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

Archive for the ‘Feelings of heart’ Category


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

Wow, what a song, what a lovely song, what a lovely marathon of a song; so full of words, so full of emotions, so full of insistence of emotions. Rajendra Krishan has outdone himself in writing this song. And so does C Ram, outshine himself in tying this song into threads of music. And what rendition, Lata ji outshines herself. I am hearing this song for the first time today, and have simply fallen in love with it.

The film is ‘Meenaar’ from 1954. As Atul ji and I exchanged notes about films close to ‘Yippeee’, this film turned up with two songs still to be posted, as per the listing in the Geet Kosh. As I started to explore this film and its songs, it turns out that the two pending songs are actually two parts of the same song. When I checked Geet Kosh for details, I found that these two ‘parts’ of the song are actually residing on the same 78 rpm record, further confirming that these are actually parts of one very long song.

Further searching on the YT, I am able to locate an edited composite video clip that is probably made up of three or maybe four parts – the number of times this song appears in the film, making this a multi part song.

I have not seen this film, but as I watched and played this clip multiple times to write down the lyrics, I get feeling of having encountered this theme and this scenario more than once. Listening and viewing this song brings to the mind snatches of the haunting strains of “Aayega Aayega, Aayega Aanewaala” (from ‘Mahal’ (1949)), “Naina Barsen Rim Jhim Rim Jhim” (from ‘Wo Kaun Thi’ (1964)), “Kahin Deep Jaley Kahin Dil” (from ‘Bees Saal Baad’ (1962)) and more. Watching the video brings in tremors of scenes from ‘Madhumati’ (1958), ‘Mera Saaya’ (1966), ‘Kudrat’ (1981) etc., giving a glimpse into the story line of this film. I would request other knowledgeable readers and friends who may have seen this film, to please comment on the theme and the story line of this film.

On screen this song is presented mostly as a background song, with a couple of places where one can see Beena Rai lip syncing the words in the playback.

And with this composite representation of this multi part song, the film ‘Meenaar’ now joins the ranks of films with all songs posted on our blog. Time to callout ‘Yippeee’ . . .

Song – Barbaad e Mohabbat Ko Kab Tak Ye Sazaa Dogey (Meenaar) (1954) Singer – Lata MangeshkarLyrics – Rajendra Krishan, MD – C Ramchandra

Lyrics

dil e betaab dhadakta hai
dikhaayen kaise
ik shola sa bhadaktaa hai
bujhaayen kaise
ya mere saamne aa
ya mujhe awaaz de
ya bataa de main ye parda uthaaun kaise

barbaad e mohabbat ko
kab tak ye sazaa dogey
barbaad e mohabbat ko
kab tak ye sazaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

poochho to zara dil se
main kaun hoon aur kya hoon
toota hua taara hoon
sookha hua dariya hoon
ghaayal ki tadap hoon main
ghaayal ki tadap hoon main
bismil ki tamanna hoon
tum shakl ho us shay ki
jis shay ka main saaya hoon
tum shakl ho us shay ki
jis shay ka main saaya hoon
socha bhi na tha ik din
tum dil se bhula dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

ik roz basaaya tha
tum ne hi jahaan mera
raaten thi mohabbat ki
har din tha jawaan mera
main tum se bichhad ke bhi
main tum se bichhad ke bhi
kuchh door nahin tum se
dekhoge agar dil mein
paaoge nishaan mera
dekhoge agar dil mein
paaoge nishaan mera
laut aayengi yaadein jab
maazi ko sadaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

barbaad e mohabbat ko
kab tak ye sazaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

dum bhar ke liye thehro
sun lo mera afsaana
yun shamma talak aa kar
jaata nahin parwaana
beeti hui ghadiyon ko
zaraa dohraayen
beeti hui ghadiyon ko
zaraa dohraayen
ik raat ka kiss hai
kal subah chaley jaana
ik raat ka kiss hai
kal subah chaley jaana
bigdega tumhaara kya
bigdi jo banaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

barbaad e mohabbat ko
kab tak ye sazaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

ye raat ye khaamoshi
ye chaand ye tanhaai
aise mein seenon mein
bajti hui shehnaai
maano to haqeeqat hai
na maano to afsaana
maano to haqeeqat hai
na maano to afsaana
jaago to zaraa zaalim
dekho main chali aayi
jaago to zaraa zaalim
dekho main chali aayi
na meri wafaaon ke
badle mein wafaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

barbaad e mohabbat ko
kab tak ye sazaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

kuchh dard e mohabbat ki
tum ko bhi khabar hogi
chanda ki chakori par
kab tak na nazar hogi
nazron se meri chhup kar
nazron se meri chhup kar
jaana bada mushkil hai
jaaoge to is shab ki
mushkil se sehar hogi
jaaoge to is shab ki
mushkil se sehar hogi
aakhir mujhe pehlu mein
kab tak na jageh dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

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

दिल ए बेताब धड़कता है
दिखाएँ कैसे
इक शोला सा भड़कता है
बुझाएँ कैसे
या मेरे सामने आ
या मुझे आवाज़ दे
या बता दे मैं पर्दा उठाऊँ कैसे

बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

पूछो तो ज़रा दिल से
मैं कौन हूँ और क्या हूँ
टूटा हुआ तारा हूँ
सूखा हुआ दरिया हूँ
घायल की तड़प हूँ मैं
घायल की तड़प हूँ मैं
बिस्मिल की तमन्ना हूँ
तुम शक्ल हो उस शै की
जिस शै का मैं साया हूँ
तुम शक्ल हो उस शै की
जिस शै का मैं साया हूँ
सोचा भी ना था इक दिन
तुम दिल से भुला दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

इक रोज़ बसाया था
तुमने ही जहां मेरा
रातें थी मोहब्बत की
हर दिन था जवां मेरा
मैं तुम से बिछड़ के भी
मैं तुम से बिछड़ के भी
कुछ दूर नहीं तुमसे
देखोगे अगर दिल में
पाओगे निशां मेरा
लौट आएंगी यादें जब
माज़ी को सदा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

दम भर के लिए ठहरो
सुन लो मेरा अफसाना
यूं शम्मा तलक आ कर
जाता नहीं परवाना
बीती हुई घड़ीयों को
ज़रा दोहराएँ
बीती हुई घड़ीयों को
ज़रा दोहराएँ
बीती हुई घड़ीयों को
ज़रा दोहराएँ
इक रात का किस्सा है
कल सुबह चले जाना
बिगड़ेगा तुम्हारा क्या
बिगड़ी जो बना दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

ये रात ये खामोशी
ये चाँद ये तनहाई
ऐसे में सीनों में
बजती हुई शहनाई
मानो तो हक़ीक़त है
ना मानो तो अफसाना
जागो तो ज़रा जालिम
देखो मैं चली आई
जागो तो ज़रा जालिम
देखो मैं चली आई
ना मेरी वफाओं के
बदले में वफा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

कुछ दर्द ए मोहब्बत की
तुमको भी खबर होगी
चंदा की चकोरी पर
कब तक ना नज़र होगी
नज़रों से मेरी छुप कर
नज़रों से मेरी छुप कर
जाना बड़ा मुश्किल है
जाओगे तो इस शब की
मुश्किल से सहर होगी
जाओगे तो इस शब की
मुश्किल से सहर होगी
आखिर मुझे पहलू में
कब तक ना जगह दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

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

Missing Films of 1960s – 31
– – – – – – – – – – – – – – –

The year 1964 saw the release of two films with titles starting with ‘Pahaadi’. One is titled ‘Pahaadi Jawaan’ and the second one is ‘Pahaadi Nagin’. Very rare, very obscure. Small mercies that at least one of them – ‘Pahaadi Nagin’ has some of its songs traceable. ‘Pahaadi Jawaan’ – nothing traceable so far.

The essential basics of the film ‘Pahaadi Nagin’ – the film is directed by  S Azeem for the banner of MGA Films, Bombay. The star cast of this film reads like Azaad, Indira, BM Vyas, Ram Mohan, Dalpat, Babu Rajey, Sadhna Khote, a set of wrestlers by the names Pehalwan (yes, just that), Baburao  Pehalwan, Babu Sandow, Julian, and a set of simply first names that reads like Mona, Birju, Butter (yes. . .), Dilip, Yusuf (yes, both), Habin, Beena, Sushma, Jilani, Gulab, Mansoor, Baasha, Gaffaar, Kumar, Mubarak, Akram, and a child artist, Master Deep. Quite an interesting list of characters.

Geet Kosh lists 6 songs for this film. The music is from the mind of Iqbal, and the words are from the pen of Farooque Kaiser. Today, we bring on board the first song from this film. The singing voice is that of Mubarak Begum. An attractive song – might have captured more attention from the listeners, had this film been better known or had been a better success.

And we also request other knowledgeable friends and readers to please add more information about this film. Nothing more is apparently available / traceable.

Song – Dil Ki Na Jaane Anaadi Balma (Pahaadi Nagin) (1964) Singer – MMubarak BegumLyrics – Farooque Kaiser, MD – Iqbal

Lyrics

dil ki naa jaane anaadi baalma
haaye
dil ki naa jaane anaadi baalma
kaise bataa doon bhala main saari batiyaan
kaise bataa doon bhala main saari batiyaan
dil ki naa jaane anaadi baalma
dil ki naa jaane anaadi baalma

le gaya dil ka haan
le gaya dil ka chain udaa ke
mar gayi main to nain milaa ke
dil ko jalaaye
sataaye
rangeeli ratiyaan
dil ki naa jaane anaadi balma
haaye
dil ki naa jaane
kuchh bhi naa jaane
dil ki naa jaane anaadi balma

pyaar tumhaare haaye
pyaar tumhaare
jaan se pyaara
poochh lo aa ke haal hamaara
bhejin jahaan se
chhupa ka
hazaaron patiyaan
dil ki naa jaane anaadi balma
haaye
dil ki naa jaane
kuchh bhi naa jaane
dil ki naa jaane anaadi balma

mehki rut haan ji
mehki zulfen
nain kateeley
mil gaye us par balmaa hatheeley
haaye naa jaane
naa mane
hamaari batiyaan
dil ki naa jaane anaadi balma
haaye
dil ki naa jaane
kuchh bhi naa jaane
dil ki naa jaane anaadi balma

