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

Archive for the ‘Feelings of heart’ Category


This article is written by Arunkumar Deshmukh, 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 :

4841 Post No. : 16628

Today’s song is from a Mythological film-Devyani-1952.

This was the story of Kach and Devyani from Mahabharat. I like the various stories from our Epics Ramayan and Mahabharat. There are hundreds of subplots and stories in both these Holy books, in addition to the main stories. However, I like stories from the Mahabharat more than Ramayan. The reason is stories from Ramayana are simpler and involve good virtues like Love, Cooperation, Loyalty, truthfulness etc etc. These are desirable but have no links to today’s social structure. The stories from Mahabharat are built around the practical difficulties in day to day life, defeat of the evil at any cost and use of tact, diplomacy, revenge, punishment etc etc which are more interesting to read.

As such, Mahabharat in itself or its stories seem to be closer to today’s values like ‘Tit for Tat’ and winning over the Evil with equally Evil remedies. The basic difference between Ram and krishna is, Ram was a character who was upright, just and straightforward, while Krishna is a character down to earth, who does not mind using unconventional methods to defeat the Evil. I always feel that in today’s world Krishna tactics are more relevant than Ram Rajya rules !

The story of Kach and Devyani, on which the film Devyani -52 was based was…..

There were regular wars between the Gods and the Demons (Sur and Asur). However the Gods could never win any battle. The reason ? Rishi Shukracharya, who was the Rajguru of the Demons knew the Sanjivani mantra, with which the dead demons would be brought back to life.
Realising that without getting the mantra, they would never win any battle with Demons, the Gods sent Kach- son of God Brihaspati (Jupitor) to Shukracharya as his disciple. Kach impressed Shukracharya’s daughter Devyani and they became friends. Devyani started loving kach.
The Demons came to know who Kach was . They killed him, burnt his body and mixed the ashes with wine, which was given to Shukracharya to drink. He knew that it contained Kach ashes. Meanwhile Devyani came to know that Kach was killed. She insisted that Shukracharya use his Mantra and bring him back to life. Due to daughter’s love, Shukracharya recited the Sanjivani mantra and Kach came out alive from his stomach. Shukracharya died. But Kach now knew the Mantra and he brought back Shukracharya to life again.

Devyani now expresses her love and proposes marriage to Kach, but he refuses stating that since he came from Shukracharya’s stomach, she was her sister now. Devyani is disappointed with his weak logic and curses Kach that what he learned here, he will never be able to use anywhere. Angrily, Kach too curses her that no Bramhin will ever marry her in her life. He goes away and the film ends as a tragedy.

The film ends here alright, but it raised a question in my mind as to how, then, the Gods ever won the battles with Demons ? The answer is, during the ” Samudra – Manthan ” a pot containing ” Divine Potion ” came up. It contained Amrit, which made the Gods immortal (Amar). In due course Shukracharya also died, without parting with the Sanjivani mantra and thus the Demons were defeated in the ensuing wars by Gods.

The film Devyani-52 was produced by Madhukar Harihar under the banner of Madhav Pictures, Bombay. It was directed by Vasant painter and the Music Director was S.Purushottam, assisted by Shamrao Kamble. These names are rather not commonly seen or heard and the readers may not be knowing about them, as they did only few films compared to others and without any famous film either. Let us first know about Vasant Painter.

Vasant Anandrao Painter was born in a village near Kolhapur on 13-8- 1913. His father Anandrao, along with cousin Baburao Painter wanted to make films. Anandrao had bought a second hand Projector, which he turned into a Camera and shot a short film also. Unfortunately, Anandrao Mistry or Anandrao Painter died suddenly on 22-10-1915.Vasant Painter was only a 2 year old baby at that time. Baburao Painter went on to become the famous founder of Marathi films in the Silent Era.

By the time Vasant became 16 year old,the Silent film era was in full swing and many films were made in Kolhapur, Poona and Bombay. He had a liking for painting,so he picked up poster painting work,first in Maharashtra Film company and later in Prabhat film company when it was started in Kolhapur. Actually Damle and Fatelal were keen on helping him as he was the son of Anandrao, from whom they had learnt so many things. They called him to work in Prabhat. He did all jobs,including assisting in cinematography and direction.

His first break came when he was 33 year old. He got an opportunity to direct Prabhat’s film ” Gokul”-46 and later on ” Seedha Raasta”-47. After V.Shantaram had left Prabhat to start his own Rajkamal,Vasnt painter remained in Prabhat loyally, so he got the reward. Prabhat decided to make the film “Namdev” and Vasant was selected as a director. The cast was fixed and other arrangements done, but due to financial reasons the film was cancelled. Anyway, he got another opportunity. Actress Kamala Kotnis had floated a production company,Kamala Chitra Ltd..She invited Painter to direct her film,’Sati Ahilya’-49. Snehal Bhatkar was the MD.

Painter directed ‘ Bhishma Pratignya ‘-1950. This was,probably,the only Mythological film Nargis had acted in, with Shahu Modak.. His other films were,Murliwala-51, Devyani-52, Sajni-56, Patit paawan-55, Gokul ka chor-59, Pyar ki jeet-62 . Meanwhile he was producing and directing several Marathi films too. He won 9 awards,including the prestigious ” V.Shantaram Award”.

Vasant Painter died on 31-5-2006,leaving behind him 6 daughters and 1 son.

And now something about Shamrao Kamble….

Music Directors’ names are famous. At times their assistants too get a mention in the credits, but what about the soul of every song-the Arranger ? Many people do not even know that there is someone called an Arranger. An Arranger not only exists, but without him the song orchestration is not possible.

What does an Arranger do ?

A tune and music is decided by the Composer, but the harmonization of the orchestra is done by the Arranger. He decides which instrument should be used more, like one decides about a flower in a bouquet of flowers. Arranger is like an ‘ interior decorator ‘ of music. Composer decides what effect he needs and what should be the interlude music. Arranger decides which instrument should be played.

Melody is the main ingredient in a song. Orchestra has to supplement and complement the Melody. In this case orchestration is like Jewellery. A beautiful woman must use jewellery to enhance her beauty, but no overuse or underuse will do. Similarly Arranger does optimization of instruments.

Arranger must know the Notations, so that it can be written and given to the players.

How many Arrangers are known to the public in India ? A composer is Zero without an Arranger. So they try to employ the best of them in their service. Some of the Arrangers become successful Composers themselves, like Sonik-Omi or Laxmikant Pyarelal. Most arrangers fail as composers because they don’t know the commercial aspects, like getting films, knowing and mixing with film personalities in Parties, having friends and God fathers in the right place etc etc.

The other day I was reading a book “Voh Bhooli Dastaan” by Subhash Chandra Jadhav,on Indian Film Music. In this book he has described information about one such successful but totally unknown Arranger SHYAMRAO KAMBLE.

Kamble was born in Karad, near Kolhapur in Maharashtra, on 23-10-1925. His elder brother taught him Tabla and Pakhawaj. Kamble joined a musical drama company where he learnt writing notations. When he came to Bombay he accompanied great singers like Saraswati Rane, Suresh Haldankar, Manik Verma etc. He used to make rounds of film studios and learnt to play Piano, Saxophone, trumpet, mandolin etc.

His career started as an assistant to music director H N Sharma.

Then he worked for Roshan in Bawre nain, wherein he played harmonium in all songs and Roshan was pleased. In Bheegi Raat-65 he played Guitar in the song ‘Dil jo na kah saka’

While doing Anokhi Raat he made use of Flute artistically in ‘oh re taal mile’. During this film Roshan died and he helped his wife to complete the recording of ‘Sapnon ka raja’ by Lata.

Chitralekha’s background music was liked by Hemant kumar very much.

After Roshan, Kamble worked for his son Rajesh Roshan also.

Kamble says,“Though my work was appreciated, my name never appeared in film credits till Jaidev and Sudhir Phadke insisted for it.”

From ‘Mujhe jeene do’-63 Kamble became Jaidev’s assistant. He says,’ Jaidev ji was a composer totally sold to indian classical music.’ For Reshma and Shera Kamble used Sarod effectively.

The producer director of Gharonda,Bheem Sen insisted its music to be like R D Burman. Kamble used the interludes in every song just like RDB and songs of Gharonda became very famous. Jaidev was so happy that he gave a 5 speaker gramophone to him as a Gift.

In the film ‘Tumhaare Liye’ Kamble wanted Hariprasad Chaurasiya to play Flute. He discussed it with Hari ji, but Hari ji did not come for any rehearsals, so Kamble called Sumant Raj and did the rehearsals. As luck would have it,on the day of recording Hariprasad came to play Flute. Kamble did not hesitate in making his decision. He used both the flutists for different pieces in the song.

Kamble also worked with Sudhir Phadke. when a producer wanted to make a remake of marathi film ‘Vahininchya Bangdya”, he took Sudhir Phadke for Bhabhi ki choodiyan as a composer, but put a condition that his Arranger will work with him. That person was a Goanese and Phadke did not like his arrangement with western instruments for this emotional film. He called Kamble and asked him to write notations for all the songs on the tunes decided already. Kamble did all this and left. Phadke gave the notations to the Goanese arranger and asked him to arrange orchestration accordingly. That is why all the songs of this film including ‘Jyoti kalash chamke” became popular.

Shyamrao Kamble did not attempt to become a film composer himself, as he knew his limitations. However,for “Bibal-My Brother”-1975, he shared the music with Prabhakar Jog.

Shamrao himself was a brilliant composer as well. He used to compose Bhajans and once on listening to the Bhajans he composed, music director Pyarelal asked him “Shamraoji if you can compose the tunes so nicely, why don’t you think to be a full-fledged music director for films ?” He just said “I am more interested in the Music Arrangements..” Pyarelal asked him jokingly, “so shall I use your compositions ?” smiling, within a second he said, “Pyareji, my all work is for you… you may use it whenever you wish..!” I am very much sure that if Shamraoji had taken music-direction as a career, he would have definitely achieved the position in the list of most talented and successful composers in the Indian music field,” said Pyarelal Ramprasad Sharma, the ace music director.
“His knowledge and devotion towards music was so deep, that he even used to guide or suggest the top artists like Rais Khan (sitar), Hariprasad Chaurasia (flute), Shivkumar Sharma (santoor) about the playing during the recordings. He also used to express that a particular music piece would be more effective if improvised in a different manner etc. And the greatness of those artists also, who used to sportingly accept Shamraoji’s suggestions and appreciate the same.. This was only because they were fully aware of Shamraoji’s knowledge and capacity. And also this was the reason that we had given total freedom to him in our work also,” said Pyarelal.

In his early career, Shamrao had worked as a notation-writer. He was the one who wrote down the notation for Dinanath Mangeshkar’s natya sangeet (Chandrika hi janu, Vilopale Madhu Meelanat ya, Yuwati Mana etc).

Though he retired and settled in Poona, Laxmikant Pyarelal always called him for work. He has toured several countries with Laxmikant Pyarelal’s orchestra as an Arranger. Shamrao kamble died on 17-10-2008, at Dombivali, due to Brain Haemorrhage, at the age of 83 years.

The tribe of Arrangers always worked behind the curtain, without any limelight on them and without appearing in film credits.

Truly, they are the brains behind good music in films !

(Thanks to Subhashchandra Jadhav and mrs. Suhasini Jadhav,copyright holders of ‘Voh bhooli Dastaan’ and Imprints and images, with thanks.)


Song- Prem ki maala meri kahin toot na jaaye(Devyani)(1952) Singer- Asha Bhonsle, Lyricist- Manohar Khanna, MD- S Purushottam

Lyrics

aa aa aa aa aaa

prem ki maala meri
kahin toot na jaaye
balam tum aa jaao
tum aa jao
pyaar ka madhuban mera
kahin toot na jaaye
balam tum aa jaao
tum aa jaao

tum huye aankhon se ojhal
deep saare bujh gaye ae
deep saare bujh gaye
meri jholi mein thhe jitne
phool angaare baney
phool angaare baney
bhagya ka tha ?? mera kahin doob na jaaye
balam tum aa jaao
tum aa jaao
prem ki maala meri ee
kahin toot na jaaye
balam tum aa jaao
tum aa jaao

kaisi yogan baawri tujhko pukaare har ghadi
tujhko pukaare har ghadi
man mein aasha ki ??
aankhon mein saawan ki jhadi
aankhon mein sawan ki jhadi
dolti naiyya meri kahin doob na jaaye
balam tum aa jaao
tum aa jaao
prem ki maala meri
kahin toot na jaaye
balam tum aa jaao
tum aa jaao


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

Blog Day :

4840 Post No. : 16627

‘Ye Gulistaan Hamaara’ (1972) was produced and directed by Atma Ram under the banner of Guru Dutt Films Combined. The star cast included Dev Anand and Sharmila Tagore in the lead roles supported by Pran, Iftikhar, Sujit Kumar, Johny Walker, Jaishree T, Lalita Pawar, Kanan Kaushal, Ramesh Deo, Raj Mehra, Keshav Rana, Janakidas etc.

The story is woven around a bridge which is being constructed over Dihing River in North-East India for a good connectivity. But the local tribals are oppose to it. They think that this is one way of imposing the slavery on the local tribes in the name of infrastructural development. This sentiment is exploited by some foreign agents who instigate the tribal chieftain to destroy the under-construction bridge. It is at this point, Dev Anand as an Intelligence Bureau Officer is sent to supervise the construction of the bridge without any hindrances.

How Dev Anand achieves the objective by overcoming the tribal opposition to construction of the bridge is the rest of the story that moves forward. If the film was to be made in English, it would have been apt to name the film as ‘The Bridge on the River Dihing’ on the lines of a well- known Hollywood film ‘The Bridge on the River Kwai’.

The film’s outdoor shooting was done in Assam (near Digboi where a bridge was under construction), Meghalaya, and Arunachal Pradesh. During the shooting of the film, the crew faced the hostile crowd led by the Naga Students Federation in Shillong. Some stone throwing incidences were also reported. The Naga students felt that it was a politically motivated film to insult the Naga tribal culture. Sharmila Tagore played the role of a Naga girl named ‘Sekrenyi’ which is the name of the holy festival of Angami Naga tribe. It is said that with the intervention of Bhupen Hazarika, the shooting of the film went on smoothly thereafter. The name of Sharmila Tagore’s character in the film was changed to ‘Soo Reni’.

In my younger days, I had read in the newspapers about the opposition of local tribals in laying the railway tracks in Meghalaya (Guwahati to Byrnihat). I understand that this line is yet to be operational. The same problem is faced for the railway track between Silchar and Imphal in Manipur. The main worry the local tribals is that good connectivity would lead to the influx of outsiders in their tribal belts threatening their own existence and culture. I feel that ‘Ye Gulistaan Hamaara’ (1972) was a ‘half-baked’ attempt to remove tribal population’s worries about the likely cultural dominance by the rest of India over the North-East’s tribal culture.

At the time of the release of the film, Naga Students Federation took out the protest march for banning the film on the ground of undermining the Naga tribal culture. They also felt that a couple of songs in the film sounded racial. In any case, they opposed the released of the film in Nagaland and Meghalaya. There were violent protests on the streets of Shillong. Finally, the film was released in 1973 after incorporating a notice in the film itself that ‘customs depicted in film, folk dances, dresses etc have no parallel with any of the tribes in Nagaland’. Some songs’ wordings were also changed to appease the protestors.

Initially, Danny Denzongpa was to perform the role of Dev Anand’s local associate in the film. S D Burman had already recorded a song in Danny voice along with Lata Mangeshkar. However, Johny Walker insisted with Atma Ram that he should also get a role in the film. Atma Ram agreed to take Johny Walker in place of Danny. However, Danny’s first song as a playback singer was retained which was picturised on Johny Walker. I personally feel that the role of a local person would have fitted well on Danny because of his facial feature. But at that time, Danny was a newcomer to protest. His consolation must have been the debut song he sang under the baton of S D Burman which was well appreciated.

‘Ye Gulistaan Hamaara’ (1972) had 7 songs of which six songs were written by Anand Bakshi. Six songs have been covered on the Blog, details of which areas under:

Songs Date of Posting Singers
Gori gori gaaon ki gori re 30/10/2008 Kishore Kumar – Lata
Mera naam yaao mere paas aao 17/01/2009 Dany Denzongpa-Lata
Naina soyi soyi raina jaage jaage 09/06/2013 Lata Mangeshkar
Ho Tushima ri Tushima…aa gara toofaan 31/10/2018 Lata Mangeshkar
Hey suno meri baat chalo mere saath 03/12/2020 Kishore Kumar
Saare jahaan se achcha Hindostaan hamaara 26/01/2021 Sushma Shreshta and Kids -1, Chorus Version-2

I am presenting the 7th and the final song, ‘kya ye zindagi hai kaisi bebasi hai’ from the film which is rendered by Lata Mangeshkar, S D Burman and chorus. The song is written by Anand Bakshi. The song has its uniqueness in that when Lata Mengeshkar sings, the chorus voices parallelly sing some words which I am unable to decipher.

With this song, all the songs from the film ‘Ye Gulistaan Hamaara’ (1972) have been covered on the Blog.

Audio Clip:

Video Clip:

Song-Kya ye zindagi hai (Ye Gulsitaan Hamaara)(1972) Singers-Lata, S D Burman, Lyrics-Anand Bakshi, MD-S D Burman

Lyrics (Based on the Audio Clip):

kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum
kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum
ek baar mila de na
ek baar mila de na

sadiyon se yoon hi
sar pe dukhon kaa
bojha uthaaye
in parbaton pe
ham chal rahen hain
bhookhe nange pyaase
laao haath
laao haath
apne saath
laao haath apne saath
chalke dekho do kadam tum
kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum

kitni hai doori ee
ham bade peechhe
tum bade aage
tumhen chhoo naa paaye
tumhen chhoo bhi len to
thukraaye jaayen
apna mel
nahin khel
apna mel
nahin khel
o baabu kahaan hum kahaan tum
kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum
ek baar mila de na
ek baar mila de na

hamne ye maana
ham to bure hain
hamne ki buraayi
tum to bhale ho.o o
tumne hamaari
ki hai kya bhalaayi
samjhaao
sikhlaao
samjhaao
sikhlaao
gale se lagaa ke hamen tum
kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum


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 :

4840 Post No. : 16626 Movie Count :

4529

Yearwise discussion of Lata Mangeshkar songs in HFM: Part LVI: Year 2002
———————————————————————————————————

In this episode, the 56th episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 2002.

In 2002, 75 Hindi movies containing 539 songs were released. Lata Mangeshkar got to sing in 2 of these movies and she sang 8 songs in these movies. So Lata Mangeshkar’s voice was heard in 2.6 % of the movies released in 2002. Her voice was heard in 1.5 % of the songs appearing in the movies of 2002.

Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 2002 :-

S N Movie Music director Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Lyricists
1 Laal Salaam Hridaynath Mangeshkar 0 5 3/td> 2 0 0 Gulzar
2 Mujhse Dosti Karoge Rahul Sharma 0 3 0 3 0 0 Anand Bakshi
Total 2 movies 2 MDs 0 8 3 5 0 0 2 lyricists

Lata Mangeshkar worked with 2 music directors and 2 lyricists in these 2 movies released in 2002. Laxmikant Pyarelal were the most prolific music directors with Lata, with 664 songs in HFM with Lata Mangeshkar by the end of 2002. Shankar Jaikishan with 457 songs in the voice of Lata Mangeshkar were in the second position. R D Burman with 332 Lata Mangeshkar and Kalyanji Anandji with 307 songs were next ahead of C Ramchandra with 275 songs. Other top music directors for Lata Mangeshkar were Chitragupta (239), Madan Mohan (195), S D Burman (179),Naushad (146), Roshan (144), Hemant Kumar (127), Anil Biswas (120), Bappi Lahiri (112), Rajesh Roshan (111), Salil Chaudhary (109), Husnlal Bhagatram (108), and Vasant Desai (104). Together these seventeen music directors composed 3733 songs out of 5225 songs that Lata Mangeshkar had sung in Hindi movies till end of 2002. Anand Bakshi with 731 songs was the top lyricist with Lata Mangeshkar. Other leading lyricists with Lata Mangeshkar were Rajinder Krishan (555), Majrooh Sultanpuri (407), Shailendra (361), Hasrat Jaipuri (301), Prem Dhawan (201), Bharat Vyas (193), Shakeel Badayuni (189), Sahir Ludhianvi (161) and Indeewar (156). These ten lyricists had penned 3252 songs sung by Lata Mangeshkar till that time.

Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 2002 :

Year Movie count Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Remarks
1946 3 movies 4 4 4 0 0 0
1947 3 movies 5 5 3 1 0 1
1948 17 movies 51 57 42 8 4 3
1949 40 movies 141 160 105 35 13 7
1950 36 movies 116 143 93 32 14 4
1951 49 movies 190 223 158 52 10 3
1952 43 movies 150 177 138 31 4 4
1953 45 movies 170 195 149 35 5 6
1954 43 movies 142 172 144 23 4 1
1955 50 movies 172 218 177 30 10 1
1956 49 movies 174 204 153 35 13 3
1957 47 movies 132 160 110 38 7 5
1958 35 movies 104 132 95 25 10 1
1959 58 movies 190 211 131 68 12 1
1960 48 movies 142 166 102 50 9 5
1961 44 movies 128 152 88 55 5 4
1962 40 movies 119 129 84 40 5 0
1963 37 movies 105 111 62 38 8 3
1964 46 movies 123 133 91 31 8 3
1965 42 movies 84 91 71 17 1 2
1966 49 movies 105 133 110 14 8 1
1967 44 movies 94 106 67 38 8 3
1968 33 movies 84 84 59 19 5 1
1969 43 movies 78 97 67 27 2 1
1970 54 movies 91 130 84 39 3 4
1971 52 movies 107 126 71 52 3 0
1972 62 movies 99 151 86 60 3 2
1973 60 movies 93 138 94 37 3 4
1974 55 movies 71 104 66 33 0 5
1975 45 movies 62 90 50 35 3 2
1976 41 movies 58 97 53 39 1 4
1977 50 movies 50 96 59 27 8 2
1978 46 movies 60 90 48 34 3 5
1979 42 movies 38 66 37 25 2 3
1980 43 movies 28 71 43 21 3 4
1981 46 movies 40 88 48 34 2 4
1982 45 movies 28 82 41 37 1 3
1983 33 movies 29 73 36 37 0 0
1984 39 movies 11 70 32 33 4 1
1985 40 movies 21 72 39 31 0 2
1986 27 movies 4 41 22 17 0 2
1987 12 movies 4 21 13 8 0 0
1988 21 movies 9 43 24 17 1 1
1989 19 movies 10 38 20 16 1 1
1990 9 movies 4 12 3 9 0 0
1991 16 movies 6 57 35 20 1 1
1992 12 movies 3 25 12 13 0 0
1993 14 movies 3 49 22 23 2 2
1994 12 movies 5 39 9 28 0 2
1995 4 movies 2 8 3 4 0 1
1996 5 movies 2 14 7 7 0 0
1997 5 movies 1 21 2 14 4 1
1998 3 movies 4 11 3 7 0 1
1999 7 movies 3 14 6 7 0 1
2000 2 movies 3 5 1 2 0 2
2001 6 movies 2 12 6 5 0 1
2002 2 movies 0 8 3 5 0 0
Total upto 2002 1874 movies 3752 5225 3381 1508 213 123

It can be seen from the table of 2002 that Lata Mangeshkar sang 8 songs in 2 movies released in 2002.

No Lata song from 2002 are covered in the blog. That leaves us with all eight songs from two movies of 2002 for discusussion in the blog.

alphabetically, the first movie of 2002 that offers us a Lata Mangeshkar song to discuss is “Laal Salaam”(2002).

This movie was produced by Sanjiv Karambelkar and directed by Gaganvihari Borate for Manas Communications. The movie had Nandita Das, Sharad Kapoor, Makarand Deshpande, Vijay Raj, Rajpal Yadav, Anant Jog, Akhilendra Mishra, and Sayaji Shinde, Introducing Hemangini (Indroduction role), Vishwajeet Pradhan,Sushil Johri,Dwarika, Mahindra, Jyoti,Prithvi Singh,Sanjay Sonu, Ashraf, Ramayan, Nagesh Bhosle, Lallan Singh,Sanjay Shrivastav,Sivam,Anup, Subrow, Parveen Banu, Sumanth Chandramani, Uday Tikekar, Pramodini etc in it.

The movie had six songs in it. Five songs had the voice of Lata Mangeshkar in them.

Here is that song from “Laal Salaam”(2002). This song is sung by Lata Mangeshkar. Gulzar is the lyricist. Music is composed by Hridaynath Mangeshkar.

Only the audio of the song is available. It is almost certain that the song was picturised on Nandita Das.

Lyrics of this song and other details were sent to me by Prakashchandra.

With this song, “Laal Salaam”(2002) makes its debut in the blog.


Song-Ag chaand gufaa mein (Laal Salaam)(2002) Singer-Lata, Lyrics-Gulzar, MD-Hridaynath Mangeshkar

Lyrics

ag chaand gufaa mein
raain hamaari beeti gaaa aa aa aa
aga chaand gufaa mein
raain hamaari beeti gaaa aa aa aa
arrey hamko bhee ee ee ee ee ee ee
arrey hamko bhee daag lagaa gayi preeti gaa aa
baayi gaa aa aaa aa ahaa haa aa
baayi gaaa aa
baayi gaa aa aaa
hha aa baai gaa
aga chaand gufaa mein
raain hamaari beeti gaaa aa aa aa
baayi gaaa aa aa aa aa
hha aa baai gaa aa

arrey preet ka paudhaa dard bharaa kehlaaye aey ae aey ae
kaanch ke phool aankh se tapkaaye aey ae aey ae
arrey preet ka paudhaa dard bharaa kehlaaye aey ae aey ae
kaanch ke phool aankh se tapkaaye aey ae aey ae
jab neend udey sapney ae dikhaaye preeti gaa aa
baayi gaa aa aaa aa
baayi gaa aa aaa
baayi gaa aa aaa aa
baayi gaa aa aaa
ag chaand gufaa mein
raain hamaari beeti gaaa aa aa aa
baayi gaaa aa aa aa
baai gaa aa

arrey log kahen jab meh barsey bujh jaaye ae rey
preet ki aag saawan mein badh jaaye ae ae
arrey log kahen jab meh barsey bujh jaaye ae rey ae aey
preet ki aag saawan mein badh jaaye ae ae ae
ek aag bujhey ek aag lagaaye preeti gaa
baayi gaa aa aaa aa ahha aaaa
baayi gaa aa aaa
baayi gaa aa aaa aaa
baayi gaa aaa aaa
agga chaand gufaa mein rain hamaari beeti gaaa aa aa
arrey hamko bhee ee ee ee ee ee
arrey hamko bhee daag lagaa gayi preeti gaa aa
hahh baai gaa aa aaa aahhaa aa
baayi gaa aaa aa
baayi gaaa aa aaaa aaa
baayi gaaa aa aaaa aaa
baayi gaaa aa aaaa aaa ahaaha
baayigaa
baayi gaaa aa aaaa aaa ahaaha
baayigaa


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

Blog Day :

4839 Post No. : 16625 Movie Count :

4528

In Hindi film industry, there have been many ‘rags to riches’ stories since its inceptions. There were instances where ‘rags to riches’ went back to their ‘rags’ status because they could not prudently handle their wealth and the fame. On the other hand, there are instances who could retain their rich status thanks to their dedication to work as well as prudent financial planning. One of them was Chandrashekar Narvekar, who is known in Hindi film industry as N. Chandra (born 04/04/1952).

N Chandra was born and brought up in a lower middle class family in the midst of mill workers in Worli Naka. The working class had their chawls and hutments at the foot of Worli Hills while the affluent class of the society lived on the top of the hills. So, he had closely seen the economic disparity between the rich and the poor.

After completion of his high-school, N Chandra joined the Film Centre at Tardeo in the film editing division where his father was employed. He learnt the nuances of film editing. In 1971, he started as clapper boy for Gulzar’s ‘Mere Apne’ (1971) and became one of Gulzar’s assistant directors in ‘Parichay’ (1972), ‘Koshish’ (1972), ‘Achanak’ (1973), Aandhi’ (1975), ‘Khushboo’ (1975) and ‘Mausam’ (1975). Chandrashekhar Narvekar changed his name to N Chandra when he became the associate director to Bapu in ‘Bezubaan’ (1982) and ‘Woh 7 Din’ (1983) for which he was also a full-pledged Editor of these two films.

While working for ‘Woh 7 Din’ (1983), N Chandra got the inspiration to independently direct a Hindi film. He co-produced and directed his debut film ‘Ankush’ (1986) with non-star actors, most of whom were from Marathi and Gujarati stages. The story of the film was based on what N Chandra had witnessed during his younger days in Worli Naka after a prolonged mill workers strike. At that time, Worli-Lower Parel areas of Mumbai had the highest concentrations of cotton mills. The prolonged strike led to the closure of mills permanently, creating unemployment among the youth and the social unrest.

‘Ankush’ (1986) grossed over 3 crores on the box office on a budget of Rs,12 lakhs, a part of which was raised by N Chandra by selling his personal belongings. The tremendous success of the film helped Nana Patekar in improving his career graph as an actor. For N Chandra, the film boosted his confidence that a good story based on the contemporary subject with a realistic approach in direction could make a film successful even with non-star actors. His next two films – ‘Pratighaat’ (1987) and ‘Tezaab’ (1988) completed a sort of a trilogy of films on social justice.

‘Pratighaat’ (1987) was the second film which N Chandra directed apart from writing the screen-play and editing the film. The film was produced by A Ramoji Rao and was a remake of a Telugu film ‘Pratighatana’ (1985) which was also remade in Malayalam as ‘Pakarathinu Pakaram’ (1986). Sujata Mehta, a prominent Gujarati stage actor who had become popular with her Hindi TV serials ‘Khandaan’ (1985) and ‘Shrikant’ (1986), made her debut in this film as a lead actor along with Arvind Kumar and Charan Raj. The other actors included Rohini Hattangadi, Ashok Saraf, Mohan Bhandari, Nana Patekar, Subbiraj, Usha Nadkarni, Savita Bajaj, Ravi Patwardhan, Anuradha Sawant etc. The film was released on March 17, 1987.

Even though, in the film, Sujata Mehta was paired with Arvind Kumar, it was Charan Raj who had a larger presence in the film in the role of a criminal, Kali Prasad. Charan Raj is a Kannada actor who mostly did the role of a villain in Kannada, Tamil, Telugu, Malayalam and Hindi films. He has also produced, directed and composed music for some films.

The DVD of the film is available for on-line for viewing. However, the quality of the picture as well as sound is not of good quality. Hence, I have watched the film sporadically. The gist of the story of the film is as under:

Laxmi (Sujata Mehta) is married to Satya Prakash (Arvind Kumar) who is a practicing lawyer. Laxmi works as a scool teacher. In the town, there is a hardened criminal, Kali Prasad (Charan Raj) whose writ rules over the entire town as he has blessing from a local politician. He has bee arrested in the past but gets release on bail with the blessing of a local politician which is followed by Kali taking the revenge on the complainers or the policeman who arrested him, resulting in their deaths. One of the victims is an ex-constable (Nana Patekar) who has become insane after his wife is brutually killed by Kali.

Laxmi finds it odd that even her school is under the influence of Kali for his notorious activities. She seeks help from her college-mate, sub-inspector, Ajay Shrivastav (Mohan Bhandari). He tells Laxmi that there is no point in arresting him as no one would stand witness against him and he gets the bail.
Nonetheless, Ajay arrests him after which he gets the bail. In the broad daylight, Ajay is murdered by Kali and Laxmi has witnessed his murder. She is ready to stand witness against Kali in the police station. Kali takes revenge on Laxmi by striping her in the public and in front of her husband who is scared to rescue her.

Laxmi takes a vow that she would continue to fight against Kali for justice and she is helped by Durga (Rohni Hattangadi) whose husband was killed by Kali for lodging complaint against him in the police station. Local election is due and Kali has been selected as a candidate. Laxmi stands in the elections against Kali. Kali’s hooligans create a lot of problem for Laxmi in her election campaign. Kali wins the election by booth capturing.

During the election victory celebration, Laxmi reaches on the stage and congratulate him on his election victory. She has brought a real axe which was the election symbol of Kali and hacks him to death in front of a large crowd. The film ends with police arriving on the scene and arresting Laxmi who sarcastically tells the Inspector that she is happy that he is doing his duties which he failed to do so while Kali was on a killing spree in the town.

‘Pratighaat’ (1987) made with non-star cast was a runway success at the box office front. The film reviews highly praised the performance of Sujata Mehta and Charan Raj.

The film had four songs all written and composed by Ravindra Jain. I am presenting the first song, ‘tere sar pe mere pyaar kaa farz hai’ from the film to appear on the Blog. The song is rendered by S P Balasubrahmanyam and S Janaki.

With this song, the film, ‘Pratighaat’ (1987) makes its debut on the Blog.

Audio Clip:

Video Clip:

Song-Jaanam yahaan koi nahin (Pratighaat)(1987) Singers-S Janaki, S P Balasubrahmanyam, Lyrics-Ravindra Jain, MD-Ravindra Jain
Both

Lyrics

hmm hmm hmm
hmm hmm hmm hmm
aa haa haa haa
aa aa aa
hmm hmm hmm
hmm hmm hmm hmm
aa haa haa
hmm hmm hmm
hmm hmm

tere sar pe mere
pyaar kaa karz hai
karz kar de adaa
ye tera farz hai
o o
yoon door rahke na kar aur bhi bekaraar
jaanam yahaan
koi nahin ee
jaanam yahaan
koi nahin ee

ek hi raat mein
kaise doon main chuka
re dheere dhreere tera
karz hoga adaa
hey ae
do ek din aur rahne de mujhpe udhaar
sone de naa
soyi nahin ee
sone de naa
soyi nahin ee

betaabi badhne lagi hai
dil pe rakh do haath

aise machal rahe ho
jaise pehli ho raat
ye tera badan phoolon saa mahka huwa aa
lagta hai tu thhoda thhoda behka huwa
ae ae
tera hi nasha hai

kyun peechhe pada hai
ho o
tera hi nasha hai
hey
kyun peechhe pada hai
deewaana karke na daaman chhuda baar baar
jaanam yahaan
koi nahin ee

sone de na
soyi nahin ee
tere sar pe mere pyaar ka karz hai
hey ae
karz kar de adaa
ye tera farz hai

hey
aankhon mein meri abhi neend ka hai khumaar
sone de naa
soyi nahin
ho o
jaanam yahaan
koi nahin

yoon mujhko jaga ke tum to roothh ke chaley
kya karna jab koi jaage raat dhaley ae ae
tum sowo aaram se koi jaley to jaley
meri tarah zara tu bhi to haath maley
o o
ab maan bhi jaao na
jaao bahlaao na
o o
ab maan bhi jaao na
jaao bahlaao na
tumko manaate manaate gayi main to haar

jaanam yahaan
koi nahin
jaanam yahaan
koi nahin

aah
aa ha ha ha
aahahah
aahahah
aaaah
ahahahaaha
oho
aahahaha
umhoon hmm
aahhahaha
unhmm
hahahaha
hahahaha
aaah


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

Blog Day :

4837 Post No. : 16621 Movie Count :

4527

‘Sonal’ (1973) was an obscure film which was produced under the banner of A K Productions. The film was directed by Prabhat Mukherjee. The star cast included Mallika Sarabhai and Jatin Khanna in the lead roles supported by Iftikhar, Gajanan Jagirdar, Sulochana, Sona, Gurnam Singh, Tarun Ghosh etc. It was debut film for Mallika Sarabhai and Jatin Khanna. The film’s censor certificate was issued on December 26, 1973. I am not sure if the film was released.

The name of the film’s director, Prabhat Mukherjee (1917-1997) sounded familiar to me as I had come across his name in the context of Arundhati Devi while doing a series ‘Hindi Songs in Bangla Films’ for the Blog. Arundhati Devi was the actor-singer and director of many Bangla films. She has acted with Prabhat Mukherjee in Bangla films during 1950-56.

According to Indrani Maitra, the sister of Prabhat Mukherjee, he had started his career with All India Radio, Calcutta (Kolkata) in the early 1940s. Thereafter, he switched over to Bangla films as an actor from 1950. He turned writer-director with his Bangla film ‘Maa” (1956) in which Arundhati Devi was the lead actress with Asit Baran. Prabhat Mukherjee and Arundhati Devi got married in 1955 but their marriage was short-lived resulting in a divorce in 1957 after which Aundhati Devi got married to Tapan Sinha. Prabhat Mukherjee got married for the second time, but this marriage too resulted in a divorce.

Prabhat Mukherjee also directed films in Oriya, Assamese and Hindi. ‘Shayar-e-Kashmir Mahjoor’ (1972) was his first Hindi film as a director in which Balraj Sahni acted with his son, Parikshat Sahni. Apart from ‘Sonal’ (1973), he also directed ‘Chimni Ka Dhuan’ (1973) with Motilal and Balraj Sahni. It appears that both these films may have got delayed in their censor certification and releases.

Prabhat Mukherjee continued to be associated with Bangla films into 1980s. While on his filmy career front, he won as many as 5 National Awards for his films that included Bangla, Oriya and Assamese during 1959-64, on a personal front, he was emotionally affected by his two divorces. To get the peace of mind, he visited Dwarkamai in Shirdi which was the place where Shri Sai Baba spent a major part of his life until his death. Here, Prabhat Mukherjee found peace, courage and strength to face the life. He devoted most of of his time studying and teachings of Shirdi Sai Baba. He also wrote a book ‘Redemption at Shirdi’ in Bengali which was later translated into English by his sister, Indrani Maitra and got published after his death in 1997.

The film ‘Sonal’ (1973) is not available for viewing on any on-line platforms. So, I had to rely on film’s booklet giving the synopsis of the story which was reproduced on ‘Cinemaazi’ in Hindi. The gist of the story of the film is as under:

College going Sonal (Mallika Sarabhai) has grown up under the loving care of her sister-in-law (Sulochana Latkar). During a family picnic, Sonal meets Dr. Rajeev (Jatin Khanna) who has been working in a leprosy hospital as a part of his desire to serve such patients. He has only two aims in his life – to conduct research to eradicate leprosy and to look after his deaf and mute sister.

Both Sonal and Dr. Rajeev meets regularly which culminates into liking for each other. They wish to get married. However, Sonal’s elder brother (Iftikhar) who is well educated and a lawyer, opposes the marriage taking an conservative view. It is his wife (Sonal’s sister-in-law) who is not so much educated but has a liberal attitude, arranges for the marriage.

Rajeev remains busy with his hospital as well as his research works for which he is assisted by Laxmi (Sona). Over a period of time, Sonal becomes jealous of Laxmi who is with Dr Rajeev most of the time. Laxmi on the other hand is jealous of Sonal who is very much loved by Rajeev. Neither Sonal could understand the importance of Laxmi in Dr. Rajeev’s research work not Laxmi understands Dr Rajeev’s love for his wife.

The situation reaches a flash point when Dr Rajeev’s close associate in research work becomes a catalyst for creating a rift between Sonal and Dr Rajeev which leads to their separation. Neither her lawyer-brother’s conservative attitudes nor a sympathetic attitude of her sister-in-law can bring the reproachment between Sonal and Dr Rajeev. Finally, the realisation on the part of Soanl that both she and Dr Rajeec are the soulmate and the external factors should not affect their relationship, gets them united.

‘Sonal’ (1973) has 4 songs written by Yogesh Gaud which are set to music by Manna Dey. In fact, after a gap of over 15 years, Manna Dey took the baton as a music director of this film which was his last film as a music director.

I present the first song ‘deewaangi deewaangi ye pyaar ki’ from the film to appear on the Blog. The song is rendered by Manna Dey and Usha Rege. On the basis of the lyrics, it appears that the song has benn picturised on Jatin Khanna and Mallika Sarabhai during their courtship.

With this song, ‘Sonal’ (1973) makes its debut on the Blog.

Audio Clip:

Song-Deewaangi ye pyaar ki (Sonal)(1973) Manna Dey, Usha Rege, Lyrics-Yogesh, MD-Manna Dey
Both

Lyrics

deewaangi ee
deewaangi
ye pyaar ki
kyun ban gayi hai meri zindagi
har ghadi dil mein
dil ki mehfil mein
chhaayi rahe koi bekhudi ee
deewaangi ee
deewaangi
haay teri
deewaangi ban gayi hai meri
har ghadi dil mein
dil ki mehfil mein
chhaayi rahe koi bekhudi ee
deewaangi

ye kya nainon mein hai
toone kaajal se likhaa
honthon se
dheere se
bikhre hansi kyun bataa aa
ho o o o
ho o o o
maine naam tera
nainon mein hai likh liya
honthon se
chhalke re
nagma tere pyaar kaa aa aa

ye khumaari ye bekaraari
dekho kam ho na kabhi ee
deewaangi
haay teri
deewaangi ban gayi hai meri
har ghadi dil mein
dil ki mehfil mein
chhaayi rahe koi bekhudi ee
deewaangi

toone har janam mein
maang bhar di saajna
janmon kaa
ye naata
dekho kabhi toote naa aa

ho o o o
ho o o o
bolo kab akele
ham jiyen tere bina
saathi re
dekho ye
bandhan kabhi chhoote naa aa
toot jaaye koi na haay
teri meri ye khushi

deewaangi
ye pyaar ki
kyun ban gayi hai meri zindagi
har ghadi dil mein
dil ki mehfil mein
chhaayi rahe koi bekhudi ee
deewaangi
haay teri
deewaangi ban gayi hai meri
har ghadi dil mein

dil ki mehfil mein
chhayi rahe koi bekhudi
deewaangi


This article is written by Arunkumar Deshmukh, 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 :

4836 Post No. : 16620

When I saw this song on You Tube, a few days ago, I was very happy. This was one of the most popular Lories in those days – and naturally so, because it was composed by the melody King Chitragupt and was sung by the melody Queen Lata Mangeshkar. In one of her interviews to Film fare, she had said ” I like to sing songs of Chitragupt ji and I particularly liked the lori ‘ Chanda loriyan sunaaye’ from film Naya Sansar-1959.”

I was pleasantly surprised to know that this famous Lori was yet to be posted on our Blog. Surely, it fits into the song category of “How I forgot to post this song earlier”. I believe, this song was waiting for me only !

Lories have been a part of many films, where a family life is the main plank of the film story. The earliest famous Lori was the one sung by K L Saigal – “So ja Raajkumari so jaa”, from film Zindagi-1940. Earlier to that also there were many- as many as 15- Lories in the films right from film Radhe Shyam aka Zulm E Kans-1932, in which Devki (Phool kumari) sings a Lori for her child (Shri krishna), asking him not to cry loudly, lest Kans will come and kill him. -” so ja tu mere lal chu ke se, voh Paapi aa jaye”. Then there was ” Dheere dheere aa re Badal” sung by Amirbai and Arunkumar in film Kismet-1943. Many more Lories subsequently became popular, but today’s Lori was more popular and famous.

Film Naya Sansar was produced by Darshan Malhotra for his own banner Shri krishna Films. It was directed by Nanabhai Bhatt. This was a rare occasion when Nanabhai Bhatt directed a Social film. Normally he was equated with B and C grade action and Mythological films only.

Director Nanabhai Bhatt ( 12-6-1915 to 24-4-1999). He was a director in many films.He directed mostly Mythological and stunt films only. Nanabhai was born as Yashwant ( pet name – Batuk) at Porbandar. Since he was the younger one he was called Nanabhai ( opposite to Motabhai-elder brother). This name continued till the end. His father was a doctor. After matriculation, he went to Mumbai in 1934, where his elder brother Balwant Bhatt was working. Balwant started with Imperial,shifted to Sagar and now was with Prakash pictures of Vijay and Shankar Bhatt. He got Nanabhai a job as Sound Recordist.Soon he graduated as Production Executive.He also wrote several screenplays.

In 1942 he directed “Muqabala”, for Homi Wadia, as Batuk Bhatt. Homi Wadia became his good friend. When Homi established his own Basant Pictures, Nanabhai joined him and directed his “Hunterwali ki Beti”-43, with Nadia again. He also did mauj, Jee Haan, Chaalis Karod etc. He directed about 50 films of various genres like Stunts, Mythologicals,crime, social, costume etc.

Nanabhai’s first wife was Hemlata. He also married Shirin banu, his Heroine of few films. To circumvent the Bigamy law, he married her in a Temple and that too in the presence of Hemlata ! He had 3 children from Hemlata and 6 from Shirin. Mukesh and Mahesh Bhatt are from Shirin. His children and grandchildren married in different religions.Thus his big family was an example of Secularism ! In addition to 9 children Nanabhai also produced 20 films under his own Deepak Pics and Gautam Chitra !

FILMOGRAPHY OF NANABHAI BHATT: 1942: Muqabala; 1943:Hunterwali Ki Beti; Mauj; 1945: Chalis Karod; 1946: Maa Baap Ki Laaj; 1947: Meerabai; 1949: Shaukeen; Veer Ghatotkach; Sudhaar; 1950: Hamara Ghar; Janmashthami; Veer Babruwahan; 1951: Lakshmi Narayan; Daman; Lav Kush; Ram Janma; 1952: Apni Izzat; Baghdad; Sinbad the Sailor; 1954: Toote Khilone; Watan; 1956: Kismet; 1957: Mr X; Ustad; 1958: Chaalbaaz; Son of Sinbad; 1959: Bazigar; Daaka; Kangan; Madam XYZ; Naya Sansar; 1960: Lal Qila; Police Detective; Zimbo Comes to Town; 1961: Teen Ustad; 1962: Baghdad Ki Raatein; Rocket Girl; 1963: Alapiranthavan; Bhootnath; Cobra Girl; 1964: Samson; 1965: Adhi Raat Ke Baad; Bekhabar; 1966: Shankar Khan; 1967: Arabian Nights; 1968: Jung Aur Aman; 1974: Jeevan Rekha; 1975: Balak Aur Jaanwar; 1976: Dharti Mata; 1981: Gajara Maru; 1982: Jaya Parvati Vrat.( Thanks to Harish Raghuwanshi ji and Encyclopedia of Indian Cinema for some information.).

The music was by Chitragupt and the film cast was Jayashree Gadkar, pradeep kumar, nanda dhumal, Tuntun, Sundar, Shammi, majnu and dancers Sheila Vaz, Sai Subbulakshmi and Kamla Laxman. The heroine Jayashree Gadkar was a very popular and busy actress in marathi cinema. I was surprised to learn that she had acted in 73 hindi films. Despite this number, she was not famous in Hindi films because she got only B and C grade action and Mythological films in Hindi.

Jayshree Gadkar (21 February 1942 – 29 August 2008) was a noted Marathi and Hindi movie actress and a star of Marathi cinema from the 1950s up to the 1980s.

Jayshree was born into a Konkani-speaking family at Kanasgiri (Sadashivgad) near Karwar in the Uttara Kannada district of Karnataka, India. She married Bal Dhuri, a theatre actor best known for his portrayal of Dashratha in Ramanand Sagar’s TV serial, Ramayana (where Jayashree herself played his wife, Kaushalya). She also published an autobiography, Ashi Mi Jayshri.

She began her career as a child dance artist. She entered films as a tamasha dancer in movies. Her first role was that of a group dancer in V. Shantaram’s Jhanak Jhanak Payal Baaje in 1955, which featured Sandhya as the leading lady. Later, well known Marathi film Director Dinkar D Patil cast her in a small role with dance in his Marathi film Disat Tasa Nasat, opposite Raja Gosavi. This was followed by Sangtye Aika, a tamasha-based movie which was the first in which she played a leading role. This helped her gain fame and recognition and she started doing heroine roles. She eventually became one of the most successful and prolific heriones in the history of the Marathi film industry.

Many remember her for the famous song Bugdi mazi saandli ga jata sataryala. But Jayshree Gadkar was much more than that. She was not only a versatile and accomplished actress but the face of Marathi cinema in its golden era. This paved her way into mainstream Marathi cinema.

Later, both Raja Gosavi and Jayshree gave many hits as a pair, like Aaliya Bhogasi [her first film], Utavla Navara, Yala Jeevan Aise Nav, Awaghachi Sansar and Paishacha Paus. Gath Padli Thakathaka was her first major role. Jayashree got a lot of success as a heroine in movies based on tamasha and lavni, the trend at the time.

Her film Saangtye (1959) ran for 132 weeks in a theater. Her terrific dance performance in Bugdi mazi saandli ga became a craze among Marathi viewers. She was paired with the most popular heroes of the time like Suryakant (Pancharati, Rangpanchmi, Vaijayanta) and Arun Sarnike (Sawal Maza Aika, Ek Gav baara Bhangadi, Gangaulan).

Manini was a turning point in her career. She was paired with Chandrakant Gokhle. She went on to act with his son Vikram Gokhle too, in films like Utavla Navra and Subhdra Haran.

Gadkar also acted in historical movies like Mohityaanchi Manjula and Shahir Parshuram. She won many accolades and awards at the national and state level. She was also felicitated with the state government’s V Shantaram Purskar, Gadima Purskar, P Savlaram Purskar and many more. She married co-star Bal Dhuri in 1975, and directed two films, Sasar Maher and Ashi Asavi Saasu.

Jayshree acted in about 250 films over a period of four decades. Her filmography was varied and included a rich repertoire of tamasha stories as also mythologicals in addition to socials and love stories.

In later years, Jayshree turned film director. Her directorial efforts include Saasar Maher and Ashi Asavi Saasu. She also acted in Ramanand Sagar’s TV Series Ramayana, as Kaushalya (mother of Rama) along with her husband Bal Dhuri, who was Dasharath (father of Rama). Her home is adorned with the photo of both in Ramayana costume. Her Autobiography Ashi Me Jayshree was published in 1986. Gadkar had received awards for her part in the films Manini, Vaijantha, Sawaal Majha Aika! and Saadhi Mansa.

Surprisingly, Jayashree Gadkar had acted in as many as 73 Hindi films. Her first film was Jhanak Jhanak Payal Baje-55 and the last film was Lav kush-97. However another film which was delayed came in 2009 was Jai jai Santoshi Maa. (Thanks to wiki, rediff.com, muVyz, HFGK and my notes).

Let us now enjoy the sweet lori from this film.


Song- Chanda Loriyan sunaaye hawa jhoolna jhulaaye(Naya Sansaar)(1959) Singer- Lata Mangeshkar, Lyricist- Rajindra Krishan, MD- Chitragupta

Lyrics

chanda loriyaan sunaaye hawa jhoolna jhulaye
raani nindiya sulaaye mere laal ko
raani nindiya sulaaye mere laal ko
chanda loriyaan sunaaye hawa jhoolna jhulaaye
raani nindiya sulaye mere laal ko
raani nindiya sulaye mere laal ko

barson shaam savere maa ne roya dil ka dukhda
barson shaam savere maa ne roya dil ka dukhda
tab ja ke bhagwaan ne baksha ik chaand ka tukda
chanda loriyaan sunaaye hawa jhoolna jhulaaye
raani nindiya sulaaye mere laal ko
raani nindiya sulaaye mere laal ko

khelega jab mere angna khel ye pyaare pyaare
khelega jab mere angna khel ye pyaare pyaare
khelan ko tab laayegi maa neel gagan ke taare
chanda loriyaan sunaaye hawa jhoolna jhulaaye
raani nindiya sulaaye mere laal ko
raani nindiya sulaaye mere laal ko

baandh ka sehra banega jis din dulha mera raaja
baandh ka sehra banega jis din dulha mera raaja
khushiyon ki baaraat sajegi armaanon ka baaja
chanda loriyaan sunaaye hawa jhoolna jhulaaye
raani nindiya sulaaye mere laal ko
raani nindiya sulaaye mere laal ko


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

Blog Day :

4833 Post No. : 16616

Hullo Atuldom

Another date of October for which I always need to write out a post for.

It being the birth date of an actor whose work I began liking post 1975- “Sholay” to be exact. I liked the way he delivered his dialogues. Some dramatic dialogues which he had casually uttered are iconic and classic and stuff which fans quote as legendary.

Remember ‘mere paas maa hai’ it was not said forcefully or with banging of fists or any such heavy add-ons. He was also given dialogues which were comic in nature -for example the cricket commentary in English that has made “Namak Halal” a movie worth watching; he even managed to squeeze in some comedy intto the fight sequence in the climax of the movie. But I always loved the late night scene in Asrani’s office when Amitabh Bachchan calls Asrani and Dharmendra for a meeting to discus the situation between Vasudha and himself. I know I need not mention that I am talking of the Hrishikesh Mukherjee ’70s classic “Chupke Chupke” and the expression that he had when he said “for safety’s sake main woh bhi batadoonga”- priceless. He was so nice at depicting his emotions and I may have mentioned this a few times in earlier posts about how the scene between Sanjeev Kumar and AB Sr. in “Khuddar” was memorable as both the actors spoke with their eyes. An added advantage the film industry had when working with AB Sr. was he was good in action sequences too and is known to have enacted many of them without using a body-double or ‘stuntman’ (in filmy parlance). He managed to overcome his awkwardness where dance (a necessity in Indian movies) was concerned. He has also tried his hand at singing for his characters; for which initially, he was made-fun-of as he was considered to be a tuneless singer but he has sung and many of them have been very popular with his fans.

Today’s post which celebrates this all-time favorite actor of mine turning a year older or a step closer to 80 has a song from the 2003 (can’t believe this film was 18 years back, time has just flown) B R films production and Ravi Chopra directed “Baghban”. It had music by Aadesh Srivastava and Uttam Singh and songs were penned by Sameer. Alka Yagnik, Hema Sardesai, Richa Sharma, Sneha Pant, Udit Narayan, Aadesh Srivastava, Sudesh Bhonsle and Amitabh Bachchan were the playback singers used.

This song is pictured with an emotional Raj Malhotra (AB Sr.) singing, and yearning for his wife Pooja (Hema Malini) who is staying with one of their sons and he himself with another son. The story of ‘Baghban’ was something which was popular in the 60s and early 70s; but even this movie was successful with the new generation moviegoers. This song can also been seen as proof of what I stated earlier in this post viz. “actors speaking with their eyes”; here it is Hema and AB Sr. They have played the old couple so convincingly. The song is sung by Amitabh Bachchan and Alka Yagnik.

Here is wishing the (once) Angry- Youngman, Shahenshah of Bollywood, Star of the Millennium, Big B or AB Sr. (people in entertainment industry have been addressing him in this manner for a few years now) a Happy Birthday and lots of good health.


Song-Main yahaan tu wahaan zindagi hai kahaan (Baagbaan)(2003) Singers-Amitabh Bachchan, Alka Yagnik, Lyrics-Sameer, MD-Aadesh Srivastava

Lyrics

main yahaan tu wahaan
zindagi hai kahaan

main yahaan tu wahaan
zindagi hai kahaan
main yahaan tu wahaan
zindagi hai kahaan
tu hi tu hai sanam dekhta hoon jahaan
neend aati nahin yaad jaati nahin ee ee
neend aati nahin yaad jaati nahin
bin tere abb jiya jaaye naa aa aa
main yahaan tu wahaan
zindagi hai kahaan

waqt jaise thehar gaya hai yahin
har taraf ek ajab udaasi hai
bekaraari kaa aisa aalam hai
jism tanha hai rooh pyaasi hai

teree soorat ab ek pal kyun nazar se hatati nahin
raat din toh kat jaate hain
umr tanha katati nahin
chaah ke bhi naa kuchh keh sakoon tujhse main aen aen
chaah ke bhi naa kuchh keh sakoon tujhse main
dard kaise karoon main bayaan aan aan
main yahaan tu wahaan
zindagi hai kahaan

jab kahin bhi aahat huyi
yoon laga ke tu aa gaya aa
khushboo ke jhonke ki tarah
meri saansen mehka gaya
ek woh daur thha
ham sada paas thhe ae ae
ek woh daur thha
ham sada paas thhe
ab toh hain faasle darmiyaan aan aan
main yahaan tu wahaan
zindagi hai kahaan
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm

beeti baaten yaad aati hain
jab akela hota hoon main
bolti hain khaamoshiyaan
sabse chhupke rota hoon main
ek arsa huwa muskuraaye huye ae ae
ek arsa huwa muskuraaye huye
aansuon mein dhali daastaan aan aan
mai yahaan tu wahaan
zindagi hai kahaan
tu hi tu hai sanam dekhta hoon jahaan
neend aati nahin
yaad jaati nahin ee ee
neend aati nahin
yaad jaati nahin
bin tere ab jiya jaaye naa aa aa


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 :

4833 Post No. : 16614 Movie Count :

4525

Yearwise discussion of Lata Mangeshkar songs in HFM: Part LV: Year 2001
———————————————————————————————————

In this episode, the 55th episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 2001.

In 2001, 60 Hindi movies containing 405 songs were released. Lata Mangeshkar got to sing in 6 of these movies and she sang 12 songs in these movies. So Lata Mangeshkar’s voice was heard in 10 % of the movies released in 2001. Her voice was heard in 3 % of the songs appearing in the movies of 2001.

Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 2001 :-

S N Movie Music director Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Lyricists
1 Censor Jatin Lalit 0 1 1 0 0 0 Vinoo Mahendra
2 Farz Uttam Singh 0 3 0 2 0 1 Sameer
3 Kabhi Khushi Kabhi Gham Jatin Lalit 1 2 2 0 0 0 Sameer
4 Lagaan A R Rahman 0 1 0 1 0 0 Javed Akhtar
5 One 2 ka 4 A R Rahman 0 2 0 2 0 0 Mehboob
6 Zubeida A R Rahman 0 3 3 0 0 0 Javed Akhtar
Total 6 movies 3 MDs 1 12 6 5 0 1 4 lyricists

Lata Mangeshkar worked with 3 music directors and 4 lyricists in these 6 movies released in 2001. Laxmikant Pyarelal were the most prolific music directors with Lata, with 664 songs in HFM with Lata Mangeshkar by the end of 2000. Shankar Jaikishan with 457 songs in the voice of Lata Mangeshkar were in the second position. R D Burman with 332 Lata Mangeshkar and Kalyanji Anandji with 307 songs were next ahead of C Ramchandra with 275 songs. Other top music directors for Lata Mangeshkar were Chitragupta (239), Madan Mohan (195), S D Burman (179),Naushad (146), Roshan (144), Hemant Kumar (127), Anil Biswas (120), Bappi Lahiri (112), Rajesh Roshan (111), Salil Chaudhary (109), Husnlal Bhagatram (108), and Vasant Desai (104). Together these seventeen music directors composed 3733 songs out of 5217 songs that Lata Mangeshkar had sung in Hindi movies till end of 2000. Anand Bakshi with 728 songs was the top lyricist with Lata Mangeshkar. Other leading lyricists with Lata Mangeshkar were Rajinder Krishan (555), Majrooh Sultanpuri (407), Shailendra (361), Hasrat Jaipuri (301), Prem Dhawan (201), Bharat Vyas (193), Shakeel Badayuni (189), Sahir Ludhianvi (161) and Indeewar (156). These ten lyricists had penned 3249 songs sung by Lata Mangeshkar till that time.

Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 2001 :

Year Movie count Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Remarks
1946 3 movies 4 4 4 0 0 0
1947 3 movies 5 5 3 1 0 1
1948 17 movies 51 57 42 8 4 3
1949 40 movies 141 160 105 35 13 7
1950 36 movies 116 143 93 32 14 4
1951 49 movies 190 223 158 52 10 3
1952 43 movies 150 177 138 31 4 4
1953 45 movies 170 195 149 35 5 6
1954 43 movies 142 172 144 23 4 1
1955 50 movies 172 218 177 30 10 1
1956 49 movies 174 204 153 35 13 3
1957 47 movies 132 160 110 38 7 5
1958 35 movies 104 132 95 25 10 1
1959 58 movies 189 211 131 68 12 1
1960 48 movies 142 166 102 50 9 5
1961 44 movies 128 152 88 55 5 4
1962 40 movies 119 129 84 40 5 0
1963 37 movies 105 111 62 38 8 3
1964 46 movies 123 133 91 31 8 3
1965 42 movies 84 91 71 17 1 2
1966 49 movies 105 133 110 14 8 1
1967 44 movies 94 106 67 38 8 3
1968 33 movies 84 84 59 19 5 1
1969 43 movies 78 97 67 27 2 1
1970 54 movies 91 130 84 39 3 4
1971 52 movies 107 126 71 52 3 0
1972 62 movies 99 151 86 60 3 2
1973 60 movies 93 138 94 37 3 4
1974 55 movies 71 104 66 33 0 5
1975 45 movies 61 90 50 35 3 2
1976 41 movies 58 97 53 39 1 4
1977 50 movies 50 96 59 27 8 2
1978 46 movies 60 90 48 34 3 5
1979 42 movies 38 66 37 25 2 3
1980 43 movies 28 71 43 21 3 4
1981 46 movies 40 88 48 34 2 4
1982 45 movies 28 82 41 37 1 3
1983 33 movies 29 73 36 37 0 0
1984 39 movies 11 70 32 33 4 1
1985 40 movies 21 72 39 31 0 2
1986 27 movies 3 41 22 17 0 2
1987 12 movies 4 21 13 8 0 0
1988 21 movies 9 43 24 17 1 1
1989 19 movies 10 38 20 16 1 1
1990 9 movies 4 12 3 9 0 0
1991 16 movies 6 57 35 20 1 1
1992 12 movies 3 25 12 13 0 0
1993 14 movies 3 49 22 23 2 2
1994 12 movies 5 39 9 28 0 2
1995 4 movies 2 8 3 4 0 1
1996 5 movies 2 14 7 7 0 0
1997 5 movies 1 21 2 14 4 1
1998 3 movies 4 11 3 7 0 1
1999 7 movies 3 14 6 7 0 1
2000 2 movies 3 5 1 2 0 2
2001 6 movies 1 12 6 5 0 1
Total upto 2001 1872 movies 3748 5217 3378 1503 213 123

It can be seen from the table of 2001 that Lata Mangeshkar sang 12 songs in 6 movies released in 2001.

One song sung by Lata Mangeshkar in movies of 2001 has been covered in the blog. That still leaves us with six movies of 2001 that offer us 11 Lata Mangeshkar songs for discusussion.

alphabetically, the first movie of 2001 that offers us a Lata Mangeshkar song to discuss is “Censor”(2001). This movie was written, produced and directed by Dev Anand for Navketan Films, Mumbai. The movie introduced Heenie Kaushik, Raja aka Raja Bherwani, Vinay Anand(actor Govinda`s Nephew ) and Mohini Sharma aka Pinky Campbell. The movie also had Dev Anand, Hema Malini, Jackie shroff, Ayesh Jhulka, Amrish Puri, Aruna Irani, Johnny Lever, Randhir Kapoor, Raj Babbar,
Shammi Kapoor,Rekha,Mamta Kulkarni,Tara Deshpande,Archana Puransingh, Shivaji Satham,Govind Namdeo,Smita Jaykar,Anjan Srivastav, Amar Upadhyaya, Anil Nagrath, Nikhil Kapoor,Rajit Kapoor,Ramesh Bhatkar, Dolly Bhindra, Late Reema Lagoo,Birbal,Shanu deo, Amita Nangia etc

The movie also had special appearances by Sharad Kapoor, Mukesh Khanna, Randhir Kapoor, Mink Singh, Pooja Batra, Mukul Dev, Adi Irani. Govinda played himself in a song in the movie.

The movie had eight songs in it. One song had the voice of Lata Mangeshkar.

Here is that song from “Censor”(2001). This song is sung by Lata Mangeshkar. The son also had humming by a male voice which sounds like the voice of Kumar Sanu. But the song is a female solo song for all practical purposes.

Vinoo Mahendra is the lyricist. Music is composed by Jatin Lalit.

The song is picturised on Heenie Kaushik and Raja Bherwani.

Lyrics of this song and other details were sent to me by Prakashchandra.

With this song, “Censor”(2001) makes its debut in the blog.

audio link:

video link:

Song-Mere dil mein tum nazar mein tum (Censor)(2001) Singer-Lata Mangeshkar, Lyrics-Vinoo Mahendra, MD-Jatin Lalit
Kumar Sanu
Female chorus

Lyrics(Provided by Prakashchandra)

mere dil mein tum
nazar mein tum
saanson mein tum hi samaaye ae
hmm mmm hmmm
aaa aaaa aaaa aa aa
mere dil mein tum
nazar mein tum
saanson mein tum hi samaaye
mere dil mein tum
nazar mein tum
saanson mein tum hi samaaye
koyi pyaas meethhi meethhi si
tumhein har ghadi bulaaye
mere dil mein tum
nazar mein tum
saanson mein tum hi samaaye
koyi pyaas meethhi meethhi si
tumhein har ghadi bulaaye
mere dil mein tum
nazar mein tum
saanson mein tum hi samaaye aey ae

aa aa aa aa aa aa
aa aa aa aaaa

aankhon mein kajraa lagaaye
baalon mein gajraa sajaaye
maathey ki bindiyaa bhi poochchey mujhe (aa aa aa)
ke sajnaa teraa kab aaye ae (aa aa aa)
dekhoon main jab jab aainaa
dikhtey tumhaarey hi saaye
mere dil mein tum
nazar mein tum
saanson mein tum hi samaaye
mere dil mein tum
nazar mein tum
saanson mein tum hi samaaye
koyi pyaas meethhi meethhi si
tumhein har ghadi bulaaye
mere dil mein tum
nazar mein tum
saanson mein tum hi samaaye aey ae

aey hey ae ae aey ae
aa aaa aaaaa aaa
aahaaa aaa ahaaaa haa
aey hey
aahaaa aaa ahaaaa haa haaaaa

aa aa aa aa aa aa

thham thham ke chaltey hain pal
aisey naheen thhe ye kal
tum kya mujhe bhee naheen ye pataa (aa aa aa)
seeney mein hai kaisi hulchal (aa aa aa)
aahatein kaheen bhi hon
lagtaa hai tum hee aaye
mere dil mein tum
nazar mein tum
saanson mein tum hi samaaye
mere dil mein tum
nazar mein tum
saanson mein tum hi samaaye
koyi pyaas meethhi meethhi si
tumhein har ghadi bulaaye
mere dil mein tum
nazar mein tum
saanson mein tum hi samaaye aey ae

aey hey ae ae
aa aaa aaaa
aahaaa aaa aa ahaaaa haa haaaaa
aey hey
aa aaa aaaaa haaa aaa
aahaaa aaa ahaaaa haa haaaaa

(aa aa aa)


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

Blog Day :

4832 Post No. : 16613 Movie Count :

4524

Hullo Atuldom

10th October is the birth date of the ageless Bollywood Diva Bhanurekha Ganesan.

I don’t remember which was my first post on the blog on her birthday, but over the last few years I have been trying to write out a song and present her with an actor who was not one of her regular heroes; meaning someone except Amitabh Bachchan, Dharmendra, Jeeetendra, Rajesh Khanna, Vinod Mehra etc. Today’s song is also one such song.

This song is from the 2000 release “Bulandi” which was directed by T. Rama Rao. It had a cast of Rajnikanth (special appearance), Anil Kapoor, Harish (from South Indian films), and Rekha, Raveena Tandon, Aruna Irani along with Shakti Kapoor, Ranjeet, Kulbhushan Kharbanda, Paresh Rawal, Sadashiv Amrapurkar in supporting cast. Songs of the movie were penned by Anand Bakshi and tuned by Viju Shah. The playback singers used were Udit Narayan, Kavita Krishnamurthy, Kumar Sanu, Anuradha Paudwal, Jaspinder Narula, Sukhwinder Singh, Abhijeet and Alka Yagnik -in short all the popular singers of the 90s.

The movie was the tale of a family of Zamindars which is headed by Rajnikanth who has a sister -Aruna Irani and three sons Anil Kapoor (double role plays two brothers) and Harish Kumar. Rekha plays the zamindar’s elder daughter-in-law who is the bhabhi-maa to her devars. And here I would like to mention that the two Anil Kapoors are not twins. Today’s song happens at the girl’s family meeting the boy’s family ritual and the older Anil Kapoor is the groom-to be. Aruna Irani the would-be atyaa (paternal aunt) starts the song as cue to the coy Bride-to-be who then begins singing and also fantasizing about her hubsand married life etc
There have been many instances when big a star/ actor accepts a role in a film because the main actor/ character is being enacted by a senior star/actor of whom the junior is a fan. Like for example, Amitabh Bachchan played Dilip Kumar’s son in Ramesh Sippy’s “Shakti”. Similarly Rekha played miniscule role in one of Dev Anand’s final movie, “Censor” and also one of Manoj Kumar’s last directorial.

Anil Kapoor did a second rung character in this film as he was sharing screen space with a senior (workwise)-Rekha. And the dance that accompanies sees Rekha and Anil Kapoor matching each other decently well. It is only recently I found out that there is just two year age gap between these two actors but one began working in 1966 (age 12) when the other might have been in school and not even given a thought to what career to pursue. That must be one of the reason why the viewer may feel that Anil Kapoor was acting with a much senior actress, she was a senior only because she was already in the entertainment business for 14 years before Anil made his debut.

The singers for this song are Kavitha Krishnamurthy and Udit Narayan.

Happy birthday to Rekha. May we keep seeing her on the silver screen.


Song-Teri ankhiyon mein jeena hamen marna (Bulandi)(2000) Singers-Kavita Krishnamurthy, Udit Narayan, Lyrics-Anand Bakshi, MD-Viju Shah
Both

Lyrics

aa aa aa aaaa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aaaa
aa aa aa

chhedo naa mujhko chhedo
aise naa mujhko dekho
jo dekhna hai kuch tumko hai
to phir mere dil ko dekho
hum pyaar ke hain raahi
dil pyaar ki hai manzil
kis kaam ki yeh mehfil
dil se na mila jo dil
hoga milna hamaara mushkil
hoga milna hamaara mushkil
hoga milna hamaara mushkil

dekho dekho dekho
aise mujhko naa chhedo
kya kahega yeh zamaana
ban jaayega fasaana
badi hogi badnaami
hamen hogi pareshaani
hum pyaar ke hain raahi
dil pyaar ki hai manzil
kis kaam ki yeh mehfil
dil se na mila jo dil
hoga milna hamaara mushkil
hoga milna hamaara mushkil
hoga milna hamara mushkil/em>

teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna
teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna
teri marzi tu jaane
meri marzi main jaanoon
maine kar liya faislaa aa aa aa

ho
teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna
teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuch karna
teri marzi tu jaane
meri marzi main jaanoon
maine kar liya faislaa aa aa aa
ho teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna

vaadon ka hai aaj mausam
hum koi vaada karen
arre yeh jaan bhi tumko de di
ab kya zyaada karen

tera naam liya
tujhe yaad kiya
sab kuchh main bhool gayi
o teri marzi tu jaane
meri marzi main jaanoon
maine kar liya faislaa aa aa a

o teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna
o teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna

maange agar tu sitaare
main tod laaoon sanam

ho karne hain kya yeh sitaare
tu chaand se kya hai kam
haaye deewaana hua mastaana hua
dil aise jhoom gaya

teri marzi tu jaane
meri marzi main jaanoon
maine kar liya faislaa aa aa aa
ho teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna
ho teri ankhiyon mein jeena mujhe marna
bas aur nahin hai kuchh karna

dekho dekho dekho
aise mujhko naa chhedo
kya kahega yeh zamaana
ban jaayega fasaana
badi hogi badnaami
hamen hogi pareshaani
hum pyaar ke hain rahi
dil pyaar ki hai manzil
kis kaam ki yeh mehfil
dil se na mila jo dil
hoga milna hamara mushkil
hoga milna hamara mushkil
hoga milna hamara mushkil


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 :

4830 Post No. : 16610

“Nai Maa”(1946) was directed by K J Parmar for Prakash Pictures, Bombay. This obscure movie had Jeewan, Ranjana, Rajkumari , Baby Madhuri etc in it.

The movie had eight songs in it. One song has been covered in the past. That song was discussed in 2013.

Now, after the passage of more than 8 years, here is the second song from “Nai Maa”(1946) to appear in the blog. The song is sung by Parul Ghosh. Ramesh Gupta is the lyricist. Music is composed by Hanuman Prasad.

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


Song-Humko kyun dushman samajhte ho (Nai Maa)(1946) Singer-Parul Ghosh, Lyrics-Ramesh Gupta, MD-Hanuman Prasad

Lyrics

humko kyun
humko kyun dushman samajhte ho
tumhen kya ho gaya
haaye ummeedon ke jagte hi
muqaddar so gaya
zindagi ke haaye ab to
sab sahaare chhoot gaye
hum bharose ki tarah se
mai kisi ke lut gaye
ab khushi ka geet bhi
gham ka taraana ho gaya
ab khushi ka geet bhi
gham ka taraana ho gaya

apne haathon hi bandhe hum
zulm ki zanjeer mein
zulm ki zanjeer mein
thokaren khaana hi likha
thha meri taqdeer mein
thha meri taqdeer mein
tumne aankhen pher lin
dushman zamaana ho gaya
tumne aankhen pher lin
dushman zamaana ho gaya
humko kyun
humko kyun dushman samajhte ho
tumhen kya ho gaya


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 THIRTEEN years. This blog has over 16600 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2021) 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.

Total number of songs posts discussed

16615

Number of movies covered in the blog

Movies with all their songs covered =1280
Total Number of movies covered=4520

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