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

Archive for the ‘Feelings of heart’ Category


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4458 Post No. : 15938

“Tyaag”(1976) was Produced by N S Kabir and directed by Deendayaal Sharma for Films and Films Interbnational Production, Bombay. The movie had Sharmila Tagore, Rajesh Khanna, Master Tito, Sulochana Latkar, Prem Chopra, Mukri, Asit Sen, Murad, Amrit Patel, Tuntun, Kamal Kapoor, Chandrima Bhaduri, Mohan Jerry, Mahendra Zaveri, Om prakash, Nayim, Billimoria, Anand, Lalita Kumari etc with guest appearances by Bindu, Master Satyajit, Dheeraj, Gurnam Singh, Sona, Raza Murad in it.

N S Kabir was Sharmila Tagore’s secretary, so one could reasonably guess that Sharmila Tagore was the actual producer. The movie had the same lead pair as that of the blockbuster “Aradhana”(1969). In fact, the songs of the movie were similar to the songs of “Aradhana”(1969).

There was one song that had the term “Kore kaaghaz” , seeking to recreate the magic of the song “Kora kaaghaz tha ye man mera” song from “Aradhana”(1969).

“Tyaag”(1976) had five songs in it. two songs have been covered in the blog including the above mentioned song.

Today is the birth anniversary of S D Burman (1 october 1908- 31 october 1975). On this occasion, here is a song from “Tyaag”(1976). This song is sung by Kishore Kumar and Lata. Anand Bakshi is the lyricist. Music is composed by S D Burman.

The song is picturised on Rajesh Khanna and Sharmila Tagore. Watching the picturisation, one can clearly see that this song seeks to serve the same purpose that the song “roop tera mastaana” serves in “Aradhana”(1969). 🙂

Too bad that the moviegoers did not treat the movie as the box office equivalent of “Aradhana”(1976). 🙂

Lyrics of this song were sent to me by Avinash Scrapwala.


Song-Tum ham ham tum ek nadi ke hain do kinaare (Tyaag)(1976) Singers-Kishore Kumar, Lata, Lyrics-Anand Bakshi, MD-S D Burman
Both

Lyrics(Provided by Avinash Scrapwala)

Ham tum
Hmm
Tum ham
Ham tum
Ek nadi ke ae hain do kinaare
Ham tum
Hmm
Tum ham
Ham tum
Aise milenge pritam ho pyaare
Ham tum
Hmm
Tum ham
Ham tum

Aise milenge
ke dekhenge saare
Ham tum
Hmm
Tum ham
Ham tum

Door kya hai paas kya hai
Sun o jeevansaathi
Aar paar behti dhaar
Hamko hai milaati

Door kya hai paas kya hai
Sun o jeevansaathi
Aar paar behti dhaar
Hamko hai milaati
Door kya hai paas kya hai
Sun o jeevansaathi
Aar paar behti dhaar
Hamko hai milaati
Jeevan hai jab se
Naa jaane kab se
Jeevan hai jab se
Naa jaane kab se
Ham hain tumhaare ae
Tum ho hamaare
Ham tum

Hmmm
Tum ham
Ham tum
Aise milenge ke dekhenge saare

Ham tum
Tum Ham
Ham tum

Maan lete hain ke chalo
Tumne ye kahaa hai
Dil magar hamaara jaane
Kyun dhadak rahaa hai
Maan lete hain ke chalo
Tumne ye kahaa hai
Dil magar hamaara jaane
Kyun dhadak rahaa hai
Bheege nazaare
Jaise ye saare
Bheege nazaare
Jaise ye saare
Bheeg na jaayen aen
Yoon nainaa hamaare
Ham tum
Hmm
Tum ham
Ham tum

Aise milenge ke dekhenge saare
Ham tum
Tum Ham

Ham tum
Tum ham
Ham tum
Tum ham

Ham tum


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

Blog Day :

4458 Post No. : 15937 Movie Count :

4369

01/10/2020 – 101st Birth anniversary of Majrooh Sultanpuri.
—————————————————————————-
Mujh se kaha jibrayil e junoon ne ye bhi vahi-e-ilaahi hai
Mazhab to bas mazhab-e-dil hai baaqi sab gumraahi hai

The Angel(of obsession) tells me that this too is divine decree,
The religion of love is the faith, rest all is deception

Dekh zindaan se pare, rang-e-chaman josh-e-bahaar
Raqs karna hai to phir paaon ki zanjeer na dekh

Look far away from the dungeons, towards the colourful garden and spirited spring
Want to dance (fly), than don’t be bothered by the limitation of feet.

Bahaane aur bhi hote hain zindagi ke liye
Ham ek baar teri aarzu bhi kho dete

There could be other reasons to live
Had the hopes of you been lost.

Jafaa ke zikr pe tum kyun sambhal ke baitth gaye
Tumhari baat nahi baat hai zamaane ki

When there is talk of unfaithfulness (or deception/tyranny), you are alert.
This is not about you, but lamenting is for the world at large.

Bacha liya mujhe toofan ki mauj ne warna
Kinaare wale safeena mera dubo dete

The tall waves of the storm have sheltered me, otherwise
the idle waves of the coast were bent on sinking my (last)boat.

Rok saktaa hamen zindaan-e-balaa kya majrooh
Ham to aawaz hain deewar se chhan jaate hain

Can the darkened holes of adversity stop us Majrooh
We are those sound waves which pierce the walls

Zaban hamaari na samjha yahan koyi Majrooh
Ham ajnabi ki tarah apne hi watan mein rahe

No one understands the words we speak, Majrooh.
We stayed as outsiders in our own homeland.

tujhe na maane koyi tujh ko iss se kya Majrooh
chal apni raah bhatakne de nukta-chinon ko

Don’t bother if they believe you or not Majrooh
Go on your way, let those critics wander around

———————————————————-

There is no better way of describing a poet and paying tribute to him, than quoting some of his work. So the major part of this post is going to be taken up by Majrooh sahab’s sukhan or kalaam. Today is the 101st birth Anniversary of the poet from Sultanpur district of Uttar Pradesh, the state in India which is the known as the ‘gehwara’ of urdu civilization. There are great shua’ra from other parts of the country, but those poets will also agree that UP is essentially the cradle of urdu. Like all children, the ‘khari boli’ urdu has also grown up and left the cradle. So that other children may enjoy the same nourishment and contentment that urdu had in its childhood.

Maybe some caravan’s upped and left the homeland and took their belongings. The cradle did not want to go away from the roots, so they took the embellishments and the toys from the cradle, and left if bereft. But some of the old dolls and some pillows were not taken with them as there was not enough space. They remained with the cradle and they strived to make the gehwara, the playground of urdu. Majrooh Sultanpuri is one of those old pillows which graced the old cradle.

After all this sentimentality, I don’t wish to write more. I have written a few posts about Majrooh and so have other contributors, in the past. So I will let his poetry do the talking.

I am reproducing one of his famous ghazals here :

Jab hua i’rfaan to gham aaraam-e-jaan bantaa gayaa
Soz-e-janaan dil mein soz-e-digaraan bantaa gayaa

Rafta rafta munqalib hoti gayi rasm e chaman
Dhire dhire naghma e dil bhi fughan bantaa gayaa

Main akelaa hi chala thha jaanib e manzil magar
Log saathh aate gaye aur kaarwaan bantaa gayaa

Main to jab jaanun ki bhar de saaghar e har khaas o a’am
Yun to jo aaya wohi peer e mughaan bantaa gayaa

Jis taraf bhi chal pade ham aabla-paayaan e shauq
Khaar se gul aur gul se gulistaan bantaa gayaa

Sharh-e-gham to mukhtasar hoti gayee uss ke huzoor
Lafz jo munh se na niklaa daastaan bantaa gayaa

Dahr mein majrooh koyi javedaan mazmoon kahaan
Main jise chhutaa gayaa wo javedaan bantaa gayaa

The song with this post is written by Majrooh sultanpuri, and the music director is Anu Malik. It is from Akele ham Akele Tum (1995). Udit Narayan and Alka Yagnik are the singers. Aamir Khan and Manisha Koirala are the actors in the film, who are singing it on screen.

This is the fourth song in the ‘inspired/copied’ song series. The inspiration behind this song is “The Godfather theme” .

During the tough months of April/May, someone posed this quiz in the family group on whatsapp :

“What is it that connects, The Godfather, Arvind Swamy and Anu Malik ?”.

This song is the answer to the quiz.

Video :

Song-Raaja ko raani se pyaar ho gaya (Akele Ham Akele Tum)(1995) Singers-Udit Narayan, Alka Yagnik, Lyrics-Majrooh Sultanpuri, MD-Anu Malik

Lyrics

Raaja ko raani se
pyaar ho gayaa
pehli nazar mein pehla pyaar ho gayaa
dil jigar donon ghaayal huye
teer-e-nazar dil ke paar ho gayaa aa
raaja ko raani se pyar ho gayaa

raaja ko raani se
pyaar ho gayaa
pehli nazar mein pehla pyaar ho gayaa
dil jigar donon ghaayal huye
teer-e-nazar dil ke paar ho gayaa aa
raaja ko raani se
pyaar ho gayaa
pehli nazar mein pehla pyaar ho gayaa
dil jigar donon ghaayal huye ae
teer-e-nazar dil ke paar ho gayaa aa aa

raaja ko raani se
pyaar ho gayaa
raaja ko raani se
pyaar ho gayaa

ho o o
raahon se raahen
baahon se baahen
mil ke bhi milti nahin
ho oo
hotaa hai aksar
armaan ki kaliyaan
khil ke bhi khilti nahin

hey
phir bhi na jaane
kyun nahin maane
phir bhi na jaane
kyun nahin maane
deewaana dil
beqaraar ho gayaa aa
raaja ko raani se
pyaar ho gayaa
raaja ko raani se
pyaar ho gayaa

raani ko dekho
nazren milin to
aankhen churaane lagi ee
hoo oo
karti bhi kya wo
sar ko jhukaa ke
kangana ghumaane lagi ee

hoo
raaja ne aisa jaadu chalaaya
raaja ne aisa jaadu chalaaya
na karte karte
iqraar ho gayaa aa

raaja ko raani se
pyaar ho gayaa
pehli nazar mein pehla pyaar ho gayaa
dil jigar donon ghaayal huye
teer-e-nazar dil ke paar ho gayaa aa


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

Blog Day :

4456 Post No. : 15931

Today’s song is from the film Husn ka chor-53.

The film was made by Basant Pictures owned by Homi Wadia. He was the Producer, but surprisingly the film was directed by his elder brother J.B.H.Wadia (13-1-1901 to 4-1-1986 ). JBH had also written its story, screenplay and dialogues too. Another surprise was that this film was a Costume/action film. The brothers had separated in 1942 on the issue of Wadia Movietone continuing making stunt films or to start making social films. JBH wanted to make social films and Homi Wadia (22-5-1911 to 10-12-2004) advocated for continuance of stunt films. He separated from JBH and started his own Basant Pictures. The third surprise was that for the first (and the last) time JBH wrote part of the lyrics of one song in this film. Today’s song is that song.

The cast of the film was Usha Kiran, Mahipal, Brij Mohan (B.M.Vyas), Azeem Dalpat, Sardar Mansoor, Agha Shapoor, Bismilla etc.etc. The wadias, known for fantasy and stunt films, always made new stories by rehashing old stories from Arabian Nights. This was also one such movie. I had seen this film.

The lead pair was Mahipal and Usha Kiron. one speciality of Wadias was that in their films, the credits list used to be very lengthy ,as they were keen on writing almost every small actor’s names also.

Qamar(Mahipal) was a compulsive thief.Once he steals Princess Husn’s(Usha Kiran) jewels,but he is so dazed by her beauty and innocence that he returns her jewels.When several foreign Princes come to propose to her,he also goes there by disguising as a prince.Husn selects him,but the secret is revealed by Nadira(Lalita kumari),a dancer who loves Qamar.The king could not digest the selection by Husn. Qamar is put in Jail, from where he is rescued by Nadira and friends.One Faqir tells Qamar to become a real prince to win Husn.
Qamar sets out on a magic flying horse to meet Moon Fairy to get the Magic wish bowl.The Moon fairy is rescued by him from the custody of evil genie by killing the genie.

Meanwhile Husn’s father faces mutiny and death if Husn is not married to the Vazir. Qamar arrives on a flying carpet and takes away Husn to the Moon.
The End.

In the last scene this line is Flashed ” Heaven dwells in pure Hearts “.

It was great fun to watch such types of movies.The audience also participated in the ongoings on the screen by appropriately scolding, encouraging or clapping loudly.There was no need to think logically. It was pure entertainment, and a timepass.

Actor Brij Mohan aka B.M.Vyas was one artiste who started as a singer, became a drama actor and then ended up as a villain, character actor. B.M.Vyas was born as Brijmohan Vyas on Vijayadashami (22 October) day of 1920 in Churu, Rajasthan. He is the younger brother of the well-known poet and lyricist, Bharat Vyas. He was married at the age of 17 when his wife, Jamna was just 11. They had 71 years of marital bliss before Jamna passed away in 2008. They had six daughters and a son. After acting in over 200 films in various languages, Vyas quit acting in the early 1990s. Then he moved to his residence in Kalyan. Having seen various shades of life, Vyas lived a contented life with his children and grandchildren.

On 15 January, 1944, actor Prithviraj Kapoor realised his dream when Prithvi Theatre, his own drama company came into being. Mahakavi Kalidas’ classic Shakuntala was chosen to be their first performance. The play’s cast included Uzra Mumtaz (younger sister of Zohra Segal) to play Shakuntala, Prithviraj Kapoor to play Dhushyant, K N Singh was cast as Rishi Kanva, Shakuntala’s foster father, Sati Devi (Bijoya Ray’s sister, Ruma Guha Thakurta’s mother) as Gautami, caretaker of Kanva Ashram who raises Shakuntala, and Hemavati (Daya Kishan Sapru’s wife) to play Shakuntala’s friend Priyamvada, among others. A young, 24 years old, B M Vyas was recruited as a singer by the drama company to sing songs in their play at a monthly salary of 75 Rupees.

Once when rehearsals for their maiden show were in progress and Vyas was done with his singing rehearsals, he was watching rehearsals of the cast. One of his songs for the play was “Bitiya Rani Kahan Kahan Tapasvi Log, Milna Julna Rehgaya Nadi Naav Sanjog”. The cast was rehearsing for a scene which needed Rishi Kanva to recite a mantra in Sanskrit, but actor K N Singh was having trouble reciting it. Prithviraj was trying to help him but was also faltering in saying it perfectly. Vyas , an expert in Hindi and Sanskrit, having immense knowledge of Ved Mantra was witnessing the proceedings for two days. It was possibly the blessing of Goddess Saraswati that inspired him to say the mantra aloud. On hearing him intone the mantra with such Brahminical precision, Prithviraj was very impressed and asked him to help K N Singh in saying the mantra correctly. But soon K N Singh informed Prithviraj ji that he will not be able to speak Devbhasha (Sanskrit) and that he should look for another artiste for the role. Prithviraj asked Prithvi Theatre’s manager Ramesh Saigal to approach Vyas for the role. Vyas , who had already acted in a Rajasthani play Ramu Chanana earlier, readily agreed and stepped into the role and thus started his journey as an actor.

While the rehearsals were still on, Vyas suffered a personal tragedy and had to go back home in Bikaner, Rajasthan. There he fell sick with typhoid. Here rehearsals were in full swing as the play was to premiere on 9 March, 1945 at the Royal Opera House. The final date was about a month away so Prithviraj asked him to come back as soon as possible. Vyas returned with his wife though he was still unwell. On the day he resumed his rehearsals he couldn’t do much due to frequent blackouts. The medication he was on, did not seem to help him much. He remembers the doctor from Kalbadevi who treated him for free; with his medication, Vyas ji’s health improved considerably in just three days.

The final round of rehearsals was done and finally the day of Prithvi Theatre’s first play to be staged, arrived. For the first performance of Shakuntala, many known names of the film industry were present at Royal Opera House. In the scene where Rishi Kanva makes an entry on stage he was required to raise his hands for blessing but Vyas was still weak and his hands started shaking. He tried a lot to control them but to no avail. He then remembered that he had seen many old people whose hands and head would involuntarily shake, so he started to shake his head too. The end result was so effective that during the play’s interval Prithviraj came and hugged him. He asked him how he developed that body language, Vyas told him about his genuine problem. Prithiviraj told him that he did a wonderful job and should continue with the same every time the play was staged.

Vyas had a long association with Prithvi Theatre, from 1944 to 1955. During this period he toured with the group to various cities and got an opportunity to showcase his singing and acting skills in various plays like – Deewar, Pathan, Aahuthi, Gaddar, Kalaakar, etc. The dedication with which this iconic actor prepared for his roles can be observed from the fact that he could mouth dialogs from plays he participated in over six decades ago.

Vyas was interested in music since childhood. He is a self-taught singer. They had a Harmonium at home which Vyas learnt to play on his own. He liked to be around musically inclined people. He would listen carefully and learn. He fondly remembers the blind musician from his home town who would give him a free hand to play the various musical instruments he had. He never really had a Guru he could learn from but he says he learnt the art of teaching singing. He gave music tuitions when he was in Bikaner before moving to Mumbai.

In the early 1940s Bharat Vyas called his younger brother to Mumbai. Soon Vyas ji got the opportunity to act and sing as many as twenty songs for the Rajasthani play Ramu Chanana written by Bharat. Music Director Naushad Sahab’s assistant Ghulam Muhammad who hailed from Rajasthan was very impressed when he heard Vyas’s voice in the play. He took him to meet Naushad Sahab who was working on the soundtrack of the film Pehle Aap (1944). Vyas got an opportunity to sing a group song “Hindustan Ke Hum Hain, Hindustan Hamara; Hindu Muslim Dono Ki Aakhon Ka Tara” with established singers G. M. Durrani and Shyam Kumar along with a new singer Mohammed Rafi. Since this song was supposed to be sung by soldiers on screen, Vyas and Rafi Sahab had to wear heavy boots and do a rhythmic march while singing to give an effect of an army troop. Such effects could not be added to a song with the technology available then; it all had to be done in real time. However the first ever song Vyas sang for a film was “Alakh Niranjan, Jai Jai Jai Manaranjan” from Bhartrihari (1944) which was picturized on Arun Ahuja (Govinda’s father).

After Vyas joined Prithvi Theatre as a singer, he had to do regular riyaz at home. A music teacher who often heard him sing once asked if he would be willing to give music tuitions. Since his monthly salary was 75 Rupees then, Vyas agreed as this would give him additional income. The teacher took him to meet Jaichand Kapoor and soon Vyas started giving music tuitions to his elder son, Brijmohan. However his younger brother seemed more inclined and started learning music from Vyas. This youngster was none other than our legendary playback singer, Mahendra Kapoor who always acknowledged that B M Vyas was his first Guru.

Vyas gave playback in four films – Bhartrihari (1944, MD: Khemchand Prakash), Pehle Aap (1944, MD: Naushad), Maharana Pratap (1946, MD: Ram Ganguli) and Naulakha Haar (MD: R C Boral) before destiny took him on a different path. He remembers meeting Rafi Sahab years later who sweetly said “Pandit ji you changed our line (singing)” to which Vyas admitted that he did not see much of a future for himself in singing and hence switched to acting.

After Prithvi Theatre’s first play Shakuntala was staged, Devika Rani (owner of Bombay Talkies) was keen to know who played Rishi Kanva. When she saw the 24 yrs old Vyas she was surprised, she never expected to see such a young man. She offered him a role in a Bombay Talkies film to be directed by actor Jairaj but the film was never made.

When Ramesh Saigal moved away from Prithvi Theatre, he joined Chetan Anand’s company India Pictures as Production Manager. They were working on their next film Neecha Nagar (1946) when Ramesh Saigal offered Vyas a small role (protagonist’s elder brother) in the film. Prithvi Theatre never laid any restrictions on their actors; they could take outside work while working in their plays. Vyas was eager to face the camera and accepted the role with open arms. He is credited as ‘Vyas ji’s in this film. Soon he played a small role in Raj Kapoor‘s Aag (1948) where he is credited as ‘Brijmohan’. But the role that gave him recognition in the film industry was in Barsaat (1949) where he played actress Nargis’ father. For this film he is credited as ‘B. M. Vyas’. Thus Vyas ji’s film career took off and he never looked back.

He has had a long and very successful career of more than four decades and has been part of many memorable classics. He has always been a character artist who started his career with portraying old characters. His last film most probably was Maa (1991).Vyas was very keen to work with the great filmmaker V Shantaram and approached him for work. Shantaram was planning Do Aankhen Barah Haath (1957) and was busy casting actors to play six prisoners in the film. He did not tell him that he is Bharat’s younger brother who was the lyricist of the film. When Vyas approached him, Shantaram was initially a bit apprehensive due to his height but soon cast him as one of the prisoners, Jalia Nai. They had a month-long schedule in Kolhapur. When the reels were sent to Rajkamal Studios for processing, it was found that due to dirt particles on the lens there were lines all across the frame in all the reels and the whole month’s hard work had gone to waste. They had to reshoot the entire thing. Vyas had a tough time managing schedules due to this re-shoot as he had other films in hand too. My favourite scene of this film is where Jalia comes with an intention to kill the Jailor played by Shantaram himself. That scene showcases Vyas ji’s ability as a performer, his entire body language, facial expressions, use of eyes and voice in this scene is a class act, beyond words.

About the classic scene from Sampoorna Ramayan (1961) Vyas said when he was offered the role of Ravan he was thrilled, being Shastri in Sanskrit he had read so much about this mythological character. Hence he was really keen to play the part but Ravan is expected to have a powerful physique while Vyas ji had a lean frame. To overcome this hurdle he got cotton padded clothing made for the role to look fuller. The rising temperature due to lights in addition to studio heat, he would sweat profusely in those cotton padded cloths but he did not let it hinder his performance. That innovative scene where Ravan is interacting with his nine heads was a collective brainchild of Babubhai Mistry and Homi Wadia. Vyas had to enact from a fixed position in front of a stationary camera for fifteen days but the end result was very effective.

On being asked about the most memorable and satisfying moment from his entire career Vyas narrated this incident. Prithvi Theatre’s play Gaddar was being staged in which he was playing the role of Maulana. Once filmmaker Kidar Sharma came to see the play, and was very impressed with his dialog delivery in Urdu. He asked Vyas to meet him. Sharma was working on his next film Shokhian (1951) and was looking for an actor to play the role of Baba Ghani. He gave Vyas a long dialog written in Urdu which Baba Ghani had to say to inspire the soldiers who are running away from the battle field to come back. Vyas said that he can’t read Urdu. Sharma was surprised and asked then how he played the role of Maulana in Gaddar. He said he rehearsed his lines written in Devnagri script and played the part. He asked Sharma to get the dialog written in Devnagri, and promised to prepare and say them the next day.

Next day he said the lines with such perfection that Sharma gave him a small Silver Coin as a token of appreciation. After that Sharma would often ask him to say the lines whenever important people came to meet him. Once actor Dilip Kumar came and he was asked to say the lines in front of him as well. Dilip Sahab was very impressed and remembered that he had heard this voice before. Vyas told him that he may have seen Raj Kapoor’s Barsaat (1949) where he played actress Nargis’ father. Dilip Sahab then recommended Vyas ji’s name to play actress Naseem’s father in the film Baaghi (1953), produced by his brother Ayyub Khan. Fortunately copies of Shokhian (1951) are available and this scene is here for all of us to see. It was heartening to see Vyas recite the same dialogues with such enthusiasm even today, after almost sixty years.

B M Vyas acted in 175 films. His first film was Neecha Nagar-46 and last film was Oh,Darling ! yeh hai India-95.

Vyas ji left for a better world on 11 March, 2013. (Adapted from articles from Maitri Manthan and Blog beete hue din, with thanks.)

Today’s song is a comedy song, sung by Mohd. Rafi, Asha Bhonsle and chorus.


Song-Ho gaya tere Majnu ko Ishq ka bukhaar (Husn Ka Chor)(1953) Singers- Rafi, Asha Bhonsle, Unknown male voice, Lyrics-Raja Mehdi Ali Khan, MD-Bulo C Rani
Chorus
All

Lyrics

ho gaya ho gaya ho gaya ho gaya
ho gaya
ho gaya
tere majnu ko ishq ka
bukhaar bukhaar bukhaar
hmm hmm
haay haay re haaye re
hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re
ho gaya tere majnu ko ishk ka
bukhaar
bukhaar bukhaar
haay haay re haye re
hoye hoye re hoye re

zara apni nabz mujhe dikha aa
o mere beemaar
haay haay re haaye re

hoye hoye re hoye re
arre o mareez
khaaya thha kya

teer-e-nazar
teer-e-nazar
arre o mareez
piya thha kya

khoon-e-jigar
khoon-e-jigar
arre o mareez
dekha thha kya

arre patli kamar
haaye patli kamar
uyi tauba
tujhe bhoot ban ke
chimat gaya hai kisi ka pyaar
haay haay re haaye re

hoye hoye re hoye re

main koi hakeem bulaati hoon
tere dil ka dard mitaati hoon
main koi hakeem bulaati hoon
tere dil ka dard mitaati hoon

ae haseenaaa
ae hasena
waqt na bekaar ho
main mareez-e-ishq hoon
meri dawa parde mein ho
main mareez-e-ishq hoon
meri dawa parde mein ho
is tarah se kis tarah
karoon tera aitbar
haay haay re haaye re

hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re
hoye

mera majnu shor machaaye re
mera majnu shor machaaye re
mera sanam to bichhda jaaye re
ae ae ae ae
bichhda jaaye re
koi aaye re aaye re aaye
bachaaye re
paani ee
paani o paani
paani
ho ho paaaani
nahin kuchh jaan baaki
ab mohabbat karne waale mein

mohabbat karne waale mein
mohabbat karne waale mein

khuda bakhse bahut si
khoobiyaan ki marne waale mein

aji haan marne waale mein
aji haan marne waale mein ae ae

hoye hoye
hoye hoy re hoye hoy
ho ho hoy
utar gaya mere majnu ka ishk ka
bukhaar bukhaar bukhaar

haay haay re haaye re
hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re

haay haay re haaye re
hoye hoye re hoye re
hay hay re haye re
hoye hoye re hoye re
hoy hoy


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

Blog Day :

4455 Post No. : 15929 Movie Count :

4369

Hullo Atuldom

A few phrases and idioms are coming to my mind as I sit to write this post.

“Chip off the old block” meaning “jaisa baap waisa beta”. I am talking of an actor who is representing Gen”X” of the family of entertainers, following in the footsteps of his father, uncles, grandfather, granduncles, great grandfather and great great grandfather. In fact a few of his cousins are also active in carrying the family flag of entertaining the country with their acting talents. This is one talented clan.

But I will not use the public’s favorite word ‘Nepotism’ here because being a star son will only help you get an entry to the producers’ and production house’s offices. They may be nice to you and offer you a role too but after that it is purely the business that the film generates and how much that the audience loves you that decides which direction your career goes. We can name any number of actors whose careers have fallen by the roadside for want of success.

Coming back to the “chip of the old block” that I started the post with, he started out as an assistant to Sanjay Leela Bhansali when he made “Black” (2005). Sanjay Leela Bhansali also gave him his debut film “Saawariya” in 2007 for which the music director was Monty Sharma, another person trying his hand at carrying the family flag- he is Pyarelal Sharma’s nephew.

We are here wishing Ranbir Kapoor on his 38th birthday. He is as versatile as any other of his family in emoting, comedy, dance and every aspect of acting. He has had a fair bit of successful movies and he was simply amazing in the comic climax at the villain’s den in the movie “Ajab Prem Ki Ghazab Dastaan”. He was able to stay in step with Madhuri in the “ghagra” song. He is the recipient of awards for various categories. He was fortunate to have worked with his parents in “Besharam” and also his granduncle in “Rockstar”.

I am a little confused as to which will be an appropriate song to go with this post, because the songs in his movies had good lyrics, choreography and were all eye-pleasing. I am going to settle for a song from “Ajab Prem Ki Ghazab Kahaani” which has lyrics by Irshad Kamil and music by Pritam Chakraborty. The movie was a remake of a 2005 Telugu hit and got Ranbir a critics award of best actor. Rajkumar Santoshi was the director and Katrina Kaif, Upen Patel, Darshan Jariwal, Smita Jaykar, Govind Namdeo and Zakir Hussain as the don who has a gang that cannot do anything right. Ranbir and Katrina played characters that have a speech problem every time they get emotional.

I find the names of singers who are new to me – Naresh, Atif Aslam, Soham Chakraborty, Kailash Kher (this one I have heard for some time now) and Ashish Pandit. This is an all-male song.