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

दिल की न जाने अनाड़ी बालमा
हाए
दिल की न जाने अनाड़ी बालमा
कैसे बता दूँ भला मैं सारी बतियां
कैसे बता दूँ भला मैं सारी बतियां
दिल की न जाने अनाड़ी बालमा
दिल की न जाने अनाड़ी बालमा

ले गया दिल का हाँ
ले गया दिल का चैन उड़ा के
मर गई मैं तो नैन मिला के
दिल को जलाते
सताये
रंगीली रतियाँ
दिल की न जाने अनाड़ी बलमा
हाए
दिल की न जाने
कुछ भी ना जाने
दिल की न जाने अनाड़ी बलमा

प्यार तुम्हारा हाए
प्यार तुम्हारा
जान से प्यारा
पूछ लो आ के हाल हमारा
भेजीं जहां से
छुपा के
हजारों पतियां
दिल की न जाने अनाड़ी बलमा
हाए
दिल की न जाने
कुछ भी ना जाने
दिल की न जाने अनाड़ी बलमा

महकी रुत हाँ जी
महकी ज़ुल्फें
नैन कटीले
मिल गए उस पर बलमा हठीले
हाए ना जाने
ना माने
हमारी बतियां
दिल की न जाने अनाड़ी बलमा
हाए
दिल की न जाने
कुछ भी ना जाने
दिल की न जाने अनाड़ी बलमा


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

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

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

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

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

Audio (Longer)

Video

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

Lyrics

uyi
uyi

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[Video]

[Audio]

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

Lyrics

(Video Version)
main aahen bhar nahin sakta

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

सुकून लेकिन मेरे दिल को

मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को


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

Aah, the Yippeee sound for today. The film is from 1962 – ‘Apna Banaa Ke Dekho’. And the song – and elusive and obscure entity that I had not heard before myself. As I waded through the possible candidates, searching for the song that would complete the itinerary for the particular film, my fingers paused as this 1962 film. I was under the impression that this film would already be Yippeee’d, given the familiarity level and the comparative availability of songs. As I checked the numbers, I myself was surprised – that after six songs having been posted for this film, there still was a seventh song waiting to be brought on.

I checked the song lists, and the remaining candidate seemed so unfamiliar that it intrigued me. I tried to search for the song, but could not locate it online. Then began the search in my own collection, and lo, here was one number that I had practically forgotten. A surprising delight of a rendition by Asha Bhosle – a song that sounds like a dance song, that tells of the happiness and beauty of love fulfilled. What a lovely set of verses written by Shamsul Huda Bihari, what a wonderfully paced rhythm and melody tuned by Ravi, and what a lilting expression that has been enlivened by the voice of Asha ji.

Most of the songs of this film are quite well known, especially the first and the second ones in the following list,

1.       Raaz E Dil Unse Chhupaayaa Naa Gayaa
2.       Ham Pyaar Tumhe Karte Hain Hamen Apna Banaa Kar Dekho
3.       Tere Sadqe Mila De Mera Yaar Ooperwaale
4.       Kachchi Dagar Panghat Ki Chalat Darr Laage Re Laage Sakhi Ri
5.       Miley Hain Aap Jab Se Zindagi Kitni Suhaani Hai
6.       Hum To Pehli Hi Nazar Mein De Chuke Hain Dil Tumhen

The leading pair in this film are Manoj Kumar and Asha Parekh. The rest of the star cast list reads as – Nazeer Husain, Sunder, Achla Sachdev, Sajjan, Mohan Choti, Johnny Whisky, Shirley, Ram Singh, Narbada Shankar, Lakshmi and many more. The film is directed by Jagdish Narula for the banner of Chitra Sangam, Bombay. Of the seven songs in this film, four are penned by SH Bihari and three are the creation of Asad Bhopali.

This last song is surely a surprise find, a delightful gem that has been sitting obscure for all these years. It is posted now for your listening pleasure and that brings this film into the list of films Yippeee’d on our blog. Enjoy.

Song – Chaahat Ka Deewaana Dil (Apna Banaa Ke Dekho) (1962) Singer – Asha BhosleLyrics – Sh  Bihari, MD – Ravi

Lyrics

chaahat ka deewaana dil
ulfat ka parwaana dil
dhoondh raha hai aaj kisi ki
aankhon mein apni manzil
chaahat ka deewaana dil
ulfat ka parwaana dil
dhoondh raha hai aaj kisi ki
aankhon mein apni manzil
chaahat ka deewaana dil
ulfat ka parwaana dil

masti si fizaa mein chaai hai
aur pyaar mein doobi raaten hain
khushion ke taraane goonj rahe
aur naghmon ki barsaaten hain
kitni hai rangeen hamaare
armaanon ki ye mehfil
chaahat ka deewaana dil
ulfat ka parwaana dil
dhoondh raha hai aaj kisi ki
aankhon mein apni manzil
chaahat ka deewaana dil
ulfat ka parwaana dil

armaan ki kaliyaan khil jaayen
ye khwaab haqeeqat ban jaaye
jo dard hai meetha sa dil mein
wo dard mohabbat ban jaaye
duniya ki saari khushiaan phir
ho jaayen mujhko haasil
chaahat ka deewaana dil
ulfat ka parwaana dil
dhoondh raha hai aaj kisi ki
aankhon mein apni manzil
chaahat ka deewaana dil
ulfat ka parwaana dil

———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
चाहत का दीवाना दिल
उलफत का परवाना दिल
ढूंढ रहा है आज किसी की
आँखों में अपनी मंज़िल
चाहत का दीवाना दिल
उलफत का परवाना दिल
ढूंढ रहा है आज किसी की
आँखों में अपनी मंज़िल
चाहत का दीवाना दिल
उलफत का परवाना दिल

मस्ती सी फिज़ा में छाई है
और प्यार में डूबी रातें हैं
खुशिओं के तराने गूंज रहे
और नग़मों की बरसातें हैं
कितनी है रंगीन हमारे
अरमानों की ये महफिल
चाहत का दीवाना दिल
उलफत का परवाना दिल
ढूंढ रहा है आज किसी की
आँखों में अपनी मंज़िल
चाहत का दीवाना दिल
उलफत का परवाना दिल

अरमान की कलियाँ खिल जाएँ
ये ख्वाब हक़ीक़त बन जाये
जो दर्द है मीठा सा दिल में
वो दर्द मोहब्बत बन जाये
दुनिया की सारी खुशियाँ फिर
हो जाएँ मुझको हासिल
चाहत का दीवाना दिल
उलफत का परवाना दिल
ढूंढ रहा है आज किसी की
आँखों में अपनी मंज़िल
चाहत का दीवाना दिल
उलफत का परवाना दिल


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

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

Six songs from this movie have been discussed in the past. Here is the seventh song from the movie to appear in the blog. This song is sung by Talat Mehmood. Asad Bhopali is the lyricist. Music is composed by Hansraj Bahl.

Only the audio of this song is available and so it is difficult to say for sure about the picturisation of the song. My guess is that this song was picturised on the leading man of this movie, viz Mahipal. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Teri ada par nisaar karne (Darbaar)(1955) Singer-Talat Mehmood, Lyrics-Asad Bhopali, MD-Hansraj Bahl

Lyrics

teri ada par r nisaar karne ae ae ae ae
teri ada par nisaar karne
main dil ko laaya, teri gali mein
main dil ko laaya, teri gali mein
teri ada par nisaar karne
main dil ko laaya, teri gali mein
mai dil ko laaya, teri gali mein aen

zamaane bhar ka aa haseen tohfa aa aa aa aa
zamaane bhar ka haseen tohfa
main le ke laya, teri gali mein
mai le ke laya, teri gali mein
teri ada par nisaar karne
main dil ko laya, teri gali mein

main aisi kaafir nazar ke sadke ae ae ae
main aisi kaafir nazar ke sadke
ki jisne mera guroor toda aa aa aa aa
jo sar kahin bhi
na jhuk saka thha
wo sar jhukaaya teri gali mein
wo sar jhukaaya teri gali mein
teri ada par nisaar karne
main dil ko laaya, teri gali mein

bade maze ka hua ye sauda aa aa
bade maze ka hua ye sauda
teri amaanat
tujhi ko de di
ee ee ee
ee ee ee
jo dil mila thha teri gali mein
wo dil lutaaya teri gali mein
wo dil lutaaya teri gali mein
teri ada par nisaar karne
main dil ko laaya
teri gali mein


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

One more Yippeee; the yippeee song for today. The film is ‘Gehra Raaz’ from 1971. In all, the film has four songs listed in the Geet Kosh. Today, we get familiar with the fourth song of this film.

‘Gehra Raaz’ (1971) was directed by Niranjan for Salim Productions, Bombay. This B grade suspense movie had Sujit Kumar, Sofia (a new find of that era), Sheikh Mukhtaar, Abhi Bhattacharya, Satyajit, Brahmchaari, Madhumati, Mohan Sherry, Eshwar, Dinani, Paro, Uma Dutt, Hiralal, Pardesi, Rani, Samson, Jelani, Lohani, Sadhna Khote, Sarla, Master Salim etc in it.

This movie has four songs. Two of them are composed by Salil Chaudhary and other two by a relatively unknown music director called Raj Ravinder. As I tried to search for this name in the Geet Kosh, I am unable to locate any other film where this name appears as a music director, at least in the data reviewed till 1980. And further, no information could be located about him. I request other knowledgeable readers and friends to please add more information about this unknown music director.

The three songs of this film posted earlier are

1.       Zulfon Ko Lehraa Ke Chalo Na Bikhraa Ke
2.       Aayi Hai Ghata Jhoom Ke Bal Khaa Ke Piyenge
3.       Chor chor dekho dil ka chor aaya

The first two songs in this list are composed by Raj Ravinder. The 3rd song and the song posted today are compositions of Salil Chaudhry.  Also, the songs 1, 2 and the song posted today, are written by Akhtar Romani. The song no. 3 above is from the pen of Asad Bhopali.

About the singers and performers, the first song is a duet sung by Mukesh and Krishna Kalle. On screen, this song is performed by Sujit Kumar and the ‘new find’ Sofia. The song at no. 2 is a solo song by Krishna Kalle, and on screen it is performed by the actress Raani. The identification is provided in the comments by our dear Prakash ji. The song at no. 3 is another solo, this time in the voice of Hemlata, and on screen it is performed by Madhumati. Once again, identification provided in the comments by Prakash ji.

Coming to today’s song, this song is a street dance song, which is performed by Sofia, accompanied by a couple of male actors who are playing the dholak and the harmonium. It is clearly a song in which the leading lady is searching for someone, most likely the leading gentleman, viz. Sujit Kumar. As the song progresses, we can see a momentary appearance, as Sheikh Mukhtar walks into the frame. Also, in the crowd of onlookers, there seems to be an interested party – a bearded man wearing dark glasses. I am unable to identify this person. My mind wants to say it is Abhi Bhattacharya, given the broad look of the face. But I am not sure. I request other readers and friends to confirm or suggest the right name.

Given that this is a roadside tamasha song, the expression and the performance are quite provocative. The new actress Sofia, seems to be straining hard to make an impression.

There is a very interesting side note to this video clip available on YouTube. The total duration of the song is indicated as 4 minutes and 36 seconds. However, the tracking bar takes the visual all the way up to 3 minutes and 12 seconds, after which the visual freezes, but the audio continues. The tracking dot has come to the end of the line. This is somewhat strange.

Anyway, with the posting of this song today, the film ‘Gehra Raaz’ now joins the elite club of films with all songs covered on our blog. Another film for Yippee time. 🙂

Song – Mil Ja Mil Ja, Ab To Mil Ja (Gehra Raaz) (1971) Singer – HemlataLyrics – Akhtar Romani, MD – Salil Chaudhry

Lyrics

mil ja
mil jaa
ab to mil ja
mere roop ke singaar
mere khoye huye pyaar
mere humdum mere dildaar
mil ja
mil ja
mil jaa
ab to mil ja
mere roop ke singaar
mere khoye huye pyaar
mere humdum mere dildaar
mil ja
mil ja
mil jaa
mil jaa

mera dil le ke jaane waale saajna
mere sapnon mein aane waale saajna
niraale saajna
mera dil le ke jaane waale saajna
mere sapnon mein aane waale saajna
niraale saajna
tu jo mil jaaye mujhe
choomoon jee bhar ke tujhe
kya karoon naya naya pyaar hai mera
mil ja
mil jaa
ab to mil ja
mere roop ke singaar
mere khoye huye pyaar
mere humdum mere dildaar
mil ja
mil ja
mil ja
mil ja

mere bachpan ka raazdaar kho gaya
arre dilwaalo mera pyaar kho gaya
pyaar kho gaya
mere bachpan ka raazdaar kho gaya
arre dilwaalo mera pyaar kho gaya
pyaar kho gaya
tumko maloom nahin
wo hai laakhon mein haseen
main phiroon gali gali dhoondhti jisey
mil ja
mil jaa
ab to mil ja
mere roop ke singaar
mere khoye huye pyaar
mere humdum mere dildaar
mil ja
mil ja
mil ja
mil ja

aaj hothon pe dil ki baaten aa gayin
galey milne ki jawaan raaten aa gayin
raaten aa gayin
aaj hothon pe dil ki baaten aa gayin
galey milne ki jawaan raaten aa gayin
raaten aa gayin
aa ja ae jaane jahaan
main tujhe dhoondhoon kahaan
thak gayi idhar udhar dekhte huye
mil ja
mil jaa
ab to mil ja
mere roop ke singaar
mere khoye huye pyaar
mere humdum mere dildaar
mil ja
mil ja
mil jaa
ab to mil ja
mere roop ke singaar
mere khoye huye pyaar
mere humdum mere dildaar
mil ja
mil ja
mil ja
mil ja
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
मिल जा
मिल जा
अब तो मिल जा
मेरे रूप के सिंगार
मेरे खोये हुये प्यार
मेरे हमदम मेरे दिलदार
मिल जा
मिल जा
मिल जा
अब तो मिल जा
मेरे रूप के सिंगार
मेरे खोये हुये प्यार
मेरे हमदम मेरे दिलदार
मिल जा
मिल जा
मिल जा
मिल जा

मेरा दिल लेके जाने वाले साजना
मेरे सपनों में आने वाले साजना
निराले साजना
मेरा दिल लेके जाने वाले साजना
मेरे सपनों में आने वाले साजना
निराले साजना
तू जो मिल जाये मुझे
चूमूँ जी भर के तुझे
क्या करूँ नया नया प्यार है मेरा
मिल जा
मिल जा
अब तो मिल जा
मेरे रूप के सिंगार
मेरे खोये हुये प्यार
मेरे हमदम मेरे दिलदार
मिल जा
मिल जा
मिल जा
मिल जा

मेरे बचपन का राज़दार खो गया
अरे दिलवालों मेरा प्यार खो गया
प्यार खो गया
मेरे बचपन का राज़दार खो गया
अरे दिलवालों मेरा प्यार खो गया
प्यार खो गया
तुमको मालूम नहीं
वो है लाखों में हसीं
मैं फिरूँ गली गली ढूंढती जिसे
मिल जा
मिल जा
अब तो मिल जा
मेरे रूप के सिंगार
मेरे खोये हुये प्यार
मेरे हमदम मेरे दिलदार
मिल जा
मिल जा
मिल जा
मिल जा

आज होठों पे दिल की बातें आ गईं
गले मिलने की जवां रातें आ गईं
रातें आ गईं
आज होठों पे दिल की बातें आ गईं
गले मिलने की जवां रातें आ गईं
रातें आ गईं
आ जा ए जान ए जहान
मैं तुझे ढूँढूँ कहाँ
थक गई इधर उधर देखते हुये
मिल जा
मिल जा
अब तो मिल जा
मेरे रूप के सिंगार
मेरे खोये हुये प्यार
मेरे हमदम मेरे दिलदार
मिल जा
मिल जा
मिल जा
अब तो मिल जा
मेरे रूप के सिंगार
मेरे खोये हुये प्यार
मेरे हमदम मेरे दिलदार
मिल जा
मिल जा
मिल जा
मिल जा


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

“Baahubali” part I was a movie that I had watched in 2015 in a city in Eastern UP. I had landed up there while I was transferred from my previous place of posting in Chattisgarh and I was awaiting my next posting.

The people of that town were quite laid back and they took nearly two weeks to get my posting order issued. That gave me enough time to watch a few movies, something I rarely do. In fact, I watched “Baahubali” part I twice !

At that time, I knew nothing about this movie or its makers. Not that it mattered. The movie was made at such a grand scale, with impressive sets, story telling captivating. Most of us are used to watching movies after finding out who is the hero. But here the presentation and the packaging, which is of epic proportions was the star attraction. The actors were new for most audience, but it did not matter. People thronged movie halls, were enthralled and they quickly turned fans of the actors that they saw.

Forget Indians, even foreign audience gasped at the movie.

When a movie becomes successful, its sequel is made, mostly as a knee jerk reaction, to try and capitalise on the success of the original movie. Here it was different. It was decided right from the beginning that this movie was to be made in two parts, so the decision of coming up with part 2 was not a decision taken with the benefit of hindsight, rather it was already in the cards.

The first part had ended in a very critical juncture, with the question “Katappa ne Baahubali ko kyon maara ?” uppermost in everyone’s mind. This question intrigued people all over the world, and it became clear that anyone who had watched part I and was impressed with it (in other words everyone) was bound to watch part II whenever it was released.

The movie was going to be released worldwide on 28 april 2017. After I reported to the above mentioned eastern UP town, I was posted in a western UP town, known among HFM lovers for a few songs dealing with “jhumka”. As things stood, I lived in UP, my wife lived in MP, and our daughter lived in Maharashtra. It so happened that the two of them had plans to come to me and spend a couple of weeks with me. The daughter joined me in the first week of May 2017. Wife was to join a few days later. She expressly instructed us to wait for her arrival. Do not watch the movie in my absence. Wait for me to arrive. In any case, we always wanted to watch this movie together.

So we watched this movie in an afternoon show. Based on my experience with part I, I was sure that the movie would exceed my expectations, even though I already had high expectations with it that I refused to lower. And so it proved.

I knew what to expect in the movie and it fully delivered that, and some more. I was highly pleased with the experience. In addition, I felt highly satisfied and proud that Indians too can produce a movie like this. Watching a full movie without feeling bored in a tall order for me these days. Here is a movie that I could watch fully without for a moment feeling bored or thinking that I was being taken for a ride.

Interestingly enough, this was the first time when I watched a movie in a movie hall with my wife and daughter. Before this it was either with one or the other, but never with both together. And it took a movie like “Baahubali” part II to bring us together to a movie hall !

The movie has spectacular special effects and grand sets as in the first part. In reality, much of part II happens before the tale of part I, so in reality part II (much of it) is the forerunner of part I, till the juncture where we come to know “Kattappa ne Baabubali ko kyon maara”. It is only after this revelation in the second half of part II that the movie chronologically becomes the final part of the movie including the climax.

In the first part, the tribal boy Shivudu (Prabhas) discovers that he is, in fact, Mahendra Baahubali, son of the late great Amarendra Baahubali (also Prabhas) who was robbed of the throne of Mahishmati kingdom by the machinations of his cruel cousin Bhallaladeva (Rana Daggubati) and uncle Bijjaladeva (Nassar).
In part II, Mahendra hears the story of why and how that happened before setting off to avenge the deaths of his father and foster grandmother Sivagami (Ramya Krishna) and to free his mother Devasena (Anushka Shetty) from imprisonment in Mahishmati.

The story narration captivates the audience from the beginning to the end. Anushka Shetty, who was seen as a prisoner in part I plays a pretty princess who is adept in warfare. How Babubali (Prabhas ) – masquerading as a country bumpkin and Katappa (Satyaraj) come in contact with her and how things unfold has been presented in a manner than keeps the audience thoroughly amused and entertained.

Troubles begin to brew as well, as is bound to happen, with Bhallal Dev (Rana Daggubati) and Bijjal Dev (Nasser) always conspiring against Bahubali and always succeeding in poisoning the mind of Rajmata Sivagami (Ramya Krishna) against Bahubali and making her pass orders that are to the detriment of Bahubali.

This is a movie which is best enjoyed when you give the thinking part of your brain a rest and use the part responsible for savouring things. The whole movie is an experience that needs to be savoured in a movie hall in the company of lots of other people who are just as enthralled as you are. People who dismiss this movie as just the usual battle between good and the bad, as a tale of palace conspiracies, or as an “Amar Chitra Katha” like tale miss lots and lots of exciting stuff that this movie possesses and inability to detect them is entirely their loss.

Devsena (Anushka Shetty) to my mind is the star attraction of this part. In the first part of the franchise, Anushka played a prisoner held captive by the evil Bhallala Deva (Rana Daggubati) and Bijjal Dev (Nasser). Her belief that her son Mahendra Bahubali would one day rescue her keeps her going.

In the sequel, the audience go back in time and watch the young Devsena. And what a revelation she is !

Overall, it is a spectacular movie, the likes of which was never seen before in an Indian movie. And interestingly, this movie is not a Bollywood movie (as the say) produced in Mumbai, but a Telugu movie produced in Hyderabad. So, this movie breaks several glass ceilings. One is that the grandest Indian movies must come from Bollywood. And second, that Indian movies can only be India class , and not world class. The special effects, the sets, the grandeur of this movie is absolutely world class. It is a movie made on epic proportions. It is a movie that will make Indians proud. It certainly made me feel proud that Indians can make a movie like this.

The movie is making waves all around the world. The movie is such that it is bound to be a hit with people all around the world, no matter which part of the world they come from.

This movie proves that content and presentation, allied with attention to details and insistence on highest quality can yield rich dividends. More than the actors, I think that S S Rajamouli, has emerged as a great source of inspiration to Indians, as he has demonstrated to us that we Indians have it in us to make world class products.

The movie, originally made in Telugu, was dubbed in several other languages viz Tamil, Malayalam, Hindi etc. In the past, I have seen so many non Hindi movies fall flat among Hindi movie goers due to aweful Hindi dubbing. It must be said that the Hindi dubbing of this movie in outstanding. It almost makes you feel that you are watching an original Hindi movie, rather than a dubbed one. And nearly half the box office collection of the movie is for the Hindi version. One thing that pleased me a lot was that the Hindi used in the movie was the “proper” language, pleasing to the ears, rather than the kind of language that one gets to hear in most Hindi movies these days.

The Hindi dubbing artists who have given their voices to various actors deserve great credit for bringing the characters alive for Hindi audience. Sharad Kelkar has lent his voice to Bahubali. He watched this movie in a theatre. When the dialogue comes- ‘Jab tak tum mere saath ho mujhe maarne wala paida nahin hua, mama (As long as you are by my side, the man who can kill me is not yet born, uncle),’ people who knew his contribution in the movie hugged him.

Here are the various artists and the actors they lent their voices to in the movie:

Hindi dubbing artists
S N Dubbing artist Character (Actor)
1 Sharad Kelkar Amarendra Bahubali, Mahendra Bahubali (Prabhas)
2 Manoj Pandey Bhallal Dev (Rana Daggubatti )
3 Samay Thakkar Katappa (Satyaraj)
4 Deepak Sinha Bijjal Dev (Nasser)
5 Neeti Mathur Devsena(Anushka Shetty)
6 Mausam Rajmata Shivgami(Ramya Krishna)
7 Manisha Mahendra Bahubali’s foster mother(Rohini)

Tamanna, playing Avantika is fluent in Hindi and so she did not need any other artists to dub for her in Hindi.

Overall, this movie is easily the biggest blockbuster movie to have come out of India till now.

The music of the movie, especially the background music, is magnificent and it will appeal even to foreigners.

Special mention must be made of S S Rajamouli, the director of the movie and the brain behind it. In the process of making the two part movies, he broke many many glass ceilings that Indian movie makers had mentally imposed upon themselves. As a movie that cut no corners and spared no resources, I must say that S S Rajamauli should serve as an inspiration to Indians to stop thinking small and to begin to think big. I am personally hugely impressed with him. After I watched part I, I knew it in my mind that I could whole heartedly repose my trust on his ability to come up with an even better encore in part II. And I was not disappointed.

Here is a song from Bahubali 2- the conclusion. This song is sung by Kailash Kher and chorus. Manoj Muntasir is the lyricist. Music is composed by M M Kreem.

With this song, “Bahubali 2 “(2017) makes its debut in the blog.


Song-Jai jaikaara Jai jaikaara (Bahubali 2- the conclusion)(2017) Singer-Kailash Kher, Lyrics-Manoj Muntashir, Music-M.M.Kreem
Chorus

Lyrics

Kya kabhi ambar se surya bichhadta hai
kya kabhi bin baati deepak jalta hai
kya kabhi ambar se ae ae surya bichhadta hai
kya kabhi bin baati deepak jalta hai
kaisi hai ye anhoni
har aankh huyi nam
chhod gaya jo tu
kaise jiyenge hum
toohi kinaara
toohi sahaara
too jag saara
toohi hamaara sooraj
toohi taara
jai jaikaara
jai jaikaara
swaami dena saath hamaara
jay jaykaara
jay jaykaara
swaami dena saath hamaara

jal jal jal jalti dhaara
jalti dhaara
jalti dhaara
jal jal jal jalti dhaara
jalti dhaara
jalti dhaara
jal jal jal jalti dhaara
jalti dhaara
jalti dhaara
jal jal jal jalti dhaara
jalti dhaara
jalti dhaara
jal jal jal jalti dhaara
jalti dhaara
jalti dhaara
jal jal jal jalti dhaara
jalti dhaara
jalti dhaara
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm

jahaan jahaan tere paaon pade
wo dharti ambar ho jaaye
jaaney ye kaisi maaya
maaya hai teri
tu nirbal ka bal hai swaami rakwaala
hum sab ka
usko kya dar hai
jispe chhaaya hai teri
kan kan mein hai khushhaali
jhoomey hai daali daali
hum pyaason pe jo rimjhim barsey
hai baadal se
toohi woh amrit ki dhaara
jai jaikaara
jai jaikaara
swaami dena saath hamaara
jay jaykaara
jay jaykaara
swaami dena saath humaara

————————————————
Devnagri script lyrics (Provided by Atul)
————————————————-

क्या कभी अम्बर से सूर्य बिछड़ता है
क्या कभी बिन बाती दीपक जलता है
क्या कभी अम्बर से सूर्य बिछड़ता है
क्या कभी बिन बाती दीपक जलता है
कैसी है ये अनहोनी
हर आँख हुई नम
छोड़ गया जो तू
कैसे जियेंगे हम
तूही किनारा
तूही सहारा
तू जग सारा
तू ही हमारा सूरज
तूही तारा
जय जयकारा
जय जयकारा
स्वामी देना साथ हमारा
जय जयकारा
जय जयकारा
स्वामी देना साथ हमारा

जल जल जल जलती धारा
जलती धारा
जलती धारा
जल जल जल जलती धारा
जलती धारा
जलती धारा
जल जल जल जलती धारा
जलती धारा
जलती धारा
जल जल जल जलती धारा
जलती धारा
जलती धारा
जल जल जल जलती धारा
जलती धारा
जलती धारा
जल जल जल जलती धारा
जलती धारा
जलती धारा
अ अ अ
अ अ अ
अ अ अ
अ अ अ
अ अ अ
अ अ अ
अ अ अ
अ अ अ
अ अ अ
अ अ अ
अ अ अ
अ अ अ
अ अ अ
हम्म हम्म हम्म
हम्म हम्म हम्म
हम्म हम्म हम्म
हम्म हम्म हम्म
हम्म हम्म हम्म
हम्म हम्म हम्म
हम्म हम्म हम्म
हम्म हम्म हम्म
हम्म हम्म हम्म

जहाँ जहाँ तेरे पाँव पड़े
वो धरती अम्बर हो जाये
जाने ये कैसी माया माया है तेरी
तू निर्बल का बल है स्वामी
रखवाला हम सब का
उसको क्या डर है जिसपे छाया है तेरी
कण कण में है ख़ुशहाली
झूमे हैं डाली डाली
हम प्यासों पे जो रिमझिम बरसे है बादल से
तूही वो अमृत की धारा
जय जयकारा,
जय जयकारा
स्वामी देना साथ हमारा
जय जयकारा
जय जयकारा
स्वामी देना साथ हमारा


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

Today (10 may 2017) is the third anniversary of passing away of character actor Sudhir (10 May, 2014).

Now the last I had seen him in a movie was in ‘Jhoom Barabar Jhoom’ in 2007 in a blink and miss role. Then we had also seen him in movies like ‘Dulhe Raja’ (1998) in a slightly less brief role with some comic timing thrown in. Prior to this I can remember him in Shahrukh Khan’s ‘Baadshah’ (1999) where also he had some comedy in the situation of his character. In the interim he was also seen in a few television serials. But of course if someone asked me who Sudhir was I can say that he was the smart guy (smarter than Dev Anand if I am allowed to say) in ‘Gambler’ (1971) who sits besides the heroine, Zahida, in the song “Dil Aaj Shaayar Hai Gham Aaj Naghