na Taare Rahenge”. In terms of completion, the films ‘Shart’ and ‘Ganga Jamuna’ have been yippeee’d already. The remaining songs of the rest of the three films are waiting in the wings.

Coming of 1960s also saw the waning of the career of music director Anil Biswas. Active in the industry since 1935, Anil Biswas has made a very significant and a lasting contribution to the music of Hindi cinema. A trendsetter in many ways, Anil Da has also been responsible to introduce and groom some of the finest singing voices in the industry.

After two and half decades, in the beginning of 1960s, his body of work was reduced to just a trickle. In 1961, he directs the music for ‘Lucky Number’; in 1962, it is ‘Sautela Bhai’; and after many delays, ‘Chhoti Chhoti Baaten’ finally got released in 1965.  And it turns out to be his last film in the industry. He had actually moved to Delhi already, during this time frame (March of 1963) and was working at the All India Radio as the director of the National Orchestra and Chief Producer of the program ‘Sugam Sangeet’.

Today, we revisit one of his lesser known films – ‘Return of Mr Superman’ from 1960. The song is a mujra performance, presented on screen by Heera Sawant. I hope I am correctly identifying the main dancer in this clip. I request other knowledgeable readers and friends to please confirm or correct me. There are other actors in the audience that can be identified. We can clearly make out David and Rajan Haksar. There is another gentleman with ruffled hair and a large round eyes. I request the readers and friends to please help put a name to this face. Also, there is a trio of supporting singers on screen, who lip sync the chorus lines. Again, the request is to help identify these ladies.
[Ed Note: Prakash ji has identified the “. . .gentleman with ruffled hair and a large round eyes.” as Jagdish Kanwal. Thanks Prakash ji.]

The film is produced and directed by Manmohan Sabir, for his home banner – Manmohan Pictures, Bombay. The film has seven songs listed in the Geet Kosh, written by four songwriters – Anand Bakshi, Kaif Irfani, Manmohan Sabir, and PL Santoshi. This song is written by Manmohan Sabir. The music, of course, is by Anil Biswas.

The cast of the film is listed as Jairaj, Sheela Ramani, Helen, David, Naazi, Majnu, Shammi, Ram Mohan, Rajan Haksar, Jagdish Kanwal, Heera Sawant, Nazeer Kashmiri, Mohinder, Saleem Raza, Robert, Gulab, Ramesh, Arvind, Harun, Master Naveen, Krishna, and Funny Walker.

There is one interesting discussion that we have had earlier on this blog, relating to one song purportedly from this film. The song is “Stella O Stella O Stella”. The curiosity about this song is that it has also appeared earlier in the film ‘Chaar Dil Chaar Raahen’ from 1959. This earlier film also has music directed by Anil Biswas. On our blog, it so happens that this song, as it appears in ‘Return of Mr Superman’ is already posted; and the same song as it appears in ‘Chaar Dil Chaar Raahen’ has not yet been posted.

I would like to bring to the notice of interested readers, the fact that this song does NOT appear in the list of songs given in Geet Kosh for the film ‘Return of Mr Superman’. The original song, as appearing in ‘Chaar Dil Chaar Raahen’, written by Sahir Sb, is the correct attribution of this song. The appearance in the later film ‘Return of Mr Superman’ is simply a repeat use, probably inserted at a short notice to fill a certain scenario. The song certainly does not belong to this later film.

Coming back to the song for today – as one listens carefully, one realizes that this is actually a ghazal that has been presented as a mujra. An interesting variation. I am sure we will find more such instances, if we start looking carefully. Earlier, we have identified a couple of ghazals that has been presented as qawwaalis (and I am sure there are more of such instances also). So now we have another variation – I am sure we will find more cases of a ghazal presented as a mujra. As one listens to the wordings, it is really a very endearing expression –

dil to tujh ko de diya, ab jaan bhi de denge hum
jaan lene se na ab, ae jaan e mann ghabraaiye

So, remembering Anil Biswas – his rememberance day was 31st May, just three days ago. Getting on to another 10 year connect. And getting to listen to this wonderful mujra. . .

Editor note-With this song, Meena Kapoor completes 100th song as a singer in the blog.

Song – Dil Milaate Jaaiye Nazren Milaate Jaaiye (Return of Mr Superman) (1960) Singer – Meena Kapoor, Lyrics – Manmohan Sabir, MD – Anil Biswas
Chorus

Lyrics

dil milaate jaaiye..ae..ae
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye
ik nazar ae meharbaan
ab aur na tarsaaiye
ik nazar ae meharbaan
ab aur na tarsaaiye

haaye na tarsaaiye
ab aur na tarsaaiye
dil milaate jaaiye
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye

aap ka parda rahe aur
hum ko ho deedaar e yaar
aaaa aaaa aaaa aaaa
bach ke duniya ki nazar se
ae ji khwaab mein aa jaaiye
bach ke duniya ki nazar se
khwaab mein aa jaaiye
khwaab mein aa jaaiye
khwaab mein aa jaaiye
dil milaate jaaiye
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye

gair ki mehfil mein hum se
parda-daari kis liye
haaan aaaa aaaa aaaa
hum tumhaare hain
tumhaare
tumhaa..are
ae ji hum se na sharmaaiye
hum tumhaare hain
tumhaare
hum se na sharmaaiye
hum se na sharmaaiye ji 
hum se na sharmaaiye
dil milaate jaaiye
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye

dil to tujh ko de diya
ho oo oo oo oo
dil to tujh ko de diya
ab jaan bhi de denge hum
haaan aaa aaa aaa aaaa
jaan lene se na ab
ae jaan e mann ghabraaiye
jaan lene se na ab
ae jaan e mann ghabraaiye
jaan e mann ghabraaiye
ji jaan e mann ghabraaiye
dil milaate jaaiye
nazren milaate jaaiye
ik nazar ae meharbaan
ab aur na tarsaaiye
dil milaate jaaiye
nazren milaate jaaiye

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

दिल मिलाते जाइए॰॰ए॰॰ए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
इक नज़र ए मेहरबान
अब और ना तरसाइए
इक नज़र ए मेहरबान
अब और ना तरसाइए

हाए ना तरसाइए
अब और ना तरसाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए

आप का पर्दा रहे और
हमको हो दीदार ए यार
आ आ आ आ
बच के दुनिया की नज़र से
ए जी ख्वाब में आ जाइए
बच के दुनिया की नज़र से
ख्वाब में आ जाइए
ख्वाब में आ जाइए
ख्वाब में आ जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए

गैर की महफिल में हमसे
पर्दादारी किस लिए
हाँ आ आ आ आ
हम तुम्हारे हैं
तुम्हारे
तुम्हा॰॰आरे
ए जी हम से ना शर्माइए
हम तुम्हारे हैं
तुम्हारे
हम से ना शर्माइए
हम से ना शर्माइए
जी हम से ना शर्माइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए

दिल तो तुझको दे दिया
हो ओ ओ ओ ओ
दिल तो तुझको दे दिया
अब जान भी दे देंगे हम
जान लेने से ना अब
ए जान ए मन घबराइए
जान लेने से ना अब
ए जान ए मन घबराइए
जान ए मन घबराइए
जी जान ए मन घबराइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
इक नज़र ए मेहरबान
अब और ना तरसाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए


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 : 3972 Post No. : 15057

Yesterday (2 june 2019) was Sunday. I for some reason thought that there was lots of time available with me and so I would do things that I had not done for ages. Sunday morning is the day when DD national presents ‘Rangoli’.

I used to be a regular watcher of this programme when I was based at Bilaspur. That was four to seven years ago. I have rarely watched this programme since.

On this ‘Rangoli’ programme on 2 june 2019, This presenter announced that the programme would have songs dealing with nature. I found that most songs were from 1990s from movies such as ‘Roja’ etc, with a couple of songs from 1960s. There was no value addition from the anchor on these songs while discussing the songs. May be I was expecting her too keep us enthralled like an Ameen Sayani or Nalin Shah. But then those days and those knowledgeable presenter have become rare to find. We should at least be thankful that Vividh Bharti still has good presenters with knowledge as well as passion for old songs.

I then thought that instead of finding fault in the presentation of ‘Rangoli’, I should look in the mirror. Even my articles in the blog has become routine. It is time to bring some zing and enthusiasm in my writeups.

Just as the ‘Rangoli’ programme covered mainly songs from 1990s, I too noted down the lyrics of some songs from 1990s. Somehow those songs of 1990s did not bring the same “kuchh kuchh hota hai” feeling in me. I decided to randomly pick a song from 1960s. This random picking gave me a song from ‘Phool Bane Angaarey’ (1963).

‘Phool Bane Angaarey’ (1963) was directed by Suraj Prakash for Asiatic Arts Productions Bombay. This movie had Mala Sinha, Raj Kumar, Johny Walker, Aashish Kumar, Shammi, Mumtaz Begam, Mukri, Nasreen, Tuntun, Sarita Devi, Laxmi, Leela Mishra, Chaman Puri, Ravikant, Mansaram, Bhalla etc in it.

The movie has six songs in it. Three of the most popular songs from the movie have been covered in the past.

The song under discussion, that I picked by lottery, is one that I had never heard before. But when I listened to this song, I quickly realised that my hunch about the difference in quality of songs between golden era songs and songs of 1990s was not misplaced. This forgotten and less heard song from 1960s sounded so sweet and lovely. And I had never heard this song before !

This song is sung by Lata. Anand Bakshi is the lyricist. Music is composed by Kalyanji Anandji.

It was one of the earlier songs penned by Anand Bakshi in his career. This song came in the era when classy lyrics were being written by several established lyricists. So Anand Bakshi, in a bid to make his mark among such talented lyricists came up with this gem of a song. It is ironic that many of his lesser quality songs are better known than this song.

Even the music director duo were relatively new on the scene. And in this song they have tried to create a Salil Chaudhary like effect. The song and its picturisation is reminiscent of Salil Chaudhary compositions of those years.

The song is picturised on Mala Sinha.

Yesterday (2 June 2019) gave me a feeling that I failed to utilise it to the full. Nevertheless, I noted down the lyrics of some songs from 1990s, that I will discuss next.


Song-Sambhal to le dil deewaana (Phool Bane Angaarey)(1963) Singer-Lata, Lyrics-Anand Bakshi, MD-Kalyanji Anandji

Lyrics (Provided by Prakashchandra)

dil deewaana
zara
thehar
jaana

sambhal to le dil deewaana
zara thehar jaana aa
sambhal to le dil deewaana
zara thehar jaana
abhi na saamne aana
zara thehar jaana
sambhal to le

main guzri umr ko waapas zara pukaar to loon
main apne aap ko thhoda bahut sanwaar to loon
libaas gham ka nigaahon se main utaar to loon
samaa to ho le suhaana zara thahar jaana
abhi na saamne aana
zara thehar jaana
sambhal to le

khushi bhi itni achaanak main seh na paaungi
main apne aap mein bas aaj reh na paaungi
jo tum se kehna hai mujhko
wo keh na paaungi
main yaad kar loon fasaana
zara thehar jaana
abhi na saamne aana
zara thehar jaana
sambhal to le

sataane waale
tumhen main bhi thhoda tadpaaun
talaash karte phiro tum mujhe
main chhup jaaun
hazaar kehne pe bhi saamne na main aaun
banaa loon koi bahaana
zara thehar jaana
abhi na saamne aana
zara thehar jaana

sambhal to le dil deewaana
zara thehar jaana
sambhal to le

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

दिल दीवाना
ज़रा
ठहर
जाना

संभल तो ले दिल दीवाना
ज़रा ठहर जाना
संभल तो ले दिल दीवाना
ज़रा ठहर जाना
अभी ना सामने आना
ज़रा ठहर जाना
संभल तो ले

मैं गुज़री उम्र को वापस ज़रा पुकार तो लूँ
मैं अपने आप को थोड़ा बहुत संवार तो लूँ
लिबास ग़म का निगाहों से मैं उतार तो लूँ
समा तो हो ले सुहाना ज़रा ठहर जाना
अभी ना सामने आना
ज़रा ठहर जाना
संभल तो ले

खुशी भी इतनी अचानक मैं सह ना पाऊँगी
मन अपने आप में बस आज रह ना पाऊँगी
जो तुमसे कहना है मुझको
वो कह ना पाऊँगी
मैं याद कर लूँ फसाना ज़रा ठहर जाना
अभी ना सामने आना
ज़रा ठहर जाना
संभल तो ले

सताने वाले तुम्हें भी थोड़ा तड़पाऊँ
तलाश करते फिरो तुम मुझे
मैं छुप जाऊँ
हज़ार कहने पे भी सामने ना मैं आऊँ
बना लूँ कोई बाहाना ज़रा ठहर जाना
अभी ना सामने आना
ज़रा ठहर जाना
संभल तो ले

संभल तो ले दिल दीवाना
ज़रा ठहर जाना
संभल तो ले


This article is written by Nahm, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3971 Post No. : 15056 Movie Count :

4132

“Dheere Dheere“ –

Dheere Dheere Machal Ae Dil-e-Beqaraar

Dheere Dheere Chal Chaand Gagan Mein

Dheere Se Jaana Bagiyan Mein O Bhanwra

Dheere Se Aa Ja Ri Ankhiyan Mein Nindiyaa Aa Ja Ri Aa Ja

Dheere Dheere Bol Koi Sun Na Le

Dheere Chal Dheere Chal O Bheegi Hawa

O More Sainya Ji Utrenge Paar Re Nadiyaa Dheere  Baho

Pal Pal O Pal Samay Tu Dheere Dheere Chal

Then there are songs have the word in different context, like;

O Gaadi Waale Gaadi Dheere Haank Re

Man Re Tu Kaahe Na Dheer Dharay

And this category of songs cannot be thought of without the superbly melodious “Dheeme Dheeme Gaaun, Dheere Dheere  Gaaun”.

All the above songs are already posted in the blog.  I had actually planned to do a series on ‘dheere dheere’ songs.  I also have plans for a few more such word based theme posts.   But for all these themes I am finding only newer songs.  So the series idea is dropped, will just be preparing random posts for which ever song appeals.

Here I am presenting a song which suits the theme to the ‘T’. Its from the movie ‘Aashiqui’ (1990) which is making its debut here. More than 29 years ago this movie came and the music created a storm. I personally am witness to the rage these songs were. In recent days I have been listening to the songs of this film and I am having to revise my choice of best song in the movie. This song ‘Dheere Dheere Se Meri Zindagi Mein Aana” used to by my favourite and I thought this was the best. But the other songs like the title song “Saanson Ki aroorat Hai Jaise”, “Jaan-e-Jigar Jaan-e-Mann”, “Main Duniya Bhulaa Doonga”,  “Nazar Ke Saamne Jigar Ke Ppaas”, “Ab Tere Bin Jee Lenge Hum”, “Tu Meri Zindagi Hai “, “Dil Ka Aalam Ab Kya Sunaaun Tumhen” etc.  Total 9 songs all are chartbusters. At the time this movie came and songs were so popular, it was a known fact that the songs were all from the Music Bank created by T-series (Gulshan Kumar). I think Mahesh Bhatt may have got to select the songs he wanted for his film. That is the only explanation for such high quality melodious songs in one film, when films used to succeed on only one or two good songs. Such was the condition of film music, despite the ghazal already having made a big comeback in Hindi film music. All songs in a film couldn’t be ghazal recitiations like in ‘Umrao Jaan’, so the film makers were making use of the urdu ghazal selectively.

There was at least one song in the above mentioned list which is a direct lift from an existing older song.

The music of the film was by Nadeem-Shrawan, and the singers were Kumar Sanu and Anuradha Paudwal. The lyrics are by Rani Malik for this song. The film had newcomers Anu Agarwal and Rahul Roy for hero and heroine, with support cast of Deepak Tijori as the friend, Reema Laagu as the mother, Tom Alter as the warden, among others.

Here is an excerpt of a review on imdb.com :

“Each and every song of this movie is timeless. Nadeem-Shravan may not be creative and experimental like A. R. Rehman, but it is true that if “melody” had a second name it would be Nadeem-Shravan. “Aashiqui”, “Dil Hai Ki Manta Nahin”,”Sadak”, “Saajan”, “Deewana”, “Dil Ka Kya Qusoor”, “Salami”, “Damini”, “Dil Waale”, “Raja Hindustani”, “Jeet”, “Pardes” are examples of this genius combination. Mahesh Bhatt is one of the finest filmmakers we had, but it is sad that his biggest commercial success is probably his weakest work as a director, or probably got overshadowed by the lovable music.”

I can’t agree more with the above para. I don’t know the songs of ‘Dil Waale’ and ‘Jeet’ of the above listed films, but can add ‘Hum Hain Raahi Pyaar Ke’ and ‘Dhadkan’ which came much later, to this list. ‘Pardes’ would be the highest point or the culmination of this phenomena called Nadeem-Shrawan.

The music of this film did make a clean sweep of the Filmfare Awards of 1991

Best Music Director : Nadeem Saifi – Shravan Rathod

Best Lyricist : Sameer (For the song “Nazar Ke Saamne”)

Best Playback Singer – Male :
Kumar Sanu  (For the song “Ab Tere Bin”)

Best Playback Singer – Female :
Anuradha Paudwal  (For the song “Nazar Ke Saamne”)

This is the tally of these artists in the blog so far,

Nadeem Shrawan 15
Anuradha Paudwal 35
Kumar Sanu 22
Sameer 30

No wonder that the songs of ‘Aashiqui’ have been rehashed multiple times and reused a couple of times for ‘Aashiqui’ – 2 & 3.  I have come across very very high praise for Nadeem-Shrawan, some go to the extent of calling them SD Burman-ish.  Output wise I am inclined to agree that they were able to maintain a particular standard, which was a difficult task, given the market and commercial requirements.   As for being SDB-ish, I have found a song or two by them to be in the SDB mode.

Anyway, the songs of this movie are on their way to becoming sort of folklore/folk songs in the next century 🙂 🙂 , at the current rate and trends.

Video

Audio

Song – Dheere Dheere Se Meri Zindagi Mein Aana (Aashiqui) (1990) Singer – Kumar Sanu, Anuradha Paudwal, Lyrics – Rani Malik, MD – Nadeem Shravan

Lyrics

dheere dheere se
meri zindagi mein aana
dheere dheere se
dil ko churaanaa
tum se pyaar hamen hai kitna jaane jaana
tum se mil kar tum ko hai bataana

dheere dheere se
meri zindagi mein aana
dheere dheere se
dil ko churaanaa
tum se pyaar hamen hai kitna
jaane jaana
tum se mil kar tum ko hai bataana

jab se tujhe dekha
dil ko kahin aaraam nahin
mere hothon pe ek tere siwa
koi naam nahin
apna bhi haal tumhaare jaisa
hai saajan
bas yaad tujhe karte hain
aur koyi kaam nahin
ban gayaa hoon main
teraa deewaana
dheere dheere se dil ko churaana
oo dheere dheere se meri zindagi mein aana
dheere dheere se dil ko churaanaa

tu ne bhi aksar mujh ko jagaaya
raaton mein
aur neend churaai
meethi meethi baaton mein
tu ne bhi beshaq
mujh ko kitna tadpaaya
phir bhi teri har ek adaa pe
pyaar aaya
aa jaa aa jaa ab kaisa sharmaanaa
dheere dheere se dil ko churaana
oo dheered heere se meri zindagi mein aana
dheere dheere se dil ko churaanaa
tum se pyaar hamen hai kitna jaane jaanaa aa
tum se mil kar tum ko hai bataana
dheere dheere se meri zindagi mein aana
dheere dheere se dil ko churaanaa

———————————————————-
Hindi script lyrics (Provided by Nahm)
———————————————————-
धीरे धीरे से
मेरी ज़िंदगी में आना
धीरे धीरे से
दिल को चुराना
तुम से प्यार हमें है
कितना जाने जानां
तुम से मिल कर
तुम को है बताना
ओह ….
धीरे धीरे से
मेरी ज़िंदगी में आना
धीरे धीरे से
दिल को चुराना
तुम से प्यार हमें है
कितना जाने जानां
तुम से मिल कर
तुम को है बताना

जब से तुझे देखा
दिल को कहीं आराम नहीं
मेरे होंठों पे एक तेरे सिवा
कोई नाम नहीं
अपना भी हाल तुम्हारे जैसा
है साजन
बस याद तुझे करते हैं
और कोई काम नहीं
बन गया हूँ मैं
तेरा दीवाना
धीरे धीरे से
दिल को चुराना
धीरे धीरे से
मेरी ज़िंदगी में आना आ
धीरे धीरे से
दिल को चुराना

तू ने भी अक्सर मुझ को 
जगाया रातों में 
और नींद चुराई 
मीठी मीठी बातों में
तू ने भी बेशक
मुझ को कितना तड़पाया
फिर भी तेरी हर एक अदा पे
प्यार आया
आ जा आ जा अब कैसा
शरमाना
धीरे धीरे से
दिल को चुराना
धीरे धीरे से
मेरी ज़िंदगी में आना आ
धीरे धीरे से
दिल को चुराना
तुम से प्यार हमें है
कितना जाने जानां
तुम से मिल कर
तुम को है बताना
धीरे धीरे से
मेरी ज़िंदगी में आना आ
धीरे धीरे से
दिल को चुराना


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 : 3970 Post No. : 15054

Peevesie’s mom is one blog regular who keeps in touch with me on phone almost on a regular basis. Nearly one month ago, she phoned to enquire whether my daughter was at Mumbai seeing that summer vacations had started in Mumbai colleges. So I informed her that my daughter, and also my wife, were on their way to join me for their respective vacations.

So it came as no surprise to Peevesie’s mom when my posts during the last month were reduced to a trickle.

Day before yesterday, Peevesie’s mom phoned me informing me that she had sent a late article in the evening and whether I would be able to post it. I informed her that I was on the job. She enquired why I was not posting my articles in the blog. I was posting guest articles all right but she was interested about my “man ki baat”” kind of articles. I informed her that my wife was still around and I would be able to post by “well” researched article only after I am away from the watchful eyes of my wife, which would be from the afternoon of 1 june 2019. 🙂

Then the talk veered to the TV programme that I was watching. She asked whether I was watching the world cup cricket match or the swearing in ceremony of Indian ministers. I informed her that I was watching the later, viz the swearing in ceremony.

We agreed that Indians were busy for the last one month and a half in General elections and now they would get busy following cricket world cup for the next one month and a half. Peevesie’s mom is not aware that I would stay busy after the cricket world cup as well, seeing that Premier Kabaddi League would start immediately after cricket world cup.

My wife stayed with me for nearly one month and she is leaving in the afternoon. So the excuse of there being no time for blogging will no longer be there for me. 🙂

There are lots of topics that I would have loved to discuss but I could not find time. I can even hold forth on a subject like “JCK ki khudaai” if I can find time and I apply my mind to it. 🙂 Yesterday, I was actually invited to watch “JCB ki khudaai” inside my workplace. 🙂

Right now, I was trying to post one article a day. Hopefully I will be in a position to be able to post several articles a day which used to happen so regularly in the past. I could try to turn the clock back a decade, when there used to be six or seven songs a day everyday. 🙂

“Badalte Rishte”(1978) was directed by R Jhalani for Vijayshree pictures Bombay. The movie had Jeetendra, Rishi Kapoor, Reena Roy, Asrani, A K Hangal, Pinchoo Kapoor, Shubha Khote, Urmila Bhatt, Deena pathak, Master Raju, Omkar, Madan Joshi, Pardesi, Raja Duggal, Makhan Singh, Chandar Dhaani, Chandra Prabha, etc in it, with new discoveries Shashi Bala Saxena and Rachna Bhatt.

The movie had five songs in it. Two songs have been covered in the past.

This song, the third song from the movie, is sung by Kishore Kumar and Suman Kalyanpur. Anjaan is the lyricist. Music is composed by Laxmikant Pyarelal.

This “naa naa followed by haan haan” kind of “iqraar” song is picturised on Rishi Kapoor and Reena Roy.

This movie is from 1978, a year when I becan to watch movies with a vengeance. But I did not watch this movie and I was not aware of this song. So this song is a “new”song for me and I haerd this song for the first time today, more than four decades after this song was created.


Song-Tum chaahe hamko pasand na karo (Badalte Rishte)(1978) Singers-Kishore Kumar, Suman Kalyanpur, Lyrics-Anjaan, MD-Laxmikant Pyarelal

Lyrics

tum chaahe humko pasand na karo
par tum humko pasand ho
pasand ho
par tum humko pasand ho
chhaliya jo sau sau roop badle ae ae
wo humen kaise pasand ho
pasand ho
wo humen kaise pasand ho

chhaanv jaise baadal ki
dhoop jaise saawan ki
waise na jaane kis pal tum badlo
baat jaise sapne ki
rang jaise mausam ka
waise na jaane kis pal
tum badlo

deewaane ko kyun tadpaana
tum jo humen dil se pasand kar lo
apni to kismat buland ho
buland ho
apni to kismat buland ho
chhaliya jo sau sau roop badle ae ae
wo humen kaise pasand ho
pasand ho
wo humen kaise pasand ho

bin soche dil kho ke
pyaar mein paagal hoke
tum in bahaaron mein kabhi ee khoyi nahin
ye bahaaren bolengi
bhed dil ke kholengi
dil mein tumhaare siva to koi nahin
laakh manaaya dil na maana
hum kaise tumko pasand na karen
jab tum dil ko pasand ho
pasand ho
haan tum dil ko pasand ho
haan tum humko pasand ho
pasand ho
haan tum humko pasand ho


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3968 Post No. : 15051 Movie Count :

4129

Hullo Atulwaasis

Today’s song is for all those who relish old songs. I am sure they will like it more because it is in black ‘n’ white. Now the majority of the blog’s followers will say – “oh, a song from the 40s,50s or 60s”. Next, I will say it is sung by Shekhar Ravijani AND Sneha Pant. I am sure the reaction to this would be “WHO?!!”. Finally, I will say that its written by Vishal Dadlani and music directors are Vishal (Dadlani) and Shekhar (Ravijani) and is from a movie released in 2006.

Now I have everyone’s attention, I think?

Let us first wish our dear Shri Paresh Rawal a very happy birthday. He turns 65 today. I am not sure when was the first time I saw him on screen but he has been an entertainer since 1984 in films and prior to that I am sure he must have done some theatre as he is an alumnus of the NM College in Mumbai which has an active drama group and has given the industry many a talented actors. Going by his filmography available online I seem to be following him from his first commercial movie “Arjun” which had him play villain along with Prem Chopra & Anupam Kher.

I seem to have seen most of the movies he was present in in the 80s and 90s (either in a movie hall or on television, but I have definitely seen “Naam”, “Samundar”, “Mirch Masala”, “Dacait”, “Marte Dam Tak”, etc. So many memories with each movie. He was main villain in “Roop Ki Rani Choron Ka Raja”, “King Uncle”, “Daud”; “Daud: and “King Uncle” adding a touch of comedy to his villainy and this mixture of comic- villainy was the mainstay of “Andaz Apna Apna”. He turned to full time comedy for the Priyadarshan directed 2000 release “Hera Pheri” along with Macho-men Akshay Kumar and Suneil Shetty. He won the Filmfare Best Comedian Award for playing Baburao Ganpatrao Apte. Since then we have seen him play various character roles which are not only villain or comedian or serious just give him a role and he will fit in. Recently I saw a 1993 movie on TV- “Sardar” – through the movie I forgot I was seeing Paresh Rawal playing the role. It felt as if India’s Iron Man himself was there on screen; no wonder the movie got him international acclaim.

I must confess that being a huge fan of his I can go on and on. So I am moving on to the song of the post. 2006 saw Paresh play Baburao all over again in the sequel to “Hera Pheri” -’’Phir Hera Pheri”. We also saw him in “Malamaal Weekly”, “36 China Town”, “Chup Chup Ke”, “Jaan Hoga Kya”, “Golmaal Fun Unlimited”, “Yun Hota toh Kya Hota”, “Bhagamk Bhaag”, “Familywala”.

“Golmaal Fun Unlimited” directed by Rohit Shetty saw Paresh play a blind man who is waiting for his grandson’s arrival from America along with his blind wife Sushmita Mukherjee. The gang of four naughty leading men end up landing in his home and then the laughter the movie generates just increases. Th movie was a surprise success at the box-office. Today’s song happens as the blind man relates how he fell in love with Mangala (Sushmita Mukherjee) and how he was shy to admit it. The song was picturised as a mixture of colour and black-n-white and was very cute visually with Sushmita trying to be coy like the heroines of the 60s and please don’t miss the lamb she is holding with Paresh Rawal trying to be Dev Anand, Dilip Kumar etc. 😉

So that then explains the opening to this post. Hope the followers of the blog like the song as much as I do.


Song-Kyun aage peechhe dolte ho bhanwron ki tarah (Golmaal Fun Unlimited)(2006) Singers-Sneha Pant, Shekhar, Lyrics-Vishal Dadlani, MD-Vishal Shekhar
Chorus

Lyrics

kyun aage peechhe dolte ho bhanwaron ki tarah
kyun dekhte ho mujhko yoon besabron ki tarah
kyun aage peechhe dolte ho bhanwaron ki tarah
kyun dekhte ho mujhko yoon besabron ki tarah
kya mere deewaane ho,
nahin nahin
kya koyi parwaane ho,
nahin nahin
kya mere deewaane ho
kya koyi parwaane ho
kaam kya hai mujhse
itna keh do ji zara
bol de pyaar hai
khamosh kyun hai khada
hum agar hote toh
bol diya hota

kyun aage peechhe dolte ho bhanwaron ki tarah
kyun dekhte ho mujhko yoon besabron ki tarah

khidki pe meri kyun rakhte ho ankhiyaan
karte ho kyun tum
meri hi batiyaan
karte ho kyun tum
meri hi batiyaan
khidki pe meri kyun rakhte ho ankhiyaan
karte ho kyun tum meri hi batiyaan
mere liye aate ho
nahin toh
geet gungunaate ho
na na
mere liye aate ho
geet gungunaate ho
baat kya hai dil mein tumhaare tumko hi pata
chhod de ye sharam
tu pas usko bula
ham agar hote toh
bula liya hota

kyun aage peechhe dolte ho bhanwron ki tarah
kyun dekhte ho mujhko yoon besabron ki tarah

haathon mein kyun hai ye sone ka kangnaa
tumko pehnaake le jaoonga anganaa
sajani banaoge,
haan ji haan ji haan
jaan bhi lutaoge,
arey haan ji haan ji haan
sajni banaaoge
jaan bhi lutaaoge
aaj ham kahte hain tumse pyaar ho gaya
haath yeh thamkar
kahaan pe tu hai chala
apna bhi shukriya
kar diya hota

hum aage peechhe dolte hai bhanwaron ki tarah
hum dekhte hain tumko yoon besabron ki tarah

kya mere deewane,
arey haan ji haan ji haan
kya koyi parwaane,
arey haan ji haan ji haan ji haan
kya mere deewaane ho,
kya mere parwaane ho
aaj ham kahte hain
tumse pyar ho gaya


Advertisements

Important Announcement

(© 2008 - 2019) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 15000 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15070

Number of movies covered in the blog

Movies with all their songs covered =1171
Total Number of movies covered =4135

Total visits so far

  • 11,800,369 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,732 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Archives

Stumble

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Advertisements
%d bloggers like this: