Archive for the ‘Feelings of heart’ Category
Khet pake udd udd jaa
Posted on: September 22, 2019
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’s song is from film Gharbaar-53. The film was produced by Ratilal Vora for K.Pictures, Bombay.It was directed by Marathi cinema’s famous and successful director Dinkar D. Patil. The cast of the film was Surendra, Manhar Desai, Sulochana Chaterjee, Kuldip Kaur, Shakuntala, Shammi, Baby Naaz, Paro, Kathana, Gope and others. The film’s 8 songs were written by Indivar, Kaif Irfani and D N Madhok. The music was by Vasant Prabhu.
From the beginning of Talkie films, there have been the occasional actors, directors, producers, Lyricists and Music Directors – whose contribution to the Film industry had not been more than just ONE or TWO appearances. There were countless MDs with just one film. Some of the names for your information are, Master Mohan-Pati Bhakti-32, K R Gore-Bhool ka bhog-35, S P Mukherji-Jagran-36, Govindam-Jeevan Jyoti-37, K M Pawar-Paak Daaman-40, Pratap Mukherji- kisi se na kehna-42, Dinkar Rao-Beete din-47, Mukund Masurekar-Didi-48 etc etc. The book ” Dhunon ki yatra” by Pankaj Raag lists hundreds of such names from all decades.
Composer Vasant Prabhu was also one such person who got only one film in Hindi to make songs, Not because he was not capable, but because he was busier in Marathi films and he died at a very young age.
During my early times on this Blog, I had run a series titled, “Less known composers”, 7 years ago. I had discussed songs composed by almost unknown Music Directors like Shridhar Parsekar, Pt. Motiram, Bhushan, Kamal Rajasthani etc. In this series, the last name was Vasant Prabhu’s. 7 years ago, not much information was available on him – not even his real name or dates of birth and death. In last few years, more information and details are available about him. It is always like this. History gets updated with the availability of newer evidences, proofs and documents. So, here is the newly updated information on Vasant Prabhu now….
Vasant Prabhu was born on 19-1-1924. His real name was Vyankatesh Krishnarao Prabhu. His family belonged to Panemangrul, near Mangalore in Karnataka. His father owned many hotels in Bombay. Unfortunately his father lost all 14 hotels and the rich family had to stay in a chawl in Parel.
While still a young boy, he joined the Ganesh melas and used to sing songs on stage. His voice being sweet and the style lovable, he used to get “Once More’ many times. On one such occasion he got 26 times ‘Once More’ and while singing repeatedly his throat was damaged.
While still young,he learnt Kathak dancing and classical music. His elder brother acted in films. He too did child roles. This is when he became Vasant from Vyankatesh. He was a tall,handsome and well built young man.He wanted to become an Actor,so he went to kolhapur, then to Poona and finally landed in Bombay.
Here he did not get any actor’s role,but he joined HMV as a Music composer. Vasant kamerkar who also worked in HMV, helped him to get the job. While here, he started composing Marathi Bhavgeets. Vasant Prabhu, Lata Mangeshkar and Lyricist P.Savalaram ( Savlaram Patil) created many iconic Marathi songs from 1948 to 1965.
His first song was sung by Lata ji,” Ganga yamuna dolyat ubhya kaa…” (गंगा यमुना डोळ्यात उभ्या का) in 1949.This song became so famous overnight that after more than 70 years,even today, it is played on AIR and in almost every Marathi marriage in Maharashtra, by the Band.This is a song of Bidaai, sung so soulfully and the wordings are so meaningful that sensitive women start weeping listening to this song.
While at HMV, Vasant Prabhu also composed some NFS for Lata ji and Geeta Dutt in Hindi. One of Geeta ji’s songs,”Jamuna ke teer kanha aao” is extremely popular with Geeta lovers. ( There is a controversy about Nikhil Ghosh composing this bhajan. The references are divided. It is possible that Vasant Prabhu provided the tune,as he was already in HMV)
Vasant Prabhu’s name is written in Gold for the Marathi Bhavgeets that he composed with Lata and P.Savalaram. The 50’s decade was famous for their songs. In all 110 Bhavgeets were composed by Vasant Prabhu.
Vasant started his film career with Marathi film ‘Ram Ram pavhana’-1950, along with Lata Mangeshkar, choreographing few dances and composing its music too. From 1950 to 1968 he gave music to 22 Marathi films and 5 stage dramas, while doing private albums also.
He was the MD for most Marathi films produced by Lata ji’s ‘Surel Chitra Production company’. In film ” Vaadal” he composed a Thumari in such a wonderful manner that when this film was released in Nagpur the Audience wanted to listen to the Thumari again and again,and threatened to burn the theatre if not done so.Finally that Thumari was shown 5 times that day !
In another film,’Taaraka’, he made actress Sulochana Latkar do an item number in the film.Probably she danced the Item number first and last time in her life.
Singers like Phiroz Dastoor and Talat Mehmood also sang for his Marathi films.
In 1953 he did his only Hindi film “GHARBAAR”-53. There were 8 songs in the films sung by Rajkumari, Lata, Asha,Talat Mehmood and Surendra.
Vasant Prabhu was very honest,punctual,straight forward,disciplined and hot tempered.He never went to anyone to ask for work. Of course work always came to him.He used to compose his tunes lying down in his balcony.
Unfortunately, he got addicted to alcohol in young age and died on 13-10-1967. He was just 43 years old that time.
(Thanks to Madhu Potdar’s biography of Vasant Prabhu-“Manasicha chitrakar” ( मानसीचा चित्रकार ), the Marathi chitrapat Sangeetkar kosh and article by Sulabha Ternikar. )
Similarly, another actress in the cast – Shakuntala was also different than many others of her ilk, i.e. those who started as a child artiste. Right from beginning of the films,child artistes were required to do roles in the films. In the initial stages and also in later periods too, girls used to do Boys’ roles ( but never heard of vice versa ! ). We have the famous examples of Honey and Daisy Irani sisters. Many child stars acted in films till they became older or were not suitable for child roles. One such example was Junior Mehmood. It was quite natural that most of them wanted to continue acting in films as an adult too and many tried to become hero/ heroines. Unfortunately, only some of them could shine as heroes or heroines, while most child stars failed as adult Hero/Heroines.
Successful child artistes are few like Meena Kumari, Madhubala,Nargis, Shashi kapoor, Sachin etc, but you can count them on fingers, whereas the list of unsuccessful child artistes who tried to become adult Hero/Heroines is quite long.
Unlike Baby Tabassum, who could not become a successful adult Heroine in good films, there was another ‘Baby’ who became quite successful as an adult Heroine opposite well known actors under famous banners and left halfway due to her marriage. Her name is BABY SHAKUNTALA. She worked with well known actors like Kishore kumar, Bharat Bhooshan, Karan Dewan, Amarnath, Anant Marathe, Master Bhagwan, Abhi bhattachrya etc. She was also lucky to have worked under ace directors like V.Shantaram, Bimal Roy,Homi Wadia, kishore Sahu, Raja Nene, Gajanan Jahagirdar,Shahid Lateef etc. Born on 17-11-1932, she recently – 4 years ago – died on 18-1-2015 at Kolhapur.
The director of this film Dinkar D Patil was also one of those mentioned above, who visited Hindi films just for one or two films. He directed 2 Hindi films, but he was a very big name in Marathi cinema and a winner of Phalke award also.
Dinkar D. Patil (1915–2005) was a prominent Marathi film director, scriptwriter, and dialogue writer during the Golden Era (1950–1990) of the Marathi Film Industry. He directed, wrote scripts and dialogue for more than 60 Marathi films. He also directed two Hindi Films-Mandir-48 and Gharbar-53. He wrote his famous autobiography titled as Patlache Por (पाटलाचे पोर).
Dinkar Patil was born in a Maratha Patil family on 6 November 1915 in the village of Benadi near Kolhapur. From his childhood he was interested in Marathi stage shows, Marathi plays and cinema. He studied in Kolhapur and completed his B.A.
He started his film career doing assistant job in the Maharashtra Film Company owned by Baburao Painter at Kolhapur, and eventually became an assistant director to Master Vinayak and later transitioned into a film director. He directed and wrote scripts for more than 60 Marathi films.
His films depicting rural life with rural themes, he was considered an authority in both script writing and also directing. He wrote script and dialogue for 62 films and directed 35 films including two Hindi films, Mandir and Gharbar. He received a number of film awards including the prestigious Dadasaheb Phalke Award.
Dinkar Patil introduced Marathi Lavani folk dance in his films, which made his films more popular. He was closely related to Jayaprabha and Shalini Studio in Kolhapur. Also, he made valuable efforts in establishing Marathi Film City – Chitranagari in Kolhapur.
His famous autobiography titled as Patlache Por (पाटलाचे पोर) was published in 1984 in Marathi. More than 10,000 copies were sold during initial years after publication and now it is translated in many other Indian Languages.
He lived in Mumbai for most of his life but returned to Kolhapur with a desire to spend the last years of his life there. Due to attachment to the studios in Kolhapur namely Jayaprabha and Shalini, he reportedly expressed his last desire to immerse his ashes in the premises of the two studios namely Jayaprabha and Shalini Studio in Kolhapur as he was closely attached throughout his life. He died on 23-10- 2005 at the age of 90 in Kolhapur. ((adapted from wiki)
film Gharbaar-53 had 8 songs. Today’s song is the 3rd song to be presented here. By coincidence, all these 3 songs are presented by me, in last 7 years. Today’s song is sung by Asha Bhosle and Surendra. While Asha was the new struggling voice, Surendra was the fading voice of the earlier generation. After this song, he sang only twice – in film Gawaiya-54 and in film Pati Patni-66. That was the end of his singing.
Surendra ( 11-11-1910 to 11-9-1987) was a very successful actor singer. He was first projected by Sagar Movietone as Bombay’s answer to Calcutta’s Saigal. In his first film, Surendra has actually sung a Parody of Saigal’s song. What a way to begin singing career ! Surendra acted in 73 films. He sang 152 songs in 40 films.
Listen to this song and you will feel the contrast between a rising singer and a fading one.
Song- Khet pake ud ud jaa (Gharbaar)(1953) Singers- Asha Bhonsle, Surendra, Lyrics- D N Madhok, MD- Vasant Prabhu
Female chorus
All chorus
Lyrics
urr
hey
khet pake
ud ud jaa
dheeth na ban
?? mera ho piya
hey
khet suhaane
hari hari daaliyon ke beech lage motiyon ke daane
mere maula ki
hey mere maula ki rang maula jaane
hey mere maula ki rang maula jaane ho
khet pake
ud ud jaaye
dhheeth na ban
o kaaga
?? mera ho piya
o o o
o o o
idhar udhar khetiyaan hai
beech bahe paani
aji beech bahe paani
idhar udhar khetiyaan hai
beech bahe paani
kaise lage
aji aise lage
ho re jaise
jeewan ki raah mein
thhumak thhumak
aji thhumak thhumak chali jaaye jawaani
rok lo
ise rok lo
aa aa aa
aa aa aa
aa aa aa
rok lo
ise rok lo
ye chali kha ke kasam
ye chali kha ke kasam
paani ko aag lagaae mein
mere maula ki
hey mere maula ki rang maula jaane
o mere maula ki rang maula jaane ho
khet pake
ud ud jaa
dheeth na ban
o kaaga
?? mera o piya
o o o
o o o o
o o o o
o o o
o o o o
o o o
ghadi ghadi sar sar ki boliyaan suhaani
aji boliyaan suhaani
ghadi ghadi sar sar ki boliyaan suhaani
bole mera khet jaise
koi ishaare
chhup chhup ke
aji chhup chhup ke bole meeethhi baani
maang lo
aji maang lo
aa aa aa
aa aa aa aa
aa aa aa
maang lo
aji maang lo
ke meri jholiyon mein
ke meri jholiyon mein
tere liye umr bhar ke daane
mere maula ki
o mere maula ki rang maula jaane
o mere maula ki rang maula jaane ho
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4081 | Post No. : | 15220 |
Today’s song is from film Raami Dhoban-53. It is sung by Geeta Dutt, Shankar Dasgupta and chorus. The lyrics are by Ram Murthy Chaturvedi and the music was by a relatively less known composer, Hiren Bose. The film was made by Navkala Niketan-of Ramesh Vyas, the Producer. The film was directed by Hiren Bose.
It is very rare to see both the director of the film and its composer being the same. There are cases, when Producer/Director or Director/Lyricist or even Director/main actor being one and the same, but director and composer combination is not that common. In the 50’s decade, S N Tripathi, music director was a multi-faceted artiste. He was an actor, composer, director and a singer too. He had acted in 83 films,sang 13 songs in 7 films, directed 18 films and gave music to 107 films- composing 863 songs in all. He was the MD in all the 18 films, which he had directed- from Ram Hanuman Yuddha-57 to Sant Gyaneshwar-81.
Till S N Tripathi achieved this feat, Hiren Bose was considered a marvel. He acted in 6 films, directed 15 films, gave music to 3 films and wrote story and screen play in 2 films. I had first written on him 7 years ago. After that more details became available, hence here is his detailed information…
Born in Calcutta on 26-9-1903, Hiren completed his college education and learnt classical music & Rabindra sangeet to such proficiency that soon he earned titles of “Vidya Bhushan” and “Sangeet Ratna “. He wrote in Bengali papers and for Bangla films too.
In the years 1928 to 1932,Hiren had joined HMV as a Music Director. Here he became a close friend of Kazi Nazrul Islam and Dhiren das. Both kazi and Hiren wrote lyrics for songs in HMV .
Around 1929,a new , young and attractive singer came to HMV. Her name was KANAN BALA. She came for recording songs. Soon the handsome Hiren cast his spell on Kanan and she started considering him as her mentor in HMV. They were a quartet of friends, Kanan, Hiren, Kazi and Dhiren. In HMV Kanan recorded many songs set to tune or written by Hiren Bose.
In 1932,this team left HMV,on the issue of Royalty and joined the newly formed Megaphone Recording company. Here too after 2 years, this team left Megaphone and joined Columbia recording company. By 1934, Hiren wrote in his autobiography- JATI SMAR (My memories)-later that he had lost interest in Kananbala.
Hiren’s eyes were now set on a bigger Horizon -BOMBAY. He knew that remaining in Calcutta may not be suitable for him. Meanwhile he had met another struggler, ANIL BISWAS. Hiren advised him to go to Bombay for brighter future and also promised him all his help. Although,by then ANIL BISWAS was comfortably placed in Calcutta, he left for Bombay as per Hiren’s advise. Hiren Bose was a highly respected name in musical circles of Calcutta.
Hiren started working in Bombay. His fame as a versatile film person had already reached Bombay and he had no difficulty in getting work there. Hiren directed Dharam ki Devi-35,followed by Piya ki Jogan-36 and then Mahageet 1937. As per his promise he gave a chance to Anil Biswas to give music,independently to DHARAM KI DEVI-1935. As such earlier he had composed a song in Bharat ki Beti-35- “Tere poojan ko Bhagwan” sung by Rattan bai. But then he had shared the Music direction with Zande Khan. That song had become quite popular then.
Hiren Bose was very fond of acting in films and he also acted in MAHAGEET-1937. It was in this film that Anil Biswas FIRST introduced playback singing in a Bombay film. (In Calcutta R C Boral had started playback in 1935 itself). The FIRST ever Playback song in this film was ” Jeevan hai ek kahani,Duniya bhi hai ek kahani ” . It was sung by Anil Biswas and was filmed on Hiren Bose on the screen.Thus Hiren Bose’s name became a Historical name in Bombay film industry. This was how, Anil Biswas repaid the debt of Hiren Bose,in helping him to get established in Bombay Music field.
(Ref- ‘The early composers- Music beyond Boundaries by Dr. Ashok Ranade pp 183-186).
After Mahageet, Hiren Bose got an offer from Madras to direct a Telugu film- Bhakt Jaydev-1938,which he did successfully.
Hiren Bose kept on shuttling between Bombay and Calcutta,doing some films here and some there.He also acted in some Bangla films during that period. He was so versatile in many departments that he did acting, directing, lyrics, singing,and composing. His complete Filmography is not available but some details are available.
As a Director 15 films are to his credit-
Chup-31
Mahua-34
Dharm ki Devi-35
Piya ki Jogan-36
mahageet-37
Bhakta jaidev-38
India in Afica-39
Amar Geeti-40
Kabi Joydeb-41
Daasi-44
Banjarey-48
Sree Tulsidas-50
Ghungroo-52
Raami Dhoban-53
Ektara-57
He acted in
Rishir prem-31
Chup-31
Udayer pathe-44
Towards the Light-44
Sesh Raksha-44
Mahageet-37
As a writer-
Meerabai (s/Play and story)-32
Rajrani Meera(story)-33
As a composer
India in Africa-39
Kabi Joydeb-41
Raami Dhoban-53
After directing his last film Ektara in 1957, Hiren Bose lived a retired life. His last few years were mostly unhealthy and he spent time writing lyrics for geets in Bangla which were usually sung by Hemant Kumar, Kanan Bala and Suprova Sarkar.
Hiren Bose died on 18-6-1987 and one of the most versatile, multifaceted and multilingual artist disappeared for ever….
Film Raami Dhoban-53 was a version of the original film on this story- Chandidas, first made in 1932, with Durgadas Bannerjee and Uma Shashi, in Bangla language. This was a first Hit film for New Theatres. The music was by R C Boral. After 2 years, when Saigal came on the film horizon of India, the film was remade with him in the lead, in Hindi, in 1934. This was New Theatre’s first Hindi Hit film. This remake also gave a motion to the ‘Bilingual’ trend, set earlier by Prabhat film company, with its ” Ayodhyecha Raja” in Marathi and ” Ayodhya ka Raja” in Hindi in 1932 itself. This commercially viable and profitable trend continued, both at Bombay and Calcutta, for the next more than 20 years.
These days, there are not just Bilingual, but Multilingual remakes. But the difference is, today a Hit and Successful film in one language made elsewhere, is remade with same story, but different actors and locations. Earlier, on the same set and same time, two language films used to be shot with almost the same cast and location. Even the producer and director used to be the same for both the languages.
The Bangla film Chandidas-32 was directed by Debki Bose and the cinematographer was Nitin Bose. Later, Nitin Bose directed the Hindi remake in 1934 and it was a bigger hit than the Bangla version. This was, of course, because of the wider market for the Hindi version. I am not aware of any other film on this story made in any language in India.
It was almost after 20 years that a new film in Hindi was made on this story of Bangla Vaishnavite saint of the 15th Century. This time the lead was done by yet another Bangla actor Abhi Bhattacharya. The cast of the film Raami Dhoban-53 was Kamini Kaushal, Abhi Bhattacharya, Tiwari, Sankata Prasad, Sona Chatterji, Uma Devi, Prem Adib as a Guest artiste and many others.
Some actors are identified with an immortal character they played on the silver screen, e.g. Prem Adib as Shri Ram, V.Shantaram as Dr.Kotnis, Dev Anand in Guide, Guru Dutt in Pyaasaa, Meena Shorey as the Lara Lappa Girl etc. In my mind, the image of Abhi Bhattacharya is etched as the ideal Teacher in film Jagriti-1954. His face was such that it can not be imagined as a lover boy or a jumping jack running around trees with the Heroines. In film Jagriti, he fitted absolutely in the role of an ideal teacher. He did many types of roles in films, but his image for ever, was clubbed with Jagriti-54.
Abhi Bhattacharya ( 20/11/1922-11/9/1993) had a handsome and impressive personality. Belonging to the Bimal Roy camp,he debuted in 1947 with film Naukadubi from Bombay Talkies- a Bengali dominated production house. Some of his other notable films were Yatrik-52, Jagriti-54, Biraj Bahu-54, Anuradha-60, Aradhana-69, Seeta aur Geeta-72 etc etc. He worked with stalwarts like Bimal Roy, Satyen Bose, Nitin Bose,Guru Dutt, Ritwik Ghatak etc. In the later part of career he worked as Lord Vishnu and lord Shrikrishna in many Mythological films. He wrote one book too,”Destiny with Dadaji”. He acted in 166 films. His last film was ‘Professor ki padosan’-93. He died on 11-9-1993.
The story of the love between Chandidas and Raami was not an ordinary one. The other day I found this story on speakingtree.in, on the internet. Here it is….
Chandidas was the son of a Brahman priest. He was very handsome, charming and of a quiet countenance, but was forever lost in some world of his own. His father, tired of him, died, and Chandidas was forced to succeed him as the purohit of the local temple of a goddess.
Chandidas’ heart was never into these frivolities. He was devoted to Lord Krishna immensely. Then, one day, as he was sitting silently on the banks of the river in their village, his heart filled with sadness and disillusionment at the world. Legend has it that the Devi of the temple of their village appeared there, and told him that he would become a great poet and philosopher.
Then, when he was returning, he beheld a washerwoman washing clothes. When she got up, the two looked at each other, and it was love at first sight.
Chandidas thought that Rami, the washerwoman, was divinely beautiful. She was the source of strength and courage to him, just as Radha had been for Krishna. And this marked the beginning of Chandidas’ poetry.
Chandidas’s brother, who was ashamed of Chandidas because of his romantic involvement with the low-caste Rami, forced him to take part in a shudhikaran ceremony and purge himself of the sin of Rami’s touch. But just at that moment, Rami came, weeping and struggling as guards stopped her. ‘Chandithakur, would you leave me forever for society? Do I have just this much value for you?’
Chandidas was put in a dilemma. Here was the woman he loved like no one else, who always stood by him when people turned on him. And on the other side, the society his father had structured, and the people who revered his family, still stuck in social conventions and stupid rites and traditions.
Chandidas made his decision on the spot. He walked towards Rami, took her hand, and led her away from the village forever. They stopped at the house of Ganesha the singer, where Chandidas and Rami spent the rest of their lives singing hymns for Krishna and Radha.
Chandidas and Rami’s love cannot be described in words. It is a love which transcends all barriers, shatters all conventions, and ends in purity and total abandonment of the world – a spiritual domain. If it has to be compared to someone, then the love of Radha and Krishna stands apt. Like Radha, Rami was beautiful like none. Like Krishna, Chandidas was charming and handsome, but considered only Rami as the star in the soulless sky of his life. But there’s a crucial difference.
Radha and Krishna were separated by society’s cruel hands. Krishna, heeding social conventions, went on and married 8 principal wives and 16000 other women, while Radha was left waiting for him. While Chandidas and Rami, realizing that these norms were but binding cords on their necks, let go of everything and led their lives in perfect freedom and love.
However, the main emotion in both tales is true love, transcendental and all-encompassing. Love which has no trace of any animosity, expectations or jealousy, but is the very nature of the soul. It is this love, this inherent nature we all must strive to realize, and we’ll soon realize the difference this brings in our lives. Maybe, we would one day stare in the face of God!
Today’s song is the 6th song from this film to be discussed here. There were 14 songs in all, a large number indeed, considering that the average of songs in the 50s had come down to almost 6 to 7 songs per film. The song is very melodious. One finds lot of similarity between songs of Hiren Bose and Anil Biswas….may be because both used the folk tunes of Bengal in their music.
Song-Sun sun Dhobiya kahe re dhobaniya (Raami Dhoban)(1953) Singers -Shankar Daasgupta, Geeta Dutt, Lyricist- Ram Murthy Chaturvedi, MD- Hiren Bose
Female chorus
Male chorus
All chorus
Lyrics
chham chham chham chham chham
hey
chham chham chham chham chham
hey
chham chham chham chham chham
siya ram siya ram
ram ram siya ram
ram ram ram ram ram ram
sun sun dhobiya kahe re dhobaniya
sun sun dhobiyaa kahe re dhobaniya
chham chham chham chham chham
duniyaa gol hai
ghoom ghoom kar milte baarambaar
duniyaa gol hai
ghoom ghoom kar milte baarambaar
to phir hil mil kyun na karen
kyun na karen hum pyaar
to phir hil mil kyun na karen
kyun na karen hum pyaar
duniya gol hai
chham chham chham chham
siya ram siya ram
ram ram siya ram
ram ram ram ram ram ram
sun sun dhobiya kahe re dhobaniya
sun sun dhobiyaa kahe re dhobaniya
aa ha ha ha
a aa aa aa
lahron se milke khele machhariya
sajna se mil khele(?) mori najariya
lahron se milke khele machhariya
sajna se mil khele(?) mori najariya
bhaag tore jaage o mori sajni
bhaag tore jaage o mori sajni
bhaag tore jaage hamra balamva ganwaar
haay ram hamara balamava ganwaar
duniyaa gol hai
ghoom ghoom kar milte baarambaar
duniyaa gol hai
chham chham chham chham chham
hey
chham chham chham chham chham
hey
chham chham chham chham
duniyaa gol hai
ghoom ghoom kar milte baarambaar
duniyaa gol hai
ghoom ghoom kar milte baarambaar
to phir hil mil kyun na karen
kyun na karen hum pyaar
to phir hil mil kyun na karen
kyun na karen hum pyaar
duniya gol hai
chham chham chham chham chham
siya ram siya ram
ram ram siya ram
ram ram ram ram ram ram
sun sun dhobiya kahe re dhobaniya
sun sun dhobiya kahe re dhobaniya
kaanha se raadha mile chori chori
waise to bhi(?) mile chhaila se gori
kaanha se raadha mile chori chori
waise to bhi(?) mile chhaila se gori
bhola balmava hamaar o re piya
bhola balamva hamaar
chhup chhup ke khele shikaar
chhup chhup ke khele shikaar
to phir hil mil kyun na karen kyun na karen hum pyaar
to phir hil mil kyun na karen kyun na karen hum pyaar
duniya gol hai
duniya gol hai
chham chham chham chham chham
hey
chham chham chham chham chham
hey
chham chham chham chham chham
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.
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4080 | Post No. : | 15219 | Movie Count : |
4183 |
Hullo Atuldom
“Khoon Ki Pukar” released in 1978 – censor certificate is dated 29-5-1978. It was directed by Ramesh Ahuja and produced by Tahir Husain’s T. V. Films Pvt. Ltd. It had a cast headed by Vinod Khanna and Shabana Azmi with Aruna Irani, Amjad Khan, Roopesh Kumar, Krishnakant and Pran as main supporting characters. The movie opens with the lines in “buland awaaz” (have always wondered whose voice it was)
“khudi ko kar buland itna, ke har takdeer se pehle,
khuda bande se khud pooche, bata teri raza kya hai”
which translates as
Make yourself so worthy that before deciding your fate God shall ask you what you wish for!
This was standard for all movies made by Tahir Husain. The movie’s songs were written by Hasrat Jaipuri (2) and Gauhar Kanpuri (5). Bappi Lahiri was the music director. The seven songs were rendered by Lata Mangeshkar (3 solos and 2 duets), Kishore Kumar (1 solo and 1 duet), Anuradha Paudwal (1), and Mohd. Rafi (only a duet).
I have been seeing this movie as and when time has been permitting over the last couple of days and this is what I have seen –
” After the murder of his wife, and his son’s kidnapping, Dr. Vidya Bhushan (Pran) decides to devote the rest of his life as a Poojary, living on the premises of a princely-donated temple, hoping and praying that one day he will be reunited with his estranged son. One day a wounded bandit named Sher Singh (Vinod Khanna) comes to the temple and Pran treats him back to health. He not only shields the man from the police, but also lies to the townspeople that the man’s name is Amrit, When Amrit recovers, he is grateful to Vidya for looking after him, and he falls in love with a town belle by the name of Shalu (Shabana Azmi). What Vidya does not know is that Amrit is really interested in the gold and jewellery hidden in a secret underground chamber below the temple; and what Amrit does not know is Shalu is seeking vengeance against Sher Singh for killing her father.”
From the above it is evident that the movie was a typical Bollywood-masala-movie relying heavily on the tried and tested ‘lost and found’ theme and ‘dacoits and revenge’ for additional leverage with the audience. Vinod Khanna and Shabana Azmi were a popular on-screen couple from the 1976 released “Shaque” to “Lahu Ke do Rang” which came in 1979 after which VK suddenly left everything and went off to Rajneesh Ashram. They did about 7 films as romantic pair and this must be one of the only movies were VK played a nasty dacoit after he turned to playing the main hero roles. Of course, this dacoit is the hero of the movie or as the stars of Bollywood like to say – character with grey-shades which gets reformed eventually, 😊
Today’s song is penned by Hasrat Jaipuri whose 20th anniversary was on 17th of September. On screen it is performed by Shabana and VK for a song sung by Lata and Kishore.
This song is also meant to wish Shabana Azmi on her 69th birthday. We all know that she was born on 18 September to poet Kaifi Azmi and his actress wife Shaukat Azmi. She is supremely talented and has won 5 National Awards for Best Actress over the years from her debut film “Ankur” in 1975 to 1999 for “Godmother”; she is also a Padma Award winner along with being a social and Women’s Rights activist.
It was not by design that I chose this song today. My aim was just to see if Shabana had worked in any movie produced by Tahir Husain and I landed on this. Why did I look for a Tahir Husain movie? Because I wanted to remember him on his 81st birth anniversary which is on 19th September. Tahir Husain – who was brother of Nasir Hussain and father of actors Aamir Khan and Faizal Khan. Tahir Husain also produced a few movies beginning with the 1971 “Caravan” till “Madhosh” in 1994. We have seen him in front of the camera in a few films directed by his brother Nasir Husain.
So, here is today’s song which starts with a couplet
ये इश्क़ नहीं आसान बस इतना समझ लीजिये
एक आग का दरिया है और डूब के जाना है
I have heard this couplet a number of times in my life and I decided to google to find its poet/ shaayar. First google came up with Jigar Moradabadi’s name, then I also found these lines attributed to Mirza Ghalib. Now I am confused. I hope there is someone in the followers of this blog who will tell who wrote this first. But Hasrat Jaipuri has begun the song with the couplet and let us enjoy it.
P.S.: I love the way Vinod Khanna walks dressed as the groom in the middle of the song. 🙂
Song-Ye ishq nahin aaasaan itna hi samajh leeje (Khoon Ki Pukaar)(1978) Singers-Lata, Kishore Kumar, Lyrics-Hasrat Jaipuri, MD-Bappi Lahiri
Lyrics
yeh ishq nahin aasaan
itna hi samajh leeje ae
ek aag ka dariya hai
aur doob ke jaana hai
samjhe buddhu
aah!nahin
nahin samjha
pyaar taqdeer jagmagaata hai
rang jeewan mein jamaata hai
pyar bandook toh nahin nadaan
sabko insaan yeh banaata hai
abhi bhi nahin samjhein
ab bhi bhi nahi samjha
mohabbat karke dekho
kisi pe marke dekho
mohabbat aag bhar de
ke patthar mom kar de
ooo
jab tak dil par chot na khaaye
pyaar ki manzil koi na paaye
tum dikhlaa do pyaar ki manzil
apni samajh mein kuchh nahin aaye
saathi mere ban jaana
samjhoge afsaana
saathi mere ban jaana
samjhoge afsaana
o jaane jaana pyaar ko na jaana
o jaane jaana pyaar ko na jaana
humse seekho pyaar ka jaadu chalaana aa
pehle aankh milaana,
phir gale se lagaana
samjhe
samajh gaya
jab se tum aayin zindgaani mein
lag gayi aag jaise paani mein
ek hulchal si ho gayi paida ha aa
meri khaamosh naujawaani mein
abhi toh ibtida hai
abhi dekha hi kya hai
mohabbat zindagi hai
mohabbat hi khuda hai
hoooo
lagti ho tum to pyaar ki devi
manmandir mein aan baso ji
aayi samajh mein pyar ki geeta
pyaar kiya bhagwan ko jeeta
main hoon tera deewaana
main hoon tera parwaana
main hoon tera deewaana,
main hoon tera parwaana
o jaane jaana pyaar maine jaana
o jaane jaana pyaar maine jaana
humse sikho pyar ka, jaadu chalaana aa
pehle aankh milaana
phir gale se lagaana
phir gale se lagaana
n n n n n n n n na
- In: Asha Bhonsle - Usha Mangeshkar duet | Asha Bhonsle songs | Aspirations of Love | Blog ten year challenge (2009-2019) | Dance song | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Lyrics contributed by readers | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1967 | Twin Dance Song | Usha Mangeshkar songs | Yearwise breakup of songs
- 1 Comment
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4078 | Post No. : | 15217 |
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Blog 10-Year Challenge (2009-19) – Song No. 43
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Seven songs were posted ten years ago. The blog was in its childhood – “Bachpan Ke Din Bhi Kya Din The” 🙂 🙂 .
Only one of these seven was a debut song. The list given below has an interesting observation. All films that made an appearance that day, have since been yippeee’d. Except just the one that made its debut.
| Ye Duniya Hai Yahaan Dil Ka Lagaana Kisko Aata Hai | Shair | 1949 | 2nd | Yippeee’d |
| Aaj Gaawat Man Mero | Baiju Baawra | 1952 | 6th | Yippeee’d |
| Ae Kaash Chalte Mil Ke | Manzil | 1960 | 3rd | Yippeee’d |
| Ek Baat Kahoon Wallah Ye Husn Subhan Allah | Shrimaan Satyawaadi | 1960 | 2nd | Yippeee’d |
| Dukh Aur Sukh Ke Raaste Bane Hain Sabke Waaste | Hum Dono | 1961 | 5th | Yippeee’d |
| Aap Jabse Kareeb Aaye Hain | Noorjehaan | 1967 | Deb | 3 of 8 |
| Zindagi Khwaab Hai | Jaagte Raho | 1956 | 2nd | Yippeee’d |
The film is ‘Noorjehaan’ from 1967. Containing eight very wonderful melodies, it is surprising that only three of them have as yet appeared here. With compositions created by the mind of Roshan, there still are very wonderful numbers waiting in the wings for their turn.
I bring on the 4th song of this film today. An all female duet which is decidedly a twin dance song on the screen, is such a wonderful presentation in the voices of Asha Bhosle and Usha Mangeshkar. The words are from the pen of Shakeel Sb.
Although the film is available, the video of this song is not yet available online. The interesting thing is that this audio only version which is available from Sa Re Ga Ma, is most likely the long version of the song from the sound track. It has three antaraas. As I checked the 78 rpm version of this song, sure enough, it has only two antaraas. The middle antaraa, as listed in the lyrics below, is not available in the 78 rpm recording.
The act of rebellion is the famous motif of the saga of Salim / Jehangir. That the crown and the throne was less important, in the face of the matters of heart, with this heir to the throne of Delhi. A school of historians who have studied the Mughal dynasty, have an opinion – that the persona of Anarkali and that of Noorjehan, that we have been introduced through the pages of history, were probably the same person. The thought here is that eventually Akbar had to give in to the wishes of his only son and Anarkali, the court dancer, became the queen of the Mughal empire. Although, Akbar had his consolation by ensuring that the chronicles of that period, being documented by the then current historians and writers, would write the story as he demanded. Is it speculation? Or is it the truth? Maybe one will never know for certain.
Song – Aa Gaya Lab Pe Afsaana-e-Aashiqi (Noorjehaan) (1967) Singer – Asha Bhosle, Usha Mangeshkar, Lyrics – Shakeel Badayuni, MD – Roshan
Asha Bhosle + Usha Mangeshkar
Lyrics
aa gaya lab pe afsaana e aashiqui
ab kisi bhi fasaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui
aa gaya lab pe afsaana e aashiqui
ab kisi bhi fasaane ki parwaah nahin
hum to un se. . .
hum to un se mohabbat kiye jaayenge
ab hamen is zamaane ki parwaah nahin
ab hamen is zamaane ki parwaah nahin
ab hamen is zamaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui
aaj ae ishq saaya tera sar pe hai
taj kadmon mein hai takht thokar pe hai
taj kadmon mein hai takht thokar pe hai
aaj ae ishq saaya tera sar pe hai
taj kadmon mein hai takht thokar pe hai
mil gayin hain. . .
mil gayin hain hamen pyaar ki daulaten
ab kisi bhi khazaane ki parwaah nahin
ab kisi bhi khazaane ki parwaah nahin
ab kisi bhi khazaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui
zindagi mein bahaaren rahengi sada
hum ne ulfat ke gulshan mein pa li jagah
hum ne ulfat ke gulshan mein pa li jagah
zindagi mein bahaaren rahengi sada
hum ne ulfat ke gulshan mein pa li jagah
chaahe bijli. . .
chaahe bijli gire ya jaley aashiaan
ab hamen aashiaane ki parwaah nahin
ab hamen aashiaane ki parwaah nahin
ab hamen aashiaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui
bandagi kar rahe hain mohabbat ki hum
ye nahin jaante kya hai dair o haram
ye nahin jaante kya hai dair o haram
bandagi kar rahe hain mohabbat ki hum
ye nahin jaante kya hai dair o haram
jhuk gayi hai. . .
jhuk gayi hai zabin husn ke saamne
ab kahin sar jhukaane ki parwaah nahin
ab kahin sar jhukaane ki parwaah nahin
ab kahin sar jhukaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui
ab kisi bhi fasaane ki parwaah nahin
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Hindi script lyrics (Provided by Sudhir)
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आ गया लब पे अफसाना ए आशिक़ी
अब किसी भी फसाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी
आ गया लब पे अफसाना ए आशिक़ी
अब किसी भी फसाने की परवाह नहीं
हम तो उनसे॰ ॰ ॰
हम तो उनसे मोहब्बत किए जाएँगे
अब हमें इस जमाने की परवाह नहीं
अब हमें इस जमाने की परवाह नहीं
अब हमें इस जमाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी
आज ए इश्क़ साया तेरा सर पे है
ताज कदमों में है तख्त ठोकर पे है
ताज कदमों में है तख्त ठोकर पे है
आज ए इश्क़ साया तेरा सर पे है
ताज कदमों में है तख्त ठोकर पे है
मिल गईं हैं॰ ॰ ॰
मिल गईं हैं हमें प्यार की दौलतें
अब किसी भी खजाने की परवाह नहीं
अब किसी भी खजाने की परवाह नहीं
अब किसी भी खजाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी
ज़िंदगी में बहारें रहेंगी सदा
हमने उल्फ़त के गुलशन में पा ली जगह
हमने उल्फ़त के गुलशन में पा ली जगह
ज़िंदगी में बहारें रहेंगी सदा
हमने उल्फ़त के गुलशन में पा ली जगह
चाहे बिजली॰ ॰ ॰
चाहे बिजली गिरे या जले आशियाना
अब हमें आशियाने की परवाह नहीं
अब हमें आशियाने की परवाह नहीं
अब हमें आशियाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी
बन्दगी कर रहे हैं मोहब्बत की हम
ये नहीं जानते क्या है दैयर ओ हरम
ये नहीं जानते क्या है दैयर ओ हरम
बन्दगी कर रहे हैं मोहब्बत की हम
ये नहीं जानते क्या है दैयर ओ हरम
झुक गई है॰ ॰ ॰
झुक गयी हैं ज़बीं हुस्न के सामने
अब कहीं सर झुकाने की परवाह नहीं
अब कहीं सर झुकाने की परवाह नहीं
अब कहीं सर झुकाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी
अब किसी भी फसाने की परवाह नहीं
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 : | 4078 | Post No. : | 15216 |
“Chandu”(1958) was directed by Manju (Harold Lewis) for N R Productions, Bombay. The movie had Daljit, Meena, Shasikala, Pran, Gulab, Gope, Sunder, Om Prakash, Mehmood, Harun, Satish Batra etc.
The movie had six songs in it. One song has been covered in the past.
Here is the second song from “Chandu”(1958) to appear in the blog. This song is sung by Rafi and Geeta Dutt. Raja Mehdi Ali Khan is the lyricist. Music is composed by Bipin Baabul.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
Song-Gore gore gaalon pe kaala ye til (Chandu)(1958) Singers-Rafi, Geeta Dutt, Lyrics-Raja Mehdi Ali Khan, MD-Bipin Babul
Both
Lyrics
aa ha ha ha
gore gore gaalon pe kaala ye til
kaala til
haaye mera dil
gore gore gaalon pe kaala ye til
kaala til
haaye mera dil
ha ha ha
ha ha ha
ankhiyon mein pyaar kare
jhilmil jhilmil
jhilmil jhilmil
haaye mera dil
ek do teen chaar paanch chhe saat aath
ginta rahe
tere liye ho jiya tere liye
nau das gyaarah baarah terah chaudah
pandarah solha
ginti rahoon
tere liye o piya tere liye
hoy ginti na gino madam
aa mujhse mil
aa mujhse mil
haaye mera dil
ha ha
aa ha ha
ha ha ha
ankhiyon mein pyaar kare
jhilmil jhilmil
jhilmil jhilmil
haaye mera dil
taaron ki chhaanv mein tere liye
chanda ke sang sang jaaga karoon
raaton ko jungle mein tere liye
majnu main ban ke ho bhaaga karoon
kisne kiya hai mera jeena mushqil
maine
haan
maine kiya hai tera jeena mushqil
jeena mushqil
haaye mera dil
aa ha ha
aa ha ha
ankhiyon mein pyaar kare
jhilmil jhilmil
jhilmil jhilmil
haaye mera dil
dil ki tijori se daulat luta
mere liye ho billo mere liye
haan samjhe na waah haan
daulat ko sadkon pe doongi bichha
tere liye ho ballo tere liye
seene pe rakh mere sone ki sil
sone ki sil
haaye mera dil
aa ha ha
ha ha ha
ankhiyon mein pyaar kare
jhilmil jhilmil
jhilmil jhilmil
haaye mera dil
Le le ye dil tera
Posted on: September 16, 2019
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 : | 4077 | Post No. : | 15215 |
“Baghdad Ka Chor”(1955) was Produced by Ram Kumar and directed by Shriram for Madan Chitra, Bombay. This “kaalpnik” (fantasy) movie had Chitra, Daljeet, Krishnakumari, Yashodhara Katju, Naaz, Amrit Rana, Ram Kumar, Sheikh etc in it.
The movie had eight songs in it. One song has been covered in the blog. These songs were penned by four lyricists.
Here is the second song from the movie to appear in the blog.
Only the lyricist’s name is mentioned in HFGK for this song. Details of singers are not given.
On listening to the song, it is clear that the song is sung by Asha Bhonsle.
Omar Khayyam Saharanpuri is the lyricist.
Music is composed by B N Bali.
Only audio of this rare song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
I have not been able to get a few words right towars the end of the song. I request our readers with keener ears to help fill in the lanks/ suggest corrections as applicable.
Song-Le le ye dil tera (Baghdad Ka Chor)(1955) Singer-Asha Bhonsle, Lyrics-Omar Khayyam Saharanpuri, MD-B N Bali
Le le ye dil tera
le le ye dil tera
hey
dena dhokha bahut bura hai
mausam e bahaar hai
dil mein mere pyaar hai
ek baar keh zara
ke tumko mujh se pyaar hai
ho ho ho ho
Le le ye dil tera
le le ye dil tera
hey
dena dhokha bahut bura hai
nazar se jab nazar mili
kali mere dil ki khili
mastiyon mein kho gayi
ik nayi zindagi mili
nazar se jab nazar mili
kali mere dil ki khili
mastiyon mein kho gayi
ik nayi zindagi mili
he he he he
Le le ye dil tera
le le ye dil tera
hey
dena dhokha bahut bura hai
phool muskura diya
bhanwra no gunguna diya
shama jali parwaana mite
?? diya
aa ha ha ha ha
Le le ye dil tera
le le ye dil tera
hey
dena dhokha bahut bura hai
Le le ye dil tera
le le ye dil tera
hey
dena dhokha bahut bura hai
hey
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 : | 4076 | Post No. : | 15214 |
“Albeli”(1955) was produced and directed by Devendra Goel for Fils and Television, Bombay. The movie had Geeta Bali, PPradeep Kumar, Johny Walker,Randheer, Rama Sharma, Brij, Ranjana Shukla, Tuntun, Om Prakash, Yogendra, Robin Kumar, Raje Kapoor, Meena, Gareeb Kumar, Kaiser Usmani, Ranjeet etc, with guest appearances by Shankar A Palav, Jankidas and Madan Puri.
The movie had seven songs in it. Four songs have been covered in the past.
Here is the fifth song from “Albeli”(1955) to appear in the blog. The song is sung by Asha Bhonsle. Raja Mehdi Ali Khan is the lyricist. Music is composed by Ravi.
The movie had three Asha Bhonsle solos, one Lata solo and one duet by Lata and Hemant Kumar. So it is difficult to be sure about the picturisation of these songs. I request our knowledeable readers to throw light on the picturisation of this song.
Song-O balma kyun na karoon main tose pyaar pyaar pyaar(Albeli)(1955) Singer-Asha Bhonsle, MD-Raja Mehdi Ali Khan, MD-Ravi
Lyrics
o balma
o o o o o balma
o balma
kyun na karoon main tose
pyaar pyaar pyaar
main to prem deewaani
o o prem deewaani
o sainya kyun na dekhoon main tohe baar baar baar
tose preet puraani
o preet puraani
o o balma kyun na karoon main tose
pyaar pyaar pyaar
main to prem deewaani
o o prem deewaani
dil ki tamanna tere geeton mein khoyi re
phoolon ki aarzoo mein kaanton pe soyi re
tere liye o sainya kitna main royi re
kitna main royi re
phir bhi hui na aankhen chaar chaar chaar
main to prem deewaani
o o prem deewaani
o balma kyun na karoon main tose
pyaar pyaar pyaar
main to prem deewaani
o o prem deewaani
ho chuki tumhaari main to mujhe pehchaan lo
kya meri aarzoo hai nazron se jaan lo
main bekasoor piya baat meri maan lo
varna jee ro dongi main jaar jaar jaar
main to prem deewaani
o o prem deewani
o balma kyun na karoon main tose
pyaar pyaar pyaar
main to prem deewaani
o prem deewaani
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4075 | Post No. : | 15213 | Movie Count : |
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It is a well-known fact that Shailendra wrote maximum number of songs for the music director, Shankar-Jaikishan (around 365 songs) out of about 750 songs he wrote during his life time. The second in line among music directors was Salil Chowdhury for whom Shailendra wrote around 105 songs. The third place was taken by S D Burman for whom he wrote around 70 songs. There were others music directors for whom he wrote songs albeit in comparatively lesser numbers. They were Roshan, S N Tripathi, Hemant Kumar, Anil Biswas, C Ramchandra, Ravi, Dattaram, and Kishore Kumar.
With major chunk of Shailendra’s songs (around 90% his total songs) written for the music directors listed above, I was curious to know as who were the other music directors to whom Shailendra wrote songs probably for one or two films. I traced almost all ‘other’ music directors. They were Basant Prakash (‘Badnam’ 1952), Manohar Arora (‘Chingaari’, 1955), Mukul Roy (‘Sailaab’ 1956 and ‘Detective’ 1958), Jimmy (Shrimatiji, 1952), Ninu Mazumdar (‘Bhai Saheb’, 1954), Sardul Kwatra (‘Pilpli Saheb, 1954 and ‘Tis Maar Khan’, 1955), Shivram (‘Naya Kadam’ 1958), Shailesh Mukherjee (‘Savera; 1958), Chitrgupt and Gajanan (‘Kal Hamaara Hai’ 1959), Kalyanji-Anandji (‘Satta Baazar’ (1959), Pandit Ravi Shankar (‘Anuradha’ 1960), R D Burman (‘Chhote Nawab’ 1961), Suhrid Kar (‘Kaanch Ki Gudiya’ 1961), and Sapan-Jagmohan (‘Begaana’ 1963).
But the surprise catch among ‘other’ music director to whom Shailendra wrote a song was Nachiketa Ghosh who has composed music for only one Hindi film ‘25th July’ (1951). But Shailendra was not the lyricist for this film. It transpired that Shailendra did write a Hindi song for Nachiketa Ghosh but for a Bengali film ‘Indraani’ (1958). Uttam Kumar and Suchitra Sen were the lead actors in the film. The film is available on YT with English sub-title.
So here is probably Shailendra’s only Hindi song for a Bengali film, ‘Indraani’ (1958). There are 7 songs in the film of which one song is in Hindi. The song is ‘sabhi kuchh lutaakar huye hum tumhaare’ which is sung by Mohammad Rafi. Nachiketa Ghosh is the music director.
The background for this song is that Uttam Kumar and Suchitra Sen get married despite opposition from her parents as Uttam Kumar is unemployed. On the wedding night, their feelings for each other is reflected in this song through a wayside singer playing guitar. The mood of the song appears to me the same as that of songs like ek haseen shaam ko dil mera kho gaya.
The song in the video clip is longer than the audio clip (78 RPM record version) because of the repetition in the former of mukhda part in each antara. Also, there are short dialogues in Bengali between Uttam Kumar and Suchitra Sen during the interludes of the song.
What a lovely song which I heard for the first time. I have been mesmerized by Rafi’s rendition of antara part of the song. Just note, how he goes one octave higher but keep his rendition soft on the antara lines ‘kisi ka tu ho jaa’, ‘hai khaamosh hum bhi’ and ‘ye khwaabon ki duniya’.
Video Clip:
Audio Clip :
Song-Sabhi kuchh lutaa kar huye ham tumhaare (Indraani)(Bangla)(1958) Singer-Rafi, Lyrics-Shailendra, MD-Nachiketa Ghosh
Lyrics(based on Video Clip)
sabhi kuchh lutaa kar
huye hum tumhaare
ke hai jeet uski
jo dil aaj haare
ye khoya sa chanda
ye behke se taare
to phir kyun na machlen
armaan hamaare
sabhi kuchh lutaa kar
mohabbat mein kho jaa..aa
kisi ka tu ho jaa
falak se zameen tak huye ye ishaare
ke hai jeet uski
jo dil aaj haare
sabhi kuchh lutaa kar
huye hum tumhaare
ki hai jeet uski
jo dil aaj haare
sabhi kuchh lutaa kar
hai chupchaap wo bhi
hain khaamosh hum bhi
khule jaa rahe hain magar raaz saare
ke hai jeet uski
jo dil aaj haare
ye khoya sa chanda
ye behke se taare
to phir kyun na machlen
armaan hamaare
sabhi kuchh lutaa kar
wo rangeen duniya
wo khwaabon ki duniya
simat kar ke baahon mein aayi hamaare
ke hai jeet uski
jo dil aaj haare
sabhi kuchh lutaa kar
huye hum tumhaare
ke hai jeet uski
jo dil aaj haare
ye khoya sa chanda
ye behke se taare
to phir kyun na machlen
armaan hamaare
sabhi kuchh lutaa kar
Bhanwra bada deewaana
Posted on: September 13, 2019
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| Blog Day : | 4074 | Post No. : | 15212 |
“Nirmal”(1952) was produced by Revachand M Dembla and Biharilal C Pandit and directed by S Upendra for Shankar Theatres, Bombay. This movie had Poornima, Amarnath, Mirza Musharraf, Shanta Kunwar, Shaam Kumar, Habeeb, Leela Kumari, Cuckoo, Urwashi, Khushi Moolwaani, Sayyad ahmad, M Pahlaj, Peetaambar Setpal, Ajeet, Shaamlal etc in it.
The movie had eight songs in it. Three of these songs have been covered in the past.
Here is the fourth song from “Nirmal”(1952) to appear in the blog. This song is sung by Geeta Dutt. Moti B A is the lyricist. Music is composed by Bulo C rani.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.
Song-Bhanwra bada deewaana (Nirmal)(1952) Singer-Geeta Dutt, Lyrics-Moti B A, MD-Bulo C Rani
Lyrics
bhanwra bhanwra
bhanwra bada deewaana
loote kali kali ka rang
wo loote kali kali ka rang
wo loote kali kali ka rang
madhuban mein chhaayi hariyaali
kali khili hai daali daali
dekh kali ko mast ho gayi
bhanwre ki aankhen matwaali
bhanwra bada machalvi bada sayaana
do din ka hai pankh
wo loote kali kali ka rang
wo loote kali kali ka rang
khili huyi kaliyon par jaaye
lachke kha kar gul ko lagaaye
jiska ras pi daala uske
paas na jaaye aankh churaaye
bhanwra
ye hai kaala wo hai gori
komal komal ang
loote kali kali ka rang
wo loote kali kali ka rang
rang bhi kaala dil bhi kaala
ras pee kar udd jaane waala aa aa aa
rang bhi kaala dil bhi kaala
ras pee kar udd jaane waala aa aa aa
is se dil na lagaana o bholi
ye hai saath na dene waala
bhanwra
di leke ye daga karega
iske preet ka dhang
wo loote kali kali ka rang
wo loote kali kali ka rang
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