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

Archive for the ‘expression of love’ Category


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 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.

Today’s song is from the film Captain India-1960. Not only this film is making a Debut on the Blog, but its Music Director- Hemant Kedar- too is making his Debut here. It is a rare occasion these days that a music Director makes his Debut in the blog, because we have covered so many MDs already ( at my last count, we have covered 462 MDs on this Blog). However, there are still a large number of MDs whom we have yet to listen. From 1931 to till today, as per a rough estimate, there could be almost 500 to 700 Music Directors.

Of these, MDs who gave music in less than 5 films could be about 50 to 100, those who composed for 5 to 15 films may be 100, from 15 films to 50 films may be about 150, from 50 to 100 films will be around 100, from 100 to 200 films may be another 50, more than 200 films may be about 50 or so. Add to this one film wonder MDs- almost 200.

These are simply wild guesses, without any solid base. Well known Music Directors who have given music in many films are a large group and Music lovers are conversant with their names. What is of interest to a student of HFM is those Music Directors who have given music in less than 5 films and One Film Wonders( like Pt. Amarnath Chawla of Garm Coat-55, for example).

Have you ever heard the name of a composer called HEMANT KEDAR ? No, it is not a pair like Shankar Jaikishan, Kalyanji Anandji or Laxmikant Pyarelal .It is a misleading one name( like another such single name Shyamji Ghanashyam ji, for example). OK, did you ever know about R.K.Shinde or Ram Shinde ? I am sure , most of the readers may not have heard these names. These are the names of Ramkrishna Shinde. This reminds me of composer Snehal Bhatkar who used 5 different names as composer.

The composer of today’s film Captain India-60, Ramkrishna Shinde was a multi talented composer, who could not shine, though he had talents. Further he started his career at a time when India’s big composers like C.Ramchandra,Naushad, Husnlal-Bhagatram, Shanker-Jaikishen etc were in their best performing period and had hogged almost all the major production houses as their Patrons. In this flood of Musical Tsunami, smaller composers remained smaller due to non availability of exposure and good banners, waning into oblivion ! Those who had talents plus good luck survived, but composers with talents without Luck were soon forgotten.

Ramkrishna Shinde was born on 19-4-1918 in Malvan area of Maharashtra Coastal Belt. He was eldest amongst 2 brothers and 2 sisters When he was 9 yr. old, his father died and the faily was shifted to Bombay, by aunt and uncle. His interest in music was unusual. He took training in vocals fro Pt.Sitaram and learnt Sitar from Pt. Madhav rao. For survival, he took up a job in Dawn Mills. In 1944, he got married. Same time, he met Dancer Parvati kumar and Tabla player Ramakant. He soon left the job and started giving music to Marathi stage plays. He was a very popular composer.

His first Hindi film as a composer was Manager-47, followed by Kiski Jeet-48 and then Bihari-48, with Naresh Bhattacharya. Not getting films anymore,he turned to giving music to Dance Ballets. He became so famous in that, that 27 of his ballets went abroad with his music. He was called by Amiya Chakrawarty for giving Dance Music in Usha kiran’s film Gauna-50.

he returned to Hindi films again. This time as Hemant kedar. Reason for this name- his favourite Raagaas were hemant and Kedar. He gave music to

Khaufnak Jungle-55
Police Station-59 and
Captain India-60.

Hemant Kedar ( Like Daan singh and Jaidev) must be one whose unreleased films numbered many or more than than his released films. Some of his Unreleased films were

1. Hamari kahani
2. Avinash
3. Sati mahananda
4. Jannat ki Hoor
5. Peeli kothi
6. Paataal Devta ( This was the film in which actress Mumtaz had Debuted, but this movie was not released)

Hemant Kedar gave music in two Marathi films. Side by side, he did 5-6 programmes on All India Radio. After the advent of Television, he started giving music in TV Ballets and was in great demand for such programmes. He did about 15 Ballets on TV. He became ill and expired on 14-11-1985, leaving behind his wife and two daughters. Luckily, his wife had a good job. (Thanks to http://www.beetehuedin.blogspot.com for this information.)

Film Captain India-60 was produced by Rajaram Saqi and directed by C.Kant. It was a stunt film featuring Kamran, Krishnakumari and others. There were 5 songs, all written by the Producer himself-Rajaram Saqi. Kamran Khan Rizvi was a regular Stunt Hero and I used to enjoy his films. He started his film career with Baghi Sipahi-36, a film made by East India Film Co, Calcutta. A.R.Kardar was its Director. Later on Kamran came to Bombay, along with kardar, who was his Patron for quite some time.

Hero Kamran and Heroine Nazi was a popular combination of 12 stunt films, those days. Kamran worked in 52 films. In 1963, film Bachpan was being directed by Nazar Ahmed. He had some disputes with the Producer and he left the film midway. The Debutant Hero Salim ( father of actor Salman Khan) and Debutant Heroine Menaka ( sister of Daisy and Honey Irani…all daughters of Mrs. P.N. Irani, a greedy mother, who spoiled the childhood of her children for money) were in trouble. Kamran stepped in and completed the film by directing the balance part, without taking any money. During this period, he fell in love with menaka and they got married. Her film career ended there only. They had one son and one daughter ( Actor, compere, Director Sajid Khan and famous Choreographer and Director Farah khan).

Kamran stopped getting Hero’s roles, as stunt films were not being made to that extent in the 70s and later period. He decided to become producer and Director. This proved to be his nemesis. He failed miserably, lost everything and became an alcoholic. He divorced Menaka, who worked as a Housekeeper in a 5 star hotel (Hotel Sea Rock) and he lived in his big flat in Versova with 2 children but no money. He died in 1985.

Kamran directed 11 films from Panch Ratan-65 to Ban Manush-80. His last film as an actor was Nastik-83.

During the period 1950 to 1960, lot of stunt, action, and fiction films from Hollywood used to come . Among them my favourites were from Republic Serial films like “Trip to the Moon’, Hurricane’, Time machine, Superman,The 4 D man etc. There was one film “Captain Marvel”, which was my favourite and I saw it 5 times. I had thought that Captain India-60 was also like that film and went to see the film and came back hugely disappointed . The story of the film was-

Seth Mohan lal was a rich merchant in Burma. He decides to return to India, with his only daughter Krishna and settle in Roop Nagar to lead a retired life. Gangster Rajan from Rangoon comes to know that the Havel Mohan lal is to buy has some great secret hidden in it. If he can get that secret he can rue the world. So, he follows Mohanlal to India.

Meanwhile krishna meets Shekhar- a Press Reporter by job, Lover boy by habit and an all round spy as a hobby. After singing the mandatory love songs and doing exercise around Trees, they decide to marry and tell her father about their love. Rajan is very business minded and so, Mohan lal gets killed and the young couple is frightened with the existence of Ghosts etc in the Haveli.

Madhu is the moll of Rajan and she too loves Shekhar. She reveals the actual plan of Rajan and about the secret formula in the Haveli. Suddenly, Madhu gets killed in the arms of Shekhar. She is murdered by Rajan. Now he is after the lives of Krishna and Shekhar and they are on the run. With the help of the Police, Rajan is caught red handed, but he sets fire to the Haveli and the secret formula gets burnt.

All is well that ends well. After the end, audience is well and goes home cursing the film.


Song-Main padh rahi hoon tumko (Captain India)(1960) Singers-Sudha Malhotra, Talat Mehmood, Lyrics-Rajaram Saqi, MD- Hemant Kedar
Both

Lyrics

main padh rahi hoon tumko
meri kitaab tum ho
mere sawaal tum ho
mere jawaab tum ho
main padh raha hoon tumko
meri kitaab tum ho
mere sawaal tum ho
mere jawaab tum ho

main padh rahi hoon tumko

kaanon se sun raha hoon
main saaz zindagi ka
aankhon se pee raha hoon
meri sharaab tum ho

ye raat mohabbat ki
saugaat mohabbat ki
main pyaar ka samandar
phool hoon ke chaand tum ho
ho
fasle bahaar aayi
gulshan mein zinagi ke

main mad bhari mahak hoon
rangeen gulaab tum ho
main padh rahi hoon tumko
meri kitaab tum ho
mere sawaal tum ho
mere jawaab tum ho

main padh raha hoon tumko

baaqi raha na kuchh bhi
dil mein siwa tumhaare
sab kuchh luta ke hamne
paaya wo raaj tum ho

jo khwaab zindagi ke
poore huye na mere
khwaabon mein unko dekha
tabeer e khwaab tum ho
ho o
manzil wahi puraani
raahen wahi puraani
yoon lag raha hai jaise
sadiyon se saath tum ho

main padh rahi hoon tumko

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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.

“Aaye Din Bahaar Ke”(1966) was produced by J Omprakash and directed by Raghunath Jhalani for Filmyug Private Limited. The movie had Dharmendra, Asha Parekh, Naazima, Sulochana Latkar, Raj Mehra, Rajendranath, Balraj Sahni, Sunder, Mubarak, Sabita Chatterjee, Leela Mishra, Dulari, Madhu Apte, Khairati, Sarita Devi, Brahm Bhardwaj, C.S.Dubey, Nazir Kashmiri, Lata Bose etc in it.

The movie had seven songs in it and all of them were quite popular songs. Five of these songs have been covered in the blog. Here is the sixth song from “Aaye Din Bahaar Ke”(1966) to appear in the blog. This song is sung by Lata and Mahendra Kapoor. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

The song is picturised as a song that was popularly described as the lead pair (Asha Parekh and Dharmendra) running around trees, though it is more like rolling on the grass and trampling them in the process, as far as I can tell. 🙂

Lyrics of this song were sent to me by Prakashchandra quite some time back.


Song-Ye kali jab talak phool ban ke khiley (Aaye Din Bahaar Ke)(1966) Singers-Lata, Mahendra Kapoor, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics(Provided by Prakashchandra)

ye kali
jab talak
phool ban ke khiley
intzaar intazaar
intzaar karo
intzaar karo
intazaar woh bhala kya kare
tum jise
beqaraar beqaraar
beqaraar karo

intzaar karo

pyaar mein pyaar ki bhi ijaazat nahin
pyaar mein pyaar ki bhi ijaazat nahin
berukhi hai aji ye mohabbat nahin

aa raha hai maza
tum shikaayat yahi
baar baar
baar baar
baar baar karo
intzaar karo
intzaar woh bhala
kya kare
tum jise
beqaraar beqaraar
beqaraar karo
beqaraar karo

husn pe to asar hone waala nahin
aa aa aa
husn pe to asar hone waala nahin
ishq tum ko na kar de deewaana kahin
hai ye deewaangi bhi qubool
tum agar
hamse pyaar
hamse pyaar
hamse pyaar karo
hamse pyaar karo

ye kali jab talak
phool ban ke khile
intzaar intzaar
intzaar karo
intzaar karo

roz hamne bayaan ye fasaana kiya
roz hamne bayaan ye fasaana kiya
roz tumne naya ik bahaana kiya

ye bahaana magar
aakhri hai sanam
aitbaar aitbaar
aitbaar karo
intzaar karo
intzaar woh bhala
kya kare tum jise
beqaraar beqaraar
beqaraar karo
beqaraar karo

intzaar intzaar
intzaar karo
intzaar karo
hamse pyaar
hamse pyaar
hamse pyaar karo

intzaar karo


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.

“Darbaar” (1955) was a Golden Movie production. It was directed by Nanubhai Bhatt. The movie had Mahipal, Chitra, Sunder, Tiwari, Kammo, Kamal, Niranjan Sharma etc in it, which suggests that it was a B grade movie.

Nine songs from this movie have been discussed in the past. Here is the tenth and final song from the movie to appear in the blog. This song is sung by Geeta Dutt. Asad Bhopali is the lyricist. Music is composed by Hansraj Bahl.

Only the audio of this song is available. My guess is that this song was picturised on Chitra. I request our knowledgeable readers to throw light on the picturisation of this song.

With this song, “Darbaar” (1955) joins the list of movies that have all their songs covered in the blog.


Song-Dupatta mera dhalak gaya sar se (Darbaar)(1955) Singer-Geeta Dutt, Lyrics-Asad Bhopali, MD-Hansraj Bahl

Lyrics

dupatta mera dhalak gaya
dhalak gaya sar se
haaye dupatta mera
dupatta mera dhalak gaya
dhalak gaya sar se
o dhalak gaya sar se
sarak gaya sar se
dupatta mera
dupatta mera dhalak gaya
dhalak gaya sar se
haaye dupatta mera

dhalka dupatta to jholi bana li
phailaake jholi main banke sawaali
maangoon dil ki muraad
kar do dil mera shaad
o o o
kar do dil mera shaad
main to khaali na jaaungi is dar se
dupatta mera dhalak gaya
dhalak gaya sar se
haaye dupatta mera

sunti hoon tum to ho sabke sahaare
aayi hoon aaj main bhi dar pe tumhaare
sun lo meri pukaar
jholi bhar do sarkaar
o o o
jholi bhar do sarkaar
meri bigdi banegi isi dar se ae ae
dupatta mera dhalak gaya
dhalak gaya sar se
haaye dupatta mera

loota chaman ho meri zaalim khizaan ne
dil pe giraai bijli phir aasmaan ne
tooti har ek aas
zindagi hai udaas
o o o
zindagi hai udaas
aapki rahmat idhar bhi zara barse
dupatta mera dhalak gaya
dhalak gaya sar se
haaye dupatta mera
dupatta mera dhalak gaya
dhalak gaya sar se
haaye dupatta mera


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.

“Riyaasat”(1955) was directed by Jaswant Jhaweri for Roopkamal Chitra, Bombay. The movie had Mahipal, Mala Sinha, Sunder, Kamal, Hiralal, Prakash, Babu Raje etc in it.

The movie had seven songs in it. One song from the movie has been covered in the past.

Here is the second song from “Riyaasat”(1955) to appear in the blog. This song is a duet sung by Geeta Dutt and Rafi. Prem Dhawan is the lyricist. Music is composed by Avinash Vyas.

Only the audio of this rare song is available. My guess is that this song is picturised on the lead pair of Mahipal and Mala Sinha, but I cannot be sure. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Aisi nazren na daal (Riyaasat)(1955) Singers-Geeta Dutt, Rafi, Lyrics-Prem Dhawan, MD-Avinash Vyas

Lyrics

aisi nazren naa daal
kar le khayaal
keh dengi aankhen saari duniya se haal
rakkho ji dil ko zara apne sambhaal
aa haa
ye gore gore gaal
lahraate baal
thumak thumak matwaali chaal
rakkhe ji kaise koi dil ko sambhaal

o o
teri mastaani aankhon mein dil mera kho gaya
ab kya karen ji
ab kya karen ji
jo bhi hona thha ho gaya

meethhi baaton ke jaal mujhpe na daal
main jaanoon pahchaanoon nazron ki chaal
rakho ji dil ko zara apne sambhaal

o o o
o o o
o o o
o o o
o o o
o o o

o o o
chhodo balam chhodo haath hamaara
jaao ji jhoothha hai pyaar tumhaara
ye tera jalaal
jaise jalti mashaal
patli kamar jaise phoolon ki daal
rakkhe ji kaise koi dil ko sambhaal

o o o
o o o
o o o
o o o
o o o
o o o
o o
o o
jab milte hain bichhde saathi to mil jaaye jag saara

deepak se mil jaaye baati to mit jaaye andhiyaara
mere dil ka sawaal
ab to na taal
nainon mein aaj zara naina to daal
rakkhe ji kaise koi dil ko sambhaal

aisi nazre na daal karle khayaal
keh dengi aankhen sari duniya se haal
rakkho ji dil ko zara apne sambhaal
o o o
o o o
o o o
aa aa aa aa aa
aa aa aaa


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.

“Darbaar” (1955) was a Golden Movie production. It was directed by Nanubhai Bhatt. The movie had Mahipal, Chitra, Sunder, Tiwari, Kammo, Kamal, Niranjan Sharma etc in it, which suggests that it was a B grade movie.

Eight songs from this movie have been discussed in the past. Here is the ninth song from the movie to appear in the blog. This song is sung by Geeta Dutt. Asad Bhopali is the lyricist. Music is composed by Hansraj Bahl.

Only the audio of this song is available. My guess is that this song was picturised on Chitra. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Yoonhi aankhon mein aankhen daale sanam (Darbaar)(1955) Singer-Geeta Dutt, Lyrics-Asad Bhopali, MD-Hansraj Bahl

Lyrics

yoon hi aankhon mein aankhen daale sanam
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon
hamen chhoo na sake
duniya ke sitam
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon

dil kehta hai tujhko sajde karoon
dil kehta hai tujhko sajde karoon
tere saath jiyoon tere saath maroon
jab tak rahe mere dum mein dum
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon

nazren hain jahaan dil bhi hai wahin
nazren hain jahaan dil bhi hai wahin
ye pyaas kabhi bujhne ki nahin
jalwon ki kasam
soorat ki kasam
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon

ae maalik meri neendon ke
ae maalik meri neendon ke
ae chaand meri ummeedon ke
tera pyaar na ho kabhi dil se kam
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon

yoon hi aankhon mein aankhen daale sanam
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon

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

यूं ही आँखों में आँखें डाले सनम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ
हमें छू न सकें
दुनिया के सितम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ

दिल कहता है तुझको सजदे करूँ
दिल कहता है तुझको सजदे करूँ
तेरे साथ जीऊँ
तेरे साथ मरूँ
जब तक रहे मेरे दम में दम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ

नज़रें हैं जहां दिल भी है वहीं
नज़रें हैं जहां दिल भी है वहीं
ये प्यास कभी बुझने की नहीं
जलवों की कसम
सूरत की कसम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ

ए मालिक मेरी नींदों के
ए मालिक मेरी नींदों के
ए चाँद मेरी उम्मीदों के
तेरा प्यार ना हो कभी दिल से कम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ

यूं ही आँखों में आँखें डाले सनम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ


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.

“Jaagriti”(1949) was directed by Manohar Ghatwai for Veerendra Chitra, Bombay. This obscure Social movie had Ravikant, Mohana, Bheem, Omkar Devaskar, lalita Rao, Leela, Manohar, Haridas, Chandrahaas, Ganpatrao Phadke, Gangaram, Jayendra sharman, Suresh Kumar, Chemist, Jaal Khambhata, baby Shyama, Baby Rekha etc in it.

The movie had nine difficult to find songs in it. Here is the first song from “Jaagriti”(1949) to appear in the blog. This highly obscure song is sung by Lalita Rao. Indeewar in the lyricist. Music is composed by K Narayan Rao.

Seeing that Lalita Rao is there in the cast, it can be assumed that the song was picturised on herself.

I request our knowledgeable readers to throw light on the movie.

With this song, “Jaagriti”(1949) makes its debut in the blog.

As many as 156 movies were released by censors in the year 1949. This movie becomes the 100th movie of 1949 to find representation in the blog.


Song-Aaye aur jaadoo daal chale (Jaagriti)(1949) Singer-Lalita Rao, Lyrics-Indeewar, MD-K Narayan Rao

Lyrics

aaye
aaye aur jaadoo daal chale
seene se dil ko nikaal chale
aaye
aaye aur jaadoo daal chale
seene se dil ko nikaal chale

aa aa aa
aa aa aa
aa
nazron ne meri
iraada kiyaa thhaa aa aa aa
aankhon ne unki
waadaa kiyaa aa aa thha
donon hi poore ho na sake ae ae ae
wo aisi bedhab daal chale
wo aisi bedhab daal chale
aaye
aaye aur jaadoo daal chale
seene se dil ko nikaal chale
aaye

kya kya na pade hain uthhaane
ek tamanna ke ae laakhon bahaane
ae ae ae ae ae ae
nashtar nazar ka
jigar pe chala aa
kar ke hamko paamaal chale
kar ke hamko paamaal chale
aaye
aaye aur jaadoo daal chale
seene se dil ko nikaal chale
aaye


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.

“Saloni” (1952) was directed by J P Advani for Goodluck pictures. This movie had Ashok Kumar, Nalini Jaywant, Purnima, Gulab, Mohana etc in it.

Two song from this movie was discussed in the past. Here is the third song from “Saloni” (1952). This song is sung by Rajkumari. Arjun dev Ashq is the lyricist. Music is composed by Basant Prakash.

Only the audio of this song is available. I request our knowledgeable readers to throw light on this movie as well as on the picturisation of this song.

Lyrics of this song were sent to me by Nitin Shah.

With this song, Rajkumari now has 150 songs in the blog as a singer. Interestingly, as many as four singers are on the exact 150 songs mark in the blog, viz- Amirbai Karnataki, G M Durrani, Rajkumari and Usha Mangeshkar. Even more interesting is the fact that three of them, viz. G M Durrani, Rajkumari and Usha Mangeshkar reached this mark on the same day, viz. today (21 may 2017). A rare and interesting coincidence !


Song- Mohabbat ne badal din haalaten kuchh is tarah dil ki (Saloni)(1952) Singer-Rajkumari, Lyrics-Arjun Dev Ashq, MD-Basant Prakash

Lyrics(Provided by Nitin Shah)

mohabbat ne badal din haalaten
kuchh iss tarah dil ki
ke manzil par pahunch ke bhi
talaash hamko hai manzil ki

kahaa ham ne dil e naadaan
zara thham ja qaraar aaya
aa aa aa aa aa
aa aa aa
koi taqdeer ki uljhi huyi zulfen sanwaar aayaa
aa aa aa aa aa
magar dil ne kaha hans kar
mohabbat naam hai gham ka
aaa aaa aaa
aaa aaa aa
ye daulat kya mili
ke badh gayin betaabiyaan dil ki
ye daulat kya mili
ke badh gayin betaabiyaan dil ki
mohabbat ne badal din haalaten
kuchh iss tarah dil ki

udhar iss baat ka aa shiqwaa
aa aa
ke milne ko taraste hain
ae ae ae
ae ae
idhar ye gham ki hansne se
bhi aansoo hi baraste hain
ae ae ae ae
ajab toofaan hai ae ae ae logon
mohabbat naam hai ae jiska
aaa aaa aaa
aa aa aa aa
aa
khabar saahil ko kashti ki
na kashti ko hai saahil ki


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.

“Hamaara Ghar”(1950) was directed by Nanabhai Bhatt for Hindustan Chitra, Bombay. The movie had Durga Khote, Umakant Desai, Veera, Agha, Meena Kumari, Geeta Bose, David, Jankidas, Ramesh Gupta etc in it.

The movie had seven songs in it. One song from the movie has been discussed in the blog in the past.

Here is the second song from “Hamaara Ghar”(1950) to appear in the blog. This song is sung by Geeta Dutt and Rafi. Rammurty Chaturvedi is the lyricist. Music is composed by Chitragupta.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Chupke chupke dil mein mere aane waale ho (Hamaara Ghar)(1950) Singers-Geeta Dutt, Rafi, Lyrics-Rammurty Chaturvedi, MD-Chitragupta
Both

Lyrics

chupke chupke dil mein mere aane waale
ho
dekho preet nibhaana
chupke chupke dil mein mere aane waale
ho
dekho preet nibhaana
aji hanste hanste nainon mein bas jaane waale
ho
dekho bhool na jaana
hanste hanste nainon mein bas jaane waale
ho
dekho bhool na jaana

bachpan ke din bhole bhaale
khel khel mein beete
haan khel khel mein beete
bachpan ke din bhole bhaale
khel khel mein beete
ho khel khel mein beete

nayi kahaani kaho baalma
ham haare tum jeete
haan
ham haare tum jeete
nayi kahaani kaho baalma
ham haare tum jeete
haan
ham haare tum jeete

aaj umangon ka hai mela aa
aaj umangon ka hai mela

dheere dheere
dheere dheere rah rah ke tadpaane waale
ho
dekho preet nibhaana
hanste hanste nainon mein bas jaane waale
ho
dekho bhool na jaana

janam janam ke jeewan-saathi
saath kabhi na chhoote
ho saath kabhi na chhoote
janam janam ke jeewan-saathi
saath kabhi na chhoote
haan saath kabhi na chhoote
dekho apne madhur milan ka
taar kabhi na toote
ho taar kabhi na toote
dekho apne madhur milan ka
taar kabhi na toote
ho taar kabhi na toote

tum mere
main bani tumhaari ee
tum mere
main bani tumhaari
jhoom jhoom ke
jhoom jhoom ke dil mera bahlaane waale
ho
dekho preet nibhaana
chupke chupke dil mein mere aane waale
ho
dekho preet nibhaana
hanste hanste nainon mein bas jaane waale
ho
dekho bhool na jaana


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.

“Naadaan” (1971) was directed by Deven Verma for Navratan Films. Bombay. The movie had Asha Parekh and Navin Nischol in lead roles. The movie also had Nirupa Roy, Helen, Jairaj, Karan Dewan, Sulochana Chatterjee, Madan Puri, Sunder, Brahm Bhardwaj, Asit Sen, Rashid Khan, Bela Bose, Praveen Pal, Master Chikoo, AK Hangal, Yash, Ravikant, Kuljeet, Subrato, Nazir Kashmiri, Deven Verma etc in it.

There were six songs in the movie. Four of these songs have already been covered.

Here is the fifth song from “Naadaan” (1971) to appear in the blog. This song is sung by Asha Bhonsle. Hasrat Jaipuri is the lyricist. Music is composed by Shankar Jaikishan.

The song is picturised on Asha Parekh as an epression of love song.

Audio (Longer)

Video

Song-Bol naadaan dil tujhko kya ho gaya (Naadaan)(1971) Singer-Asha Bhonsle, Lyrics-Hasrat Jaipuri, MD-Shankar Jaikishan

Lyrics

uyi
uyi

bol naadaan dil
tujhko kya ho gaya
tu mere paas thha
tu kahaan kho gaya
bol naadan dil
haaye haaye haaye
bol naadaan dil
tujhko kya ho gaya
tu mere paas thha
tu kahaan kho gaya
bol naadaan dil
haaye haaye haaye
bol naadaan dil
tujhko kya ho gaya

ho ho
ho meri aankhon mein kaisi chamak aa gayi
meri aankhon mein kaisi chamak aa gayi
mere baalon mein kaisi mahak aa gayi
raat din kiski dhun mein tu rahne laga
daastaan pyar ke mujhse kahne laga
bol naadaan dil
haaye haaye haaye
bol naadaan dil
tujhko kya ho gaya
tu mere paas thha
tu kahaan kho gaya
bol naadaan dil
haaye haaye haaye
bol naadaan dil
tujhko kya ho gaya

ho ho
ho koi badra jo parbat se aa ke miley
koi badra jo parbat se aa ke miley
koi bhanwra jo kaliyon ke peechhe pade
meri saanson mein kyun ek toofaan uthhe
meri rag rag mein kyun ek shola jaley
bol naadan dil
haaye haaye haaye
bol nadaan dil
tujhko kya ho gaya
tu mere paas thha
tu kahaan kho gaya
bol naadaan dil
haaye haaye haaye
bol nadaan dil
tujhko kya ho gaya

ho ho
ho mujhko aane lagi aaj angdaayiyaan
mujhko aane lagi aaj angdaayiyaan
geet gaane lagi meri tanhaayiyaan
apne chehre se kyun sharm aane lagi
zindagi jhoom kar gungunaane lagi
bol naadaan dil
haaye haaye haaye
bol naadaan dil
tujhko kya ho gaya
tu mere paas thha
tu kahaan kho gaya
bol naadaan dil
haaye haaye haaye
bol naadaan dil
tujhko kya ho gaya


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

Missing Films of 1960s – 30
– – – – – – – – – – – – – – –

Before I started working on this post, I was under the misconception that this film has already opened its account on our blog. Why I have carried this impression, I myself am not sure. This has happened with me a few times. On a couple of occasions, I even have sent an SOS message to Atul ji, just to confirm. Sometimes, this feeling that a particular song or a particular film is already present on our blog, is so strong, that either I will not look it up. Or if I do, then I don’t believe that it is not present. It makes me feel that there is some error in the data files. And that is when the SOS message to Atul ji happens. Maybe, it is because that at some point in time in the past, I have thought about writing up a particular song. That desire is so intense, that an impression stays in the mind that it has happened, even though I did not really get around to doing it, for some reason.

The film ‘Aasmaan Mahal’ belongs in that category. When I got the list of missing films from 1960s from Khyati Ben, I was surprised to see this film listed there. I checked and double checked – yes this film has not yet made its entry on our blog. Khyati Ben’s communication is also quite a while ago now, so this debut has taken its own sweet time.

Released in 1965, this film is from one of those different line directors who will not walk a beaten path – Khwaja Ahmed Abbaas. Whenever, I have an encounter with his films, it always has been that the director himself stands out much taller than his creations. Abbaas Sb belongs to that set of directors whose approach to realism is starkly different. Over the decades, the film producers and directors have been raising the bar on creating a progressively more realistic experience for the audiences. Their violence is very real, their romancing and love making is very real, their action and the settings are getting more real, the scenic projections are getting more and more real with the help of better technology and methods. They will make one lose the sense of the medium, that you are watching a film. Their endeavor is to draw the audience so powerfully into the scene, that it seems like being there, seeing that. But there is something missing. And the missing element is the reality of life – the realism of the human situation. What remains is entertainment, no doubt a significant cause for the industry, but the message of life is lost beneath the noise of the effort to present a situation more and more realistically.

Abbaas Sb and other directors of his ilk will present you with drama that does not let you forget that it is after all a drama. They don’t spend any energies to transform reel life into real life. The situations, the expressions, the motions – will not make the audience forget that they are watching a make believe reel life. Au contraire, their triumph is that they are successful in projecting the human situation as it is, and confront the audience with the realism of human beings. They will present a slice of life that is most of the time, a part of our personal experience. Only that they bring it into a sharper focus. Entertainment is not the primary quest. The primary quest is to deliver a message without any soothing embellishments.

The era is late 1930s and early 1940s. The philosophy of communism, which in prior decades had made an impact in Europe, and created a new behemoth nation, the USSR, was maturing. The initial euphoria and the romanticism which captures the imagination of every generation coming of age, brought this philosophy to the centre of the world stage. The Russian influence would work in neighbuoring China also, which would become a communist nation, about a decade later. The influence carried to South America, to Africa and to South and South East Asia, In that backdrop, the communist movement started to take roots in India also.

Being a movement of the masses, their primary method was to reach out to the people in the rural areas and the in the lower strata of the society. The thinkers and dreamers in the cultural spaces were quite influenced by this ideology, and the IPTA (Indian Peoples Theatre Association) was born. In its heydays in the 1940s and 1950s, it boasted of membership that read like the who’s who of the Indian film industry, as well as the Indian writers / authors / poets of any and all significance. Abbaas Sb has been a prominent and leading luminary of this movement of cultural expression in India. I borrow from one of my earlier articles (the post on the song “Aandhi Aaye Ke Toofaan” – film ‘Saat Hindustani’ (1969)), and reproduce a set of paragraphs about him.

 The Wikipeadia page on Abbas Saab contains very interesting information about this personality, e.g. fact like his family tree is traced back to Ayub Ansari, a close associate of Prophet Mohammed, and that his grandfather was one of the prominent soldiers in the 1857 uprising against the Britishers and a martyr, sentenced to be blown on a cannon, and that Abbas Saab is the great great great grandfather of Shahid Kapoor. Besides these familial facts, Abbas Saab has been a prolific writer and journalist, and a noted story writer and film maker in Hindi Cinema. His column ‘Last Page’ in ‘Blitz’, the Bombay based newspaper, ran from 1935 to 1987, the longest running column in the history of Indian journalism. He wrote 73 books in Hindi, Urdu and English, and is considered as one of the premier Urdu short story writers of the 20th century.

Abbas Saab started his career in the film industry in 1936, as a publicist for Bomaby Talkies. He wrote the story and screenplay for ‘Naya Sansar’ (1941) that launched his career as a writer. He also had strong Marxist leanings, and was part of the IPTA (Indian People’s Theatre Association) movement in the 40s and 50s. His debut as a director was with the movie ‘Dharti Ke Lal’ (1945), a movie based on the catastrophic Bengal famine of 1943, produced by IPTA. His other notable screenplay contributions have been Chetan Anand’s ‘Neecha Nagar’, V Shantaram’s ‘Dr. Kotnis Ki Amar Kahaani’, and many movies from the RK studios including ‘Aawaara’, ‘Shri 420’, ‘Jaagte Raho’, ‘Mera Naam Joker’, ‘Bobby’, ‘Henna’ etc. Incidentally, the movie ‘Neecha Nagar’ (1946) has the unique distinction of being the first Indian film to win the Golden Palm at the Cannes Film Festival.

Abbas Saab was a pioneer of the neo-realistic parallel cinema, and through his own production house Naya Sansar, made many notable films like ‘Anhonee’, ‘Raahi’, ‘Munna’, ‘Shehar Aur Sapna’, ‘Aasmaan Mahal’, ‘Char Dil Char Raahen’, ‘Saat Hindustani’, ‘Do Boond Pani’ etc. He won the National Award for ‘Shehar Aur Sapna’, and the awards for best film on national integration for ‘Saat Hindustani’ and ‘Do Boond Pani’.

With ‘Aasmaan Mahal’, Abbaas Sb got the opportunity to present literally the decay and transition of the old feudal systems, being replaced by the power of the worker class – which is the central theme of the Marxist philosophy. The story revolves around the haveli named ‘Aasmaan Mahal’ – a once grand palace which has been the residence of a generation of Nawabs, in the city of Hyderabad. With all avenues of revenue and income dried out, the family and the palace has fallen into decay. There are no finances to maintain the place. The current Nawab, role played by Prithviraj Kapoor, lives on in the hope of one day being able to uncover a hidden treasure on the premises. The archaic tales of the palace tell of a previous generation Nawab having hidden away a large stash of gold and jewels some place in the palace. Its whereabouts are not known.

Meanwhile the errant and spoilt son of the Nawab, role played by Dileep Raj, would not know better, spending his time and days as young men of Nawab families are supposed to. The reality of penury comes home to roost one day. The young heir apparent chooses to start working in a car repair workshop. And he falls in love with the daughter of a commoner. Expectedly, the standoff happens between the generations, with both sides taking tough stands – the elder Nawab arguing about the opulence of the past and where they come from, and the young man talking about the ground realities of what they are now. A compromise consensus is arrive at, the young man gets to marry his beloved in a last big celebration that happens in the palace, after which the palace is auctioned off. The elder Nawab passes away on the day of the auction, and young man takes up work as a truck driver.

The film travels on an even keel, never forgetting the primary thread. The realism of the decay, so potently expressed in black and white, is not just of the palace and its facades, but also of the ageing generations and their belief systems. The uptake of the younger generation, conceding to work as a car mechanic, quite in contrast to his antecedents, is both romanticism as well as an acceptance of life’s realities. It is an out and out KA Abbaas film – the reality of life, and the message of change is very convincing, although viewing the film, the director ensures that you know that you are after all viewing a film.

This is the first song from this film to find its place on our blog. And this song is very special for couple of very important reasons. The first reason is the poet behind this song – Majaaz Lakhnawi. Most readers and friends will be familiar with this name. His iconic ghazal “Ae Gham e Dil Kya Karoon, Ae Vehshat e Dil Kya Karoo” has been made into the now memorable song in the voice of Talat Sb, for the film ‘Thokar’ (1953). It seems that Majaaz had a set of good friends in the industry. Recently, a friend pointed out to me that Majaaz has even made a cameo appearance in one film. In the film ‘Pyaasa’ (1957), just before Hemant Da’s song “Jaane Wo Kaise Log The Jin Ke Pyaar Ko Pyaar Mila”, there is a small session of the literati in progress. Majaaz is present in person in this scene, and also presents two she’er (couplets) in his own voice.
[Ed Note: As pointed out by Sadanand ji, and also after some more checking, the above sentences are deleted. Reason being that the reference to the film ‘Pyaasa’ in this context is incorrect and misplaced. In the above mentioned scene of a small party of the literati at the home of Rehman, two actors play the roles of Majaaz and Jigar Muradabaadi, for the cameos. The actual persona are not present in the scene, as I was led to believe based on a conversation with a friend. Sadanand ji has correctly pointed out that Majaaz passed away in 1955, and the shooting for ‘Pyaas’ commenced only in 1956.]

Given the quality of the song from ‘Thokar’ and the familiarity with the industry folks, it is amazing that Majaaz has not written anything else for the films. With one excpetion – this song from ‘Aasmaan Mahal’. As I searched the Geet Kosh and other sources, I am not able to locate any other writings of his being used in films – just these two solitary ghazals.
[Ed Note: Sadanand ji points out that Majaaz never wrote for films. That there are two instances of his poetry being used in Hindi films, is more about the film people choosing to use his pre-published poetry rather than him writing for films specifically.]

And the second thing special about this ghazal is the manner in which it has been framed and presented. It is a single ghazal, which tells of the pains of helplessness and inefficacies of a heart in love. The music director, JP Kaushik has presented this ghazal as a duet, with the two people in love taking turns to express their emotions using the couplets of the same ghazal. I cannot immediately recall another instance where this method is used. The lines are presented, not as a song, but as a ghazal in its pure form. The lady and the gentleman are shown situated long distances from each other, and are shown communicating through the rendition of this ghazal. The voices are of Mahendra Kapoor singing for Dileep Raj, and Vijaya Chaudhry singing for Surekha.

Another side note. I am presenting two versions of this ghazal, wherein clearly the version on the 78 rpm record is very different from the version that is present in the film. Obviously the two versions have been recorded separately. The body of the ghazal does not change. There is change in the order of the couplets and also which voice picks up which line. A very interesting thing to note is that the film version has NO accompanying music. However, the record version has accompaniment by tabla and sitar. It is quite possible that after the 78 rpm version was recorded, the director may have felt the need for an even more bare bones version to suit the situation in which he wanted to film it. And hence a different version may have been recorded.

More about the film and the people associated with it, in subsequent presentations of the songs of this film. Welcome to ‘Aasmaan Mahal’.

[Video]

[Audio]

Song – Main Aahen Bhar Nahin Sakta (Aasmaan Mahal) (1965) Singer – Mahendra Kapoor, Vijaya Majumdar, Lyrics – Majaaz Lakhnawi, MD – Jag Phool Kaushik
Mahendra Kapoor + Vijaya Majumdar

Lyrics

(Video Version)
main aahen bhar nahin sakta

ke naghme gaa nahin sakta
sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon lekin mere dil ko

main usko poojti hoon aur
us ko paa nahin sakti
main us ko chaahta hoon aur
us tak jaa nahin sakta

haden wo kheench rakhi hain
haram ke paasbaanon ne
haden wo kheench rakhi hain
haram ke paasbaanon ne
ke bin mujrim baney
paighaam bhi pahuncha nahin sakta

ye majboori si majboori
ye lachaari si lachaari
ke us ke geet bhi  
jee khol kar main gaa nahin sakta
sukoon mere dil ko

na aandhi rok sakti hai
na toofaan rok sakte hain
na toofaan rok sakte hain
magar phir bhi main
us kasr e haseen tak jaa nahin sakta

zubaan par bekhudi mein naam
us ka aa hi jaata hai
zubaan par bekhudi mein naam
us ka aa hi jaata hai
agar poochhe koi wo kaun hai
batla nahin sakta

(Audio Version)
main aahen bhar nahin sakta
ke naghme gaa nahin sakta
sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon lekin mere dil ko

main usko poojti hoon aur
us ko paa nahin sakti
main us ko chaahta hoon aur
us tak jaa nahin sakta
sukoon lekin mere dil ko

na aandhi rok sakti hai
na toofaan rok sakte hain
magar phir bhi 
main us kasr e haseen tak jaa nahin sakta
sukoon mere dil ko

zubaan par bekhudi mein naam
us ka aa hi jaata hai
zubaan par bekhudi mein naam
us ka aa hi jaata hai
agar poochhe koi wo kaun hai
batla nahin sakta
sukoon mere dil ko

ye majboori si majboori
ye lachaari si lachaari
ye lachaari si lachaari
ke us ke geet bhi  
jee khol kar main gaa nahin sakta

sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon mere dil ko

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

(व्हिडिओ से)
मैं आहें भर नहीं सकता
के नग़में गा नहीं सकता
सुकून लेकिन मेरे दिल को
मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को

मैं उसको पूजती हूँ और
उसको पा नहीं सकती
मैं उसको चाहता हूँ और
उस तक जा नहीं सकता

हदें वो खींच रखीं हैं
हरम के पासबानों ने
हदें वो खींच रखीं हैं
हरम के पासबानों ने
के बिन मुजरिम बने
पैग़ाम भी पहुंचा नहीं सकता

ये मजबूरी सी मजबूरी
ये लाचारी सी लाचारी
के उसके गीत भी
जी खोल कर मैं गा नहीं सकता

ना आँधी रोक सकती है
ना तूफान रोक सकते हैं
ना तूफान रोक सकते हैं
मगर फिर भी
मैं उस कसर ए हसीं तक जा नहीं सकता

ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
अगर पूछे कोई के कौन है
बतला नहीं सकता

(आडियो से)
मैं आहें भर नहीं सकता
के नग़में गा नहीं सकता
सुकून लेकिन मेरे दिल को
मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को

मैं उसको पूजती हूँ और
उसको पा नहीं सकती
मैं उसको चाहता हूँ और
उस तक जा नहीं सकता
सुकून लेकिन मेरे दिल को

ना आँधी रोक सकती है
ना तूफान रोक सकते हैं
मगर फिर भी
मैं उस कसर ए हसीं तक जा नहीं सकता
सुकून लेकिन मेरे दिल को

ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
अगर पूछे कोई वो कौन है
बतला नहीं सकता
सुकून लेकिन मेरे दिल को

ये मजबूरी सी मजबूरी
ये लाचारी सी लाचारी
ये लाचारी सी लाचारी
के उसके गीत भी
जी खोल कर मैं गा नहीं सकता

सुकून लेकिन मेरे दिल को

मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को


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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 more than eight years. This blog has over 13200 song posts by now.

This blog is active and online for over 3150 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1003 Total Number of movies covered =3703

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