Song-Tu jaane naa (Ajab Prem Ki Ghazab Daastaan)(2009) Singers-Naresh, Atif Aslam, Soham Chakrabarthy, Kailash Kher, Ashish Pandit, Lyrics-Irshad Kamil, MD-Preetam

Lyrics

kaise bataayen
kyun tujhko chaahe
yaraa bata na paaye
baatein dilon ki
dekho zubaani
aankhen tujhe samjhaayen
tu jaane naa aa aa
tu jaane naa
tu jaane naa aa aa
tu jaane naa

milke bhi hum na mile
tumse na jaane kyun
milon ke hai faasle
tumse na jaane kyun
anjaane hain silsile
tumse na jaane kyun
sapne hain palkon tale
tumse na jaane kyun oon oon
kaise bataayen
kyun tujhko chaahen
yaraa bata naa paayen (aaaaa)
baatein dilon ki (aaaa)
dekho zubaani
aankhen tujhe samjhaaye
tu jaane na aa aa(aaaaa)
tu jaane na (aaaa)
tu jaane na aa aa (aaaaa)
tu jaane na (aaaa)

nigaahon mein dekho meri jo hai bas gaya
wo hai milta tumse hu bahu
ho o o
jaane teri aankhen thi ya baatein thi wajah
huye tum jo dil ki aarzoo
tum paas hoke bhi
tum aas hoke bhi ee
ehsaas hoke bhi apne nahim
aise hain hamko gile
tumse na jaane kyun
meelon ke hai faasle
tumse na jaane kyun oon oon
tu jaane na aa aa
tu jaane na
tu jaane na aa aa
tu jaane na
o jaane na jaane na jaane na aa
haan aan
tu jaane na

khyaalon mein laakhon baatein yoon toh keh gaya aa
bola kuchh na tere saamne
o o o
huye na begaane bhi tum hoke aur ke ae
dekho tum na mere hi bane
afsos hota hai
dil bhi ye rota hai ae
sapne sanjota hai
pagla hua soche ye
hum thhe mile
tumse na jaane kyun
meelon ke hain faasle
tum se na jaane kyun
anjaane hain silsile
tumse na jaane kyun
sapne hain palkon tale
tumse na jaane kyun oon oon
kaise bataayen
kyu tujhko chaahen
yaraa bata na paayen
baatein dilon ki
dekho zubaan ki
aankhen tujhe samjhaayen
tu jaane na aa aa
tu jaane na,
tu jaane na aa aa
tu jaane na
tu jaane na aa aa
tu jaane na,
tu jaane na aa aa
tu jaane na
tu jaane na aa aa
tu jaane na


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

Blog Day :

4455 Post No. : 15928

Today is 35th birthday of Ranbir Kapoor, son of Rishi Kapoor and Neetu Singh, grandson of Raj Kapoor and great-grandson of the formidable Prithvi Raj Kapoor.

Talking of Prithvi Raj Kapoor, reminds of Mughal-e-Azam, where the first generation of Kapoorkhandaan as Shehenshah Akbar, over shadowed his mild crown prince Salim, played by a demure Dilip Kumar. Right, as a friend commented, Dilip Kumar looked like a mouse in front of Prithvi Raj Kapoor.

So Ranbir Kapoor is the chashm-e-chiraag, the fourth generation of Kapoor clan, to make a name and fame in the film industry. Critically acclaimed actor in his own right, some say he is the best actor in the whole family. That may be true. But I may not be qualified to be a judge of that. I have seen some very old movies of Prithvi raj Kapoor, like Sikandar-e-azam and Pukaar, where he looks exactly like Shashi Kapoor. Back in the 80’s when Sohrab Modidied, the Bombay Doordarshan had shown some of his movies, so I got to see those two historical costume drama movies. I have seen some of the famous and non-famous movies of Raj Kapoor mainly on TV and cable TV, Teesri Kasam, Sangam, Awara, Chhalia etc. to name a few. Films like Shree 420 and Barsaat I have seen later on youtube. I have seen many movies of Rishi Kapoor again on Cable TV and some in the theatre. The last movie of Rishi Kapoor I remember watching in theatre is “Damini”.

Coming to the 4th generation, I can say that I have loved his film “Ajab Prem ki Gajab Kahaani”. Seen a few more films like ‘Wake up Sid” “Rockstar” etc or a few more partly. Sometime in 2011-12 or some time before that I have disconnected my home cable connection. It once got disconnected, we got used to it and we don’t miss the “Ehmaq Dabba”(Idiot box) at all. I go to parents place, where if the TV is on, it sounds like noise pollution to me. Looks also like visual pollution, I can’t help it.

So this way, my connection with new films is severed. What we don’t know, we don’t miss. It is important to keep track of the known things, rather than worrying about the unknown, right!

I have managed to keep the lid on overload of conventional media, and social media in general, but than whatsapp became unavoidable. I can hear the fans of modern technology, shouting “caught you”.

Whatsapp to peechha nahi chhodtaa….

Few years ago, when I read about Facebook book paying multiple bucks and buying over Whatsapp, I wondered what is the source of income of whatsapp, and why would someone pay to buy it. I asked many people, but there was no answer. I googled the question, but there is no satisfactory explanation there too.

A few months ago, my brother shared the links of a song from ‘Money Hiest” of a song called ‘Bella Ciao”. The original, is an Italian revolutionary song, the link is here. Without even knowing what it meant, it was a stirring song. I have heard it a few times since, and it grows on me as I learn more about it.

This is the translation I found with one of the links:

One morning I woke up
goodbye my beautiful, goodbye
one morning I woke up and
I found the invader.

Oh partisan take me away
goodbye my beautiful, goodbye
oh partisan take me away for
I feel like I’m dying.

And if I die as a partisan
goodbye my beautiful, goodbye
and if I die as a partisan
you must bury me.

And you will bury me up there, on the mountain
goodbye my beautiful, goodbye
you will bury me up there on the mountain
under the shadow of a beautiful flower.

And all the people passing by
goodbye my beautiful, goodbye
and all the people passing by will tell me:
what a beautiful flower!

And this is the flower of the partisan
goodbye my beautiful, goodbye
and this is the flower of the partisan
who died for freedom.

Last week after doing this post, I wondered, if there is a hindi film song inspired by Bella ciao. In fact I have a few such songs listed, which I want to write a post about. So one of those projects was finding a song which is copied, lifted or inspired by “Bella ciao”. The search was a short one and google immediately gave this song from the film Besharam(2013). The music is credited to Lalit Pandit(of Jatin-Lalit fame) and lyricist is Rajeev Banwal. The singer is Sujeet Shetty, but the dialogues in between is in the voice of the actors.

As the songis on Ranbir Kapoor, in the movie, so this is the song for the occasion.
As per Peevesie’s Mom, this song reminds peevesie of the song “hum thhe wot hhi” from “chalti ka naam gaadi”. I checked the song and also if it is mentioned in itwofs.com. It turns out the inspiration behind this S D Burman song is the song ‘The Watermelon song’ (1957), by Tennessee Ernie Ford.

Video :

Song-Love ki ghanti baj gayi meri (Besharam)(2013) Singers-Sujeet Shetty, Lyrics-Rajeev Barnwal, Music Director-Lalit Pandit
Ranbir Kapoor, Amitosh Nagpal

Lyrics

Love ki ghanti
baj gayi meri
dekhaa ussko
pyaar huaaaa
aankhen phat gayi
tabeeyat nipat gayi
dil meraa kood padaa
pehle ladki
thoda sa bhadki
boli aaye ho tum kyun yahaan
main bola
mera hai good luck
mujhe laayi yehaan
teri maan

(conversation)

haan us ski baatien
nukkad ki chaye
thhodi meethhi thhodi garam
jaise teekhe pyaazi pakode
mirchi dhaniya ka dam m m
gusse mein chamki
di mujhko dhamki
main tas se mas na huaaaa
gaalon pe usske
de daali pappi
dil uss ka phool huaaaa
uuoouuoo

(conversation)

wo khadi thhi
main khadaa thha
nazren takraayee
paas aayi
baahen thhamen
thhoda sharmaayeeee
pyaar se phir
uss ne mujhko
shirt pehnaayaaaa
touch kiya to
dil mein jaise
gudgudi chhaayeeee
heehee
shirt bhi badal daali
ye to setting ho gayi hai
seene se mere
phir wo lipat gayi
aisa zor ka jhatka lagaaaa
mere dil ke radio par
sa re ga ma pa bajne lagaaaa
kaanon mein mere
dheere se bolee
mere hero thhe abtak haan an
main rapat gayaa
wahi salat gayaa
chali pyar ki mast hawaaaa
Love ki ghanti
baj gayi meri
dekhaa ussko
pyaar huaaaa
aankhen phat gayi
tabeeyat nipat gayi
dil meraa kukukood padaa
ookukukuooo
koodaaaa
dil koodaaa
dil bhaagaa
teraa dil bhaagaa
dil bhaagabhaaga
dil bhaagabhaaga
dil bhaagaaaaa
dil koodaa meraa
dil koodaa dil meraa
koodaaaa
dil jhooma jhooma
dil jhooma mera dil
jhoomaaaaaa
dil kudaa meraa dil
jhooma mera dil
bhaagaaaaa

lalalala
lalalalala
lalala
lalala
lala
laaaaa
lalalala
lalalalala
lalala
lalala
lalalala
laalaalaalaa
lalalala
lalalalala
lalala
lalala
lalalala
laalaalaalaa

lalalala
lalalalala
lalala
lalala
lala
laaaaa


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

Blog Day :

4455 Post No. : 15927

Lata Mangeshkar – 91st birthday on 28/09/2020
————————————————————————–
Today is the day when the “Nightingale of India”, Lata Mangeshkar was born 91 years ago.

In 1973, she won the National Film Award for Best Female Playback Singer for the song “Beeti Na Bitaayi” from the film Parichay, composed by R. D. Burman, and written by Gulzar.

In 1975, she again won the National Award, this time for the song “Roothe Roothe Piya” from the film KoraKaghaz, composed by Kalyanji Anandji.

She won her third National Film Award for Best Female Playback Singer for her rendition of the song “Yaara Sili Sili” from the film “Lekin”, which was composed by her brother Hridaynath Mangeshkar.

In 2001, Lata Mangeshkar was awarded the Bharat Ratna, India’s highest civilian honour.
A lot of information about her early days, family background and career progress are available here.

I have selected a song from 1985 to post on this occasion. Scores of her hit, known and popular songs from all decades are yet to be posted, so it was no easy task to arrive at a single song. This is a solo from the film ‘Arjun”, written by Javed Akhtar and composed by R. D. Burman. It is a typical, teasing and appeasing song, where hero Sunny Deol and Heroine Dimple are running around usual garden locations in Mumbai, while Dimple is singing this song by LataMangeshkar. Actually the stanza’s are very uplifting and motivating for someone who is dejected. Sunny deol looking like a petulant child and Dimple is trying to make him see the positive side of things. The encouraging tone sounds less romantic and more children’s song, if only heard. I was a fan of Dimple those days, and saw her few films. I thought I might have seen this one too, but when I found the video, it was clear that I was seeing it for the first time. The catchy tune and song I knew well, but remembered only the mukhda bit with hazy re-collection of words. All these years I have been humming this song, sometimes using “Neeli neeli aankhon”, after “neele neele ambar par” which was also a favourite. My sister would often correct me that it is ‘Bhoori bhoori” not ‘neeli neeli”.

I heard the pop/rock song ‘kokokorina” by Ahmed Rushdi sometime back. Stumbled upon the song at Wikipedia page on Kishore Kumar, to be precise. I heard the song, it didn’t ring a bell, so I had never heard it before. But the song seemed somewhat familiar as if its tune is taking me to some other song. On hearing it a few more times, I landed on this sometime ‘neeli’ and sometime ‘bhoori bhoori aankhon wala ekladka hai” song. I have since searched the net to find if there is a connection, or only I feel like that. Seems I am the only one who could connect these two songs. The RDB page on itwofs.com features as many as 42 songs, linking to inspiration and similar tunes. But this case of “Arjun’ song is not listed there.

I see that in the Wikipedia page also this song is mentioned in relation to RDB songs by Lata in the 80’s :

Some Rahul Dev Burman compositions for Lata in these years include “Aaja Sar-e-Bazaar” in Alibaba Aur 40 Chor (1980), “Bindiya Tarase” in Phir Wohi Raat (1981), “Thodi Si Zameen” in Sitara (1981), “Kya Yahi Pyar Hai” in Rocky (1981), “Dekho Maine Dekha” in Love Story (1981), “Tune O Rangeele” in Kudrat (1981), “Jaane Kaise Kab” in Shakti (1982), “Jab Hum Jawan Honge” in Betaab (1983), which became instantly popular, “Humein Aur Jeene” in Agar Tum Na Hote (1983), “Tujhse Naraaz Nahin” in Masoom (1983), “Kahin Na Ja” and “Jeevan Ke Din” in Bade Dil Wala (1983), “Jaane Kya Baat” in Sunny (1984), “Bhoori Bhoori Aankhon” in Arjun (1985), “Sagar Kinare” in Sagar (1985), “Din Pyar Ke Aayenge” in Savere Wali Gaadi (1986). “Kya Bhala Hai Kya”, “Khamosh Sa Afsana” and “Seeli Hawa Chhoo” in Libaas (1988).

I have made a very brief list of such songs, which starts with ‘tu meri zindagi hai”, and if two posts for today are over, then two more songs in the list remain.

As for the blog, Lata Mangeshkar’s tally stands at 3589 out of 5645.

With sixes galore, turning the matches in IPL, I will end this post with this very positive stanza of the song:

tu maane na maane aisa din aayegaa
jab duniyaa ke chehre se gham dhul jaayegaa
phool khilenge rang hansenge aanchal aanchal
aangan aangan goonjengi khushiyon ki paayal

Audio :

Video :

Song-Bhoori bhoori aankhon waala ek ladka hai (Arjun)(1985) Singer-Lata, Lyrics-Jawed Akhtar, MD-R D Burman

Lyrics

Gaga ma re
La lala
Re gasa

Aaa
oooo
oooooo
bhoori bhoori aankhon waala
ek ladka hai
sapney dekhne se jaane kyun
ghabraata hai
bhoori bhoori aankhonwaala
ek ladka hai
sapney dekhne se jaane kyun
ghabraata hai
gumsum gumsum
khoyaa khoyaa saa rehtaa hai
sapneydekhne se jaane kyun
ghabraat ahai
ho bhoori bhoori aankhon waala
ek ladka hai
lalalala
lalalala
lalalala

meri aankhon mein hain
kitne saare sapne
rang birange
meethhe meethhe
pyaare sapne
ho meri aankhon mein hain
kitne saare sapne
rang birange
meethhe meethhe
pyaare sapne
deewaane tu bhi
aankhon mein sapne rakh le
banke chamkenge raaton mein
taare sapne
ho bhoori bhoori aankhon waala
ek ladka hai
sapney dekhne se jaane kyun
ghabraata hai

tu maane na maane
aisa din aayegaa
jab duniyaa ke chehre se
gham dhul jaayegaa
o tu maane na maane
aisa din aayegaa
jab duniyaa ke chehre se
gham dhul jaayegaa
phoolkhilenge rang hansenge
aanchal aanchal
aangan aangan goonjengi
khushiyon ki paayal
ho bhoori bhoori aankhon waala
ek ladka hai
sapney dekhne se jaane kyun
ghabraata hai
gumsum gumsum
khoyaa khoyaa sa rehtaa hai
sapney dekhne se jaane kyun
ghabraata hai
lalalala
lalalala
lalalala
lalalalala
lalalalala
hoho
hoho


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 :

4455 Post No. : 15926

Yearwise discussion of Lata Mangeshkar songs in HFM: Part I: 1946-1947

Today (28 september 2020) is the 91st birthday of Swar Samragyi Lata Mangeshkar (DoB 28 September 1929). We as part of HFM lovers extend her a very happy birthday and wish her many happy returns of the day.

She has been the most influential singer of HFM (and by extension all Indian film music).

A lot has been written on her career and her songs and her life. Instead of joining that race and repeating the already much repeated facts about her, I would take this occasion to stat my discussion of her HF songs yearwise, right from the beginning. So one can see that it is going to be a long series, which may have started on her birthday and it will contunue on and on, and each post will discuss one year. She has been around for more than six decades. It will take me at least 40 posts, may be more to discuss her songs over the years. I plan to publish one article every year. At this rate, this series could take upto one year. But then what is one year for this blog which is going on for more than 12 years !

This writeup, which is part I takes up the years 1946 and 1947. Why two years ? Because this series will discuss a Lata Mangeshkar song from the year under discussion. Lata Mangeshkar made her debut in 1946 but all songs sung by her in 1946 are already covered in the blog. 1947 is the second year for her HFM career. Here just one song sung by her remains undiscussed. So I had to take up the year 1947 as well so that I could discuss a song of the year with the article.

Coming to 1946, here are the details of the songs sung by Lata Mangeshkar in HFM in 1946:-

Movie Music director Lata song in the blog Lata HFM songs in the year Lata solo songs Male duet Female duet Other songs Lyricists Song detail
Jeewan Yaatra Vasant Desai 1 1 1 0 0 0 Dewar Sharar Chidiya boley choon choon choon
Sona Chaandi D C Dutt 1 1 1 0 0 0 Wali Sahab Pyaare Bapu ke charnon ki le lo prasann
Subhadra Vasant Desai 2 2 2 0 0 0 Pt Sudarshan (1) Pt Indra (1) Piya aayegaa…gori sudh na bisaar piya aayegaa Pt Indra Chandra
Saanwariya oye baansuriya oye bajaaye gayo re Pt Sudarshan
Total Three movies Two music directors 4 4 4 0 0 0 Four lyricists All solos

The next year 1947, which was an important year for the country saw Lata Mangeshkar faring more or less how she had fared the previous year, as can be seen from the table below :-

Movie Music director Lata song in the blog Lata HFM songs in the year Lata solo songs Male duet Female duet Other songs Lyricists Song detail
Aap Ki Sewa Mein Datta Dawjekar 2 3 3 0 0 0 Mahipal Paa laagoon kar joree re
Ek naye rang mein dooje umang mein
Shaadi Se Pehle Pt Ramakant Paingankar-Karnad 1 1 0 1 0 0 Pt Mukhram Sharma Chalo ho gayi taiyyar Duet with Rafi
Shehnaai C Ramchandra 1 1 0 0 0 1 P L Santoshi Jawaani ki rail chali jaaye re with Chitalkar and Geeta Dutt as co singers
Total Three movies Three music directors 4 5 3 1 0 1 Three lyricists Three solos, plus her first male duet and first multiple singers song

If someone had done an year end analysis of Lata Mangeshkar’s career prospects at the end of 1947, he would have written off her chances as a playback singer. Such an analyst would have lots of facts backing his judgement. Lata Mangeshkar had a thin feeble voice, unlike the buland voices of the predominantly Punjabi female singers of those days. Forget laypersons, even a few studio owners, such as Filmistan’s boss rejected Lata’s voice outright, despite the recommendations of music director like Ghulam Haider. If one had to give opportunities to a new voice, then Geeta Roy showed far more promise. Unlike Lata, who was struggling on family and career fronts, Geeta Roy was getting her breaks almost without much struggle. And her voice was loved by all prominent music directors and movie producers.

So, Lata Mangeshkar did not have it easy in her career. She has faced lots of hardships. She has overcome them all. Moreover, she stood for her rights, took on powerful influential individuals in the induustry and got her way. Not just that, she survived and outlived them all.

Many people, with the benefit of hindsight may think that Lata Mangeshkar had a smooth career in film industry. Not at all. She has survived lots and lots of hardships that would have destroyed lesser mortals. One forgotten fact is that an attempt was made to poison her. It was a tactic that was earlier used against Master Madan in 1940s. Lata Mangeshkar’s enemies had planted a cook in her residence who was slowly poisoning her meals. It was an incident of early 1960s. The matter was detected in time and the cook ran away.

Her detractors accuse her of sabotaging the careers of some of her contemporaries. I think this accusation has an element of exxagaration. Even in the prime of her career, there were lots and lots of movies where she did not sing. She would typically sing songs in 50 odd movies in a year out of 100 odd movies released in that year. If these contemporaries were as good as they thought, they had enough opportunities to get work in the movies where Lata Mangeshkar did not sing. It takes far more than just raw singing ability to get work and get repeated. It takes lots of social networking which Lata Mangeshkar was good at. A few of her contemporaries known to be regarded as her competitors did not possess even a fraction of the networking abilities that Lata and her equally illustrious younger sister Asha Bhonsle possessed.

My observation about Lata Mangeshkar is that she was like an iceberg, and only the tip of her abilities were used in HFM. And even that has resulted into a body of work that is quite formidable.

One can see from the above two tables that Lata Mangeshkar was a struggler for most of the 1940s and she had very little to show for her struggles by the end of 1947. Lots and lots of things happened thereafter. She has the luck and the ability to turn it around spectacularly in the years to come. We will look at these facts in details in the future posts of this series.

It has been mentioned above that all Lata songs of 1946 have been covered in the blog. The table for 1947 shows that one Lata song from 1947 remains uuncovered. The song under discussion is that remaing song.

“Aap Ki Sewa Mein”(1947) was directed by Vasant Joglekar for Chandrma Pictures Bombay. This obscure movie had Dixit, Kesri, Shantarin, Saroj Borkar, Nimbalkar, Smson, D R Gokhale, Bhal Marathe, Vijaya, Baby Nalini etc in it. The movie had eight songs in it. Four songs have been covered in the past.

Lata Mangeshkar had sung three solos in the movie. Two of these songs have been covered in the blog in the past.

Here is the third and final Lata solo from “Aap Ki Sewa Mein”(1947) to appear in the blog. The song is penned by Mahipal (later a hero of mythological movies). Music is composed by Datta Davjekar.

Listening to the voice in this song, one can notice the influence of Suraiyya in her voice, who was a leading female playback singer of those days.

With this song, all the Lata Mangeshkar HFM songs of 1947 have now got covered in the blog.

In the next instalment of this series, we will discuss Lata Mangeshkar HFM songs sung by her in Hindi movies released in 1948.


Song-Ab kaun sunega mere man ki baat (Aap Ki Sewa Mein)(1947) Singer-Lata, Lyrics-Mahipal, MD-Datta Davjekar

Lyrics

ab kaun sunega
ab kaun sunega aa aa
mere man ki baat
ab kaun sunega aa aa aa
mere man ki baat
jiske chhoote sabhi sahaare ae ae ae
jiske chhoote sabhi sahaare
uska haar(?)
ab kaun sunega aa aa aa
mere man ki baat
ab kaun sunega

jo karte thhe kabhi ishaare ae ae
jo karte the kabhi ishaare
doob gaye we chand sitare
doob gaye, doob gaye
dub gaye oe chaand sitare
raah dikhaane aayi mujhko
raah dikhaane aayi mujhko, toofaanon ki raat
ab kaun sunega aa aa aa mere man ki baat
ab kaun sunega

jyot diye ki ee ee jab bujh jaaye ae ae ae
jyot diye ki ee jab bujh jaaye
aansu kya usko sulgaaye
aansu kya aa
aansu kya
aansu kya usko sulgaaye
bhar bhar aatin ankhiyaan
ankhiyaan
bhar bhar aatin ankhiyaan
man sookha sookha jaaye
ab kaun sunega aa aa
mere man ki baat
ab kaun sunega aa aa
mere man ki baat
ab kaun sunegaa


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

Blog Day :

4454 Post No. : 15924

Tribute to S. P. Balasubramaniam
—————————————————

The great playback singer of south india left for heavenly abode after his month long illness and Covid – 19 related complications, which had him hospitalised since August. He is said to have recorded his last song on 5th August at Hyderabad. Some sources are reporting he has total 40000 songs to his credit. This calculates to more than two songs per day, in a 50 year career. The career spanning 5 decades and active career he was much revered and loved in the south India’s movie and music fan. The four primary languages of the south, namely Kannada, Telegu, Tamil and Malayalam have the major share of his songs.

When thinking of his songs, the first film that comes to mind is “Ek Duje Ke liye” (1981). When I looked up the songs of this film and found this info about how S. P. Balasubramaniam finally got to sing the songs of this film:
This was singer S.P. Balasubramaniam’s debut Hindi film. Music directors Laxmikant – Pyarelal were not keen on using him for the film since they had not worked with him before. Director K. Balachander convinced them that S.P. Balasubramaniam was the right choice since his imperfect diction would suit the role of South Indian man played by Kamal Haasan in the film.

When S.P. Balasubramaniam first met Laxmikant – Pyarelal for this film, the music director duo had asked him to sing a song. The singer first sang the title song of “Mere Mehboob” (1963) composed by Naushad. The composers then asked him to sing a simple song and he sang “Jaanewalo Zara Mud KeDekhoMujhe” (“Dosti”, 1964) composed by Laxmikant – Pyarelal themselves. According to S.P. Balasubramaniam, it was this song that convinced the composers of his abilities.

Tere Mere Beech Mein (Duet) – This duet with Lata Mangeshkar was the first song S.P. Balasubramaniam had recorded for this film. He spoke a few Tamil lines in this song including “Nee romba nallapaadarae” meaning “You sing very well”. He later said that he found the words ironical since they came from a newcomer like him and were addressed to the legendary Lata Mangeshkar. He was apparently so nervous during the recording that he had accidentally spilt tea on her saree. Understanding his plight, Lata had praised S.P. Balasubramaniam during the rehearsals in order to put him at ease.

These details finally made me decide that I want to post a song from this film. I found that only two song from this film is posted in the blog till date:
Mere jeewan saathi pyaar kiye jaa
Solah baras ki baali umar ko salaam

And this beautiful song which was all the rage in the 80’s is not yet posted, which has two solo versions. One is by Lata Mangeshkar, a happy solo and other is by SPB a sad, very sad solo. Lata version is beautifully shot in picturesque locales of Goa with Rati Agnihotri singing and Kamaal Haasan, not comprehending the hindi song, trying to understand where she is pointing in the other direction. The last scene of this song, with both Rati Agnihotri and Kamaal Haasan, standing with their backs to the rock outcroppings, looking out to the see from the vantage point, with the beach below and the mountains just beyond, was the picture perfect poster on the movie hoardings, even in theatre’s.

The SPB version is shot in a hotel room, where both Kamal Haasan and RatiAgnihotri find themselves in adjoining room. They have promised Rati’s mother that they will not contact and meet each other for a year, so cannot meet. How inane is that, if they met by accident and not by design, than it is divine intervention. But this was an opportunity to create an intense song situation, with Rati doing more histrionics, with a sea-shell:). In an earlier scene, Rati’s mother burns the photo of Kamaal Haasan. Rati, in a fit of inspiration to prove her true love, mixes the burnt carbon remains of the photograph with tea and drinks it. I think the mother was played by Shubha Khote.

The song also won the following awards :
1981 – National Film Awards – Best Male Playback Singer – Tere Mere Beech Mein (Male) – S.P. Balasubramaniam
1981 – Filmfare Awards – Best Lyricist – Tere Mere Beech Mein (Duet) – Anand Bakshi

So I am presenting a song, which won SPB a National Film Award for best playback singer in 1981, as a tribute on his passing away. Of course his memory will be forever alive through his numerous songs. May his soul rest in eternal peace.

S. P. Balasubramaniamversion :

Lata Mangeshka rvesion :

Song-Tere mere beech mein kaisa hai ye bandhan anjaana (Ek Dooje Ke Liye)(1981) singer-S P Balasubrahmaniam/ Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

SP Balasubrahmaiam version:
———————–
tere mere beech mein
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana
kaisa hai ye bandhan anjaaaaaana
main ne nahin jaana
tu ne nahin jaana
main ne nahin jaanaaa
tu ne nahin jaana
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana

ik dor kheenche doojaa
dauda chala aaye ae
ik dor kheenche doojaaaa
dauda chala aaye ae
kachche dhaage mein
bandhaa chalaa aaye
aise jaise koyee
ho o o aise jaise koyee
deewaaaaaana
aise jaise koyee
deewaaaaaana
main ne nahin jaanaaa
tu ne nahin jaana
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana

neend na aaye mujhe
chain na aaye ae
neend na aaye mujhe
chain na aayeea
laakh jatan karoon
rokaa na jaaye
sapnon mein teraa
ho oo
sapanon mein teraa
aana jaanaa
sapanon mein teraa
aana jaanaa
main ne nahin jaanaaa
tu ne nahin jaana
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana
kaisa hai ye bandhan anjaaaaaana

—————————
Lata Mangeshkar version :
—————————
ooooo
oooooooo
tere mere beech mein aen
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana
kaisa hai ye bandhan anjaaaaaana
kaisa hai ye bandhan anjaaaaaana
maine nahin jaanaaa
tu ne nahin jaana
maine nahinjaanaaa
tu ne nahinjaana
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana

ik dor kheenche doojaa
dauda chala aaye ae
ik dor kheenche doojaaaa
dauda chala aaye ae
kachche dhaage mein
bandhaa chalaa aaye
aise jaise koyee
ho oo aise jaise koyee
deewaaaaaana
aise jaise koyee
deewaaaaaana
main ne nahin jaanaaa
tu ne nahin jaana
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana

oh ho
aapadiyaa

aah ha ha
jaise sab samajhgayaa

pehnoongi main tere haathhon se kanganaaa
pehnoongi main tere haathhon se kanganaaa
jaayegi meri doli tere hi anganaa
chaahe kuchh kar le
ho o
chaahe kuchh kar le
zamaaaaaana
chaahe kuchh kar le
zamaaaaaana
maine nahin jaanaaa
tu ne nahin jaana
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana

(Tamil words)
rumba
ye rumba ruka kya hai

kitni zubaanen bolen log hamjolee
kitni zubaanen bolen
log hamjolee
duniyaa mein pyaar ki
ek hai boli
bolen jo shama’a
ho oo
boli jo shama’a
parwaaaaaana
bolen jo shama’a
parwaaaaaana
main ne nahin jaanaaa
tu ne nahin jaana
(tamil words)
kya
tere mere beech mein
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana
kaisa hai ye bandhan anjaaaaaana
kaisa hai ye bandhan anjaaaaaana


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

Blog Day :

4454 Post No. : 15922

Today’s song is from the film Dost-54. There were films made with this title in 1944, 1954,1974,1989 and 1990. There were 17 films with the word Dost in their titles. Film Dost had 7 songs. 6 songs are already discussed here, but one song was not available for a long time. Now that is available and today’s song will qualify the film to become YIPPEED !

This is a Male-Male duet, sung by S.Balbir and S.Kapoor. Balbir is a known singer, but I do not know anything about this S Kapoor. He also acted in this film. The cast of the film was Usha Kiran, Suresh, Majnu, Randhir, Uma Dutt, Kammo, Mohana, S Kapoor, S Nazir and others. Actually actor Om prakash is also acting in this film. The film poster shows his name as well as photo. However, HFGK does not show his name in the cast. Such instances are not uncommon. Even in the film “1857” of 1946, the hero was Surendra, but his name was missing from the cast. Surendra had also sung one solo and one duet in the film.

Of course, the task of compiling HFGK was a mammoth one, so such small errors were seen sometimes. I find that only the HFGK volume II covering the 40’s decade has such instances and also in this volume, the cast names of films are few, giving a feeling that it is an incomplete cast detail. In all other volumes the cast is given almost fully. But these matters are understandable. The 40’s decade was a highly disturbed one. What with the second world war, independence, migration of artistes and the Partition. No wonder, material from this decade must have been difficult to gather.

Majnu was one of the actors in the cast. Majnu was not his real name. His real name was Harold Lewis-a Punjabi Christian. He was a close friend of producer Director Roop K Shorey. Shorey made a film “Majnu-1935″ and Harold was the Hero. The film was a Parody of the Laila – Majnu story. There were many fighting scenes in it and in one scene, Majnu is tied up to Railway Tracks. This film became very popular and the people started calling him majnu. He too liked it and continued with this name for life. In Hindi films, this is the only case where the actor is permanently named after his first role.

In the South film industry, I know of at least two Prominent actors, who were named forever, based on their first role or the company they worked for. First was actor Villupuram Chinnaiah Manrayar Ganesamoorthy, who started his career by acting in stage dramas. His first drama ” Shivaji kanda Hindu Rajyam”, featuring him in the role of Shivaji, became a Hit and so popular that the great social reformer E V Ramsamy conferred on him the name ” Sivaji “. He became SIVAJI GANESAN.

The second case was that of actor Ganapati Subramanian Sarma. He was a graduate in those early days of cinema. He joined Gemini Studiosas a Production Executive and from here he did a small role in Gemini’s film ” Miss Malini”-1947. Since there was already another ganesan in south films, this actor was called GEMINI GANESAN, as he was working in Gemini’s film.

Coming back to Majnu – MAJNU-Harold Lewis was a Punjabi Christian. He was born on 2-11-1913. He was the childhood friend of Roop K.Shorey. When Shorey wanted to make his second film,he chose Harold as a Hero.The film was MAJNU-1935,which was a satirical spoof on the old Laila-Majnu story.There were many stunts and in one scene Majnu is tied up on railway track by the villain.The film became a hit and Harold was renamed MANJU for his film career.

He appeared in almost all of Shorey’s films.He was also doing films with other producers.In 1942 he did a double role in Nishani and in 1943 he directed his first film Paapi. Shorey also gave him a film Badnami-1946 for direction and it was here that Majnu met I.S.Johar who wrote the story and Dialogues of Badnami.

Majnu paired with I.S.Johar in EK THI LADKI-1949,the debut film of Johar. Later they made a comedy pair in 10 films, including the hit film HUM SAB CHOR HAIN-1956. His last film with Johar was Akalmand-66.

Majnu acted in 77 films. His first film was Majnu-35 and his much delayed and released last film was Shri Krishna Bhakti-73.
Majnu directed 8 films including,Paapi-43, Badnami-46, Son of Alibaba-55, Tatar ka chor-55, Malika-56, Basre ki Hoor-56, Baghi sardar-56, and his last film – Chandu-58.

Harold Lewis aka Majnu died on 26-3-1974.

The music director of the film Dost-54 was Hansraj Behl. Hansraj Behl, in my opinion,is one of those composers in the film world, who composed lots of melodious songs. Unfortunately, he was also one of those composers who never got Big banners to work for. He and his brother, Gulshan Behl founded N.C.Films, on their father’s name-Nihal Chand- and produced B and C grade movies to which Hansraj gave his music. Hansraj was known as Master ji, in the industry. Only two people were known as Master ji…one was Ghulam Haider and the other was Hansraj Behl. Hansraj usually worked alone and rarely used any assistant while giving music.

Hansraj is remembered for giving initial playback singing breaks to Asha Bhonsle and Madhubala Jhaveri. He also gave a chance to his own friend Verma Malik-Lyricist. Malik used to live with him initially, in Bombay. He composed music for 62 films from Pujari-46 to Badmashon ka Badmash-79. One film “Insaaf ka Khoon” was released after his death,in 1988.

Hansraj Behl is one of the music directors who became successful in the post independence era. He composed music for not only Hindi films but also for Punjabi films. Hansraj was born on 19 November 1916 in Punjab. He got his basic education in music from Pt. Chunnilal. Then he opened his music school in Lahore and he had some non-film records released under the label of HMV. In 1944 Hansraj came to Bombay to try his luck in the Hindi film industry as a music director.

After one year of struggle he got his first film Pujari, made by Ardeshir Irani, in 1946. He got films like Gwaalan and Phulwaari in the same year, but all these films could not do well at the box office. Behl tasted success in 1947 with the release of Lakhon Mein Ek and Chheen Le Aazadi. ‘Moti Chugne Gayi Re Hansi..’ sung by Shamshad Begum and Mukesh from the film Chheen Le Aazadi became very popular. In 1948 he came up with four films – Chunariya, Mitti Ke Khilone, Pardesi Mehmaan and Satya Narayan, of which Chunariya’s music was a hit especially the song ‘Dil-e-Nashaad Ko Jeene Ki Hasrat Ho Gayi..’ sung by Lata Mangeshkar. The song which placed him among high class music directors was ‘Sab Kuchh Lutaya Hamne Aakar Teri Gali Me..’ sung by Mohammed Rafi and written by Mulk Raj Bhaakri.

In the year 1949, he came out with Chakori, Raat Ki Raani, Zevraat and few more films. Lata sang one of her favourite songs, ‘Haye Chanda Gaye Pardes Chakori Yahan Ro Ro Mare..’ in Chakori, which became very popular and it helped Hansraj to gain popularity among music lovers. ‘Jin Raaton Mein Neend Ud Jaati Hai..’ sung by Mohammed Rafi in Raat Ki Raani was a nationwide hit.

In 1950-51 he gave many hit songs with Lata Mangeshkar, Geeta Dutt and Suraiyya. Songs of Kisi Ki Yaad became very popular soon after the release of the film. ‘Koi Mujhko Na Bulaye..’ and ‘Tadapta Chhod Kar Mujhko Kahaan Tum Reh Gaye..’ both sung by Geeta Dutt and ‘O Jaane Wale Ye Kya Kiya..’ by Mohammed Rafi gained immense popularity. In 1952 he introduced Madhubala Jhaveri as a playback singer in Apni Izzat and Jaggu. Madhubala sang ‘Dil Mere Tera Diwaana..’ with Talat Mehmood and ‘Meethi Meethi Loriyaan Main Dheere Dheere Gaoon..’ (both Apni Izzat) featured her solo voice. In 1954, he again came out with musical films like Dost and Khaiber. ‘Aaye Bhi Akela Jaye Bhi Akela..’ from Dost (1954) sung by Talat Mehmood was among one of his memorable compositions.

He continued to give his best in films like Rajdhani, Milan, Miss Bombay, Changez Khan and Saawan. Songs like ‘Bhool Ja Sapne Suhane..’ from Rajdhani (1956), ‘Mohabbat Zinda rehti Hai..’ from Changez Khan (1957), ‘ Jab Raat Nahi Katti..’ from Changez Khan (1957), ‘Zindagi Bhar Gham Judaai Ka..’ from Miss Bombay (1957), ‘Haseen Ho Khuda To Nahi..’ from Mud Mud Ke Na Dekh (1960), ‘Bheega Bheega Pyar Ka Sama..’ from Saawan (1959) and ‘Tujhko Dhoondhu To Dhoondhu Kahaan..’ from Milan (1959) crossed all the barriers of success and Hansraj Behl’s name was on the lips of every music lover.

After all these successful films he continued to give music till 1969 but failed to give any hit because his later films were either stunts or fantasy films with little scope for having good music. His last hit song was an all time great creation ‘Jahan Daal Daal Pe Sone Ki Chidiya Karti Hai Basera..’ which was sung by Mohammed Rafi for the film Sikandar-e-Azam in 1965.

Hansraj Behl died of Cancer in Bombay on 20-5-1984.

With today’s song, all the eight songs of the film Dost-54 get covered and the movie gets YIPPEED in the blog


Song-Ham phiren kanwaare rab jee (Dost)(1954) Singers-Balbir, S Kapoor, Lyrics-Om Prakash, MD-Hansraj Bahl

Lyrics

Hum phiren kanwaare Rab ji
Hum phiren kunware
Hum phiren kanware Rab ji
Hum phire kanware
is duniya mein bhookhe nange jiyen tere sahaare
kya karen bechaare rab jee
hum phiren kunwaare

shahar mein aa kar hamne daata
dekha ajab tamaasha
shahar mein aa kar hamne daata
dekha ajab tamaasha
koi na poochhe paani kisi ko
beshaq mare pyaasa
koi na poochhe paani kisi ko
beshaq mare pyaasa
o rab jee beshaq mare pyaasa
isi liye main dikhe hain
lemon sode saare
qurbaan tumhaare
rab jee
hum phiren kunwaare

sare aam phirte hain yahaan par
mard aurat ke jode
sare aam phirte hain yahaan par
mard aurat ke jode
dekh ke in jodon ko
mere dil par paden hathauden
dekh ke in jodon ko
mere dil par paden hathauden
o rab jee
dil par paden hathauden
kaisa ye insaaf hai tera
ham bhi rahen kanwaare
ab badal chuka re
rab jee
ham phiren kanwaare

dhanwaalon ki naiyya maalik
bin chappoo hai chalti
dhanwaalon ki naiyya maalik
bin chappoo hai chalti
ham bhookhon ki is duniya mein
daal nahin hai galti
ham bhookhon ki is duniya mein
daal nahin hai galti
o rab jee
daal nahin hai galti
na ghar baar na paise palle
ro ro karen gujaare
phaakon ke maare
rab jee
ham phiren kanwaare

chalte phirte din guzren
footpath pe kati raat
o neeli chhatri waale
ab bigad gayi sab baat
main to bhola bhaala hoon
o main to bhola bhaala hoon
tu meri laaj bachaa le
ya to ik se do kar de
ya apne paas bulaa le
apne paas bulaa le
o rab jee
apne paas bulaa le
gaya waqt nahin aayegaa
kuchh soch le mere baare
kuchh soch le mere baare
sun jag ke ke pyaare
rab jee
ham phiren kanwaare
is duniya mein bhookhe nange
jiyen kare sahaare
kya karen bechaare
rab jee
ham phiren kanwaare


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

Blog Day :

4454 Post No. : 15921

In my last three articles, I have discussed Hindi film dancers, Mohana Cabral, Sheila Vaz and Minu Mumtaz. One common factor in all the three dancers was that they had active Hindi film careers of around 5-6 years after which they got married and quit Hindi films when they had not even attained 25 years of age. They took the responsibilities as house-wives and lived happily with more or less the same level of comfort and life style as they would have got had they continued their filmy careers. To this list of three Hindi film dancers, I am adding one more dancer who also quit Hindi films after her active years of Hindi film career during 1960-66. The name of the dancer is Jeevankala. She got married in 1969 when she was 25.

I got background information on Jeevankala from her two interviews – one in 1964 which was published in ‘Picture Post’ magazine and republished in ‘Cineplot’ on January 1, 2012. The other interview was of recent origin which was taken by Shishir Krishna Sharma in December 2018 and published in his Blog, ‘Beete Hue Din’ on March 31, 2020. Based on these two interviews, the main highlights of the profile of Jeevankala and her journey with Hindi film industry are given below:

Jeevankala (also written as Jeevan Kala) was born on June 29, 1944 at Pune to Dattatreya and Gangubai who were actors in silent films and later in Marathi films when sound films started in 1931. However, after Jeevankala was born, the parents gave up their film career. Incidentally, the name, ‘Jeevankala’ was suggested by her neighbour, Lata Mangeshkar. Jeevankala did her primary schooling in Pune. Simultaneously, knowing his daughter’s interest in dances, the father put her under the tutelage of Babsaheb Gokhale for Kathak dance and Professor Gaekwad for Bharatnatayam dance for a period of 7 years. Later, she learnt all other formats of dances by herself.

In 1957, Jeevankala’s family shifted to Mumbai as she got a job of assiatant dance teacher in Bharatiya Vidhya Bhawan and taught Kathak dance to students. She was also participating in Lata Mangeshkar’s musical shows in Mumbai in which she used to give her dance recitals. She also attended the night school and completed her Matric in 1960.

In one of Jeevankala’s dance recitals, producer-director K Amarnath saw her skill in dancing and offered her a role of a dancer in his film, ’Kal Hamaara Hai’ (1959) in which she had two dance songs. However, she also said that ‘Goonj Uthi Shehnai’ (1959) was her debut film in which a song “Akhiyaan Bhool Gayi Hain Sona” was picturised on her. [As per her filmography, she had already acted in 8 films during 1956-58. I will come to it later].

After she was noticed in her dance skills in ‘Kal Hamaara Hai’ (1959) and ‘Goonj Uthi Shehnai’ (1959), Jeevankala started getting many films offers. Starting as a dancer, over a period of time, she started getting character actor’s roles and also romantic roles pairing with comedians. She also got the role of a vamp in ‘Mr. X in Bombay’ (1964) and ‘Saraswatichandra’ (1968).

In 1969, Jeevankala got married to Ram Kelkar, the story, screen-play and dialogue writer in Marathi films. It was a marriage arranged by Sulochana Latkar who was like ‘God Mother’ to her after the death of her mother in 1965. After marriage, Jeevankala quit the film industry. Her husband, Ram Kelkar became a successful story, screen-play and dialogue writers for Hindi films like ‘Beimaan’ (1972), ‘Aap Ki Kasam’ (1974), ‘Sanyaasi’ (1975), Kaalicharan’ (1976), ‘Asha’ (1980), ‘Hero’ (1983), ‘Ram Lakhan’ (1989), ‘Khalnaayak’ (1993) etc.

On the basis of Jeevankala’s filmography checked from the various sources, I have been able to list 110 Hindi films in which she worked during 1956 to 1968. A few films of her were released late up to 1974. Her active years of film career was during 1960-1966, appearing in 70 films. In the 1964 interview, Jeevankala gave the impression of ‘Kal Hamara Hai’ (1959) as her first Hindi film and in the 2018 interview, she mentioned ‘Goonj Uthi Shehnai’ (1959) as her debut film. It is interesting to note that in ‘Goonj Uthi Shehnai’ (1959), Jeevankala has not been accredited in the credit titles of the film. But she appears in one song of the film.

A further interesting observation about Jeevankala’s filmography is that before 1959, she had worked in as many as 8 films which include ‘Alam Ara’ (1956), ‘Paristaan’ (1957), ‘Khota Paisa’ (1958) and ‘Detective’ (1958). In ‘Khota Paisa’ (1958), a dance song “O Jaan e Jaan Muddat Ke Baad” has been picturised on her.

Jeevankala, who started with big banners film producing companies like Prakash Pictures’ ‘Goonj Uthi Shahnai’ (1959) and K Amarnath Productions’ ‘Kal Hamaara Hai’ (1959), drifted into ‘B’ grade movies in the genres of fantasy, action, costume drama, thriller etc. In such films, heroes would be like Sheikh Mukhtar, Ranjan, Daljeet, Dara Singh and heroines would be like Chitra, Vijaya Chowdhary, Parveen Chowdhary, Nishi etc. Of course, she also continued to be associated with big banner films like ‘China Town’ (1962), ‘Taj Mahal’ (1963), ‘Mere Sanam’ (1965), ‘Khandaan’ (1965), ‘Himalaya Ki God Mein’ (1965), ‘Saawan Ki Ghata’ (1966), ‘Saraswatichandra’ (1968) etc.

Jeevankala has also worked in some Marathi films. In ‘Putra Whava Aisa’ (1961), she was in lead role opposite Vivek in which an immortal song,  जिथे सागरा धरणी मिळते beautifully rendered by Suman Kalyanpur was picturised on Jeevankala. A laavani  song, रेशमाच्या रेघांनी, लाल काळया धाग्यांनी from ‘Marathi Tituka Melwava’ (1964) was also picturised on Jeevankala as a laavani dancer.

In the interview of December 2018, Jeevankala has claimed that about 70 songs have been picturised on her. Our Blog has covered 38 songs picturised on her and 17 songs, the video clips of which are available on video sharing platforms are yet to be covered on the Blog. Thus, the total songs picturised on Jeevankala works out to 55. In addition, there could be a few more of her songs for which video clips are not available as some of her films are not traceable as of now.

During the listing of songs picturised on Jeevankala, I came across an obscure  film ‘Panch Ratan’ (1965) (In the credit titles it is written as ‘पंच-रतन’ in Hindi) which was directed by Kamran. The star cast consisted of Randhawa, Parveen Chowdhary, Kamran, Kamal Mehra, Amarnath, Shyam Kumar, Randhir, Sadhana Khote, Jeevankala, Laxmi Chhaya, Meenaxi, Aruna etc. The full film is available for viewing in HD quality and it belongs to the ‘Action-Costume Drama’ genre. Probably, this film was meant for those audience who used to enjoy wrestling bouts between Dara Singh, King Kong and others in the 60s at Sardar Vallabhbhai Patel Stadium, Worli in Mumbai. In addition, there are sword fights in the film for such audience.

The film has 5 songs written by 2 lyricists – Anjaan (4) and Upendra (1). I am presenting the song, “Kya Ho. . . Kahin Miley Do Nigaahen” from ‘Panch Ratan’ (1965). The song is rendered by Suman Kalyanpur and Kamal Barot and is picturised on Laxmi Chhaya and Jeevankala, respectively. In the audience, Parveen Chowdhary,  Randhawa, Kamal Mehra, Meenaxi and Shyam Kumar can be seen among others.

The song is written by Anjaan which is set to music by Sardar Malik.

Song – Kya Ho. . Haaye Kya Ho (Panch Ratan) (1965) Singer – Suman Kalyanpur, Kamal Barot, Lyrics – Anjaan, MD – Sardar Malik
Suman Kalyanpur + Kamal Barot

Lyrics

kya ho
haaye kya ho
kahin miley do nigaahen
phir kya ho
arre kya ho
haaye kya ho
tumhen kaise samjhaaye phir kya ho
puchho na
jaan e jaan

baat hai
raaz ki

haaye kya ho
 
jab jawaan hasraton ka
jaam ho chhalka chhalka
dagmagaate ho armaan
ho nasha halka halka
aise mein
jab koi
dekh le
pyaar se

phir kya ho
kahin miley do nigaahen phir kya ho
arre kya ho
tumhen kaise samjhaayen phir kya ho
puchho na
jaan e jaan

baat hai
raaz ki

haaye kya ho
 
ho sama aashiqaana
dil mein bhi bachpana ho
aisi naazuk ghadi mein
unse jo saamna ho
dil dagaa
de hamen

dhadkane
jaayen tham

phir kya ho
kahin miley do nigaahen
phir kya ho
haay kya ho
tumhen kaise samjhaayen phir kya ho
puchho na
jaan e jaan

baat hai
raaz ki

haaye kya ho

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

क्या हो
हाय क्या हो
कहीं मिलें दो निगाहें
फिर क्या हो
अरे क्या हो
हाय क्या हो
तुम्हें कैसे समझाएँ फिर क्या हो
पूछो ना
जान ए जां
बात है
राज़ की
हाय क्या हो

जब जवां हसरतों का
जाम हो छलका छलका
डमगाते हों अरमां
हो नशा हल्का हल्का
ऐसे में
जब कोई
देख ले
प्यार से
फिर क्या हो
कहीं मिलें दो निगाहें फिर क्या हो
अरे क्या हो
तुम्हें कैसे समझाएँ फिर क्या हो
पूछो ना
जान ए जां
बात है
राज़ की
हाय क्या हो

हो समा आशिक़ाना
दिल में भी बचपना हो
ऐसी नाज़ुक घड़ी में
उनसे जो सामना हो
दिल दगा
दे हमें
धड़कनें
जाएँ थम
फिर क्या हो
कहीं मिलें दो निगाहें फिर क्या हो
अरे क्या हो
तुम्हें कैसे समझाएँ फिर क्या हो
पूछो ना
जान ए जां
बात है
राज़ की
हाय क्या हो


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 TWELVE years. This blog has over 15900 song posts by now.

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

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(© 2008 - 2020) 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

15938

Number of movies covered in the blog

Movies with all their songs covered =1224
Total Number of movies covered =4367

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Active for more than 4000 days.

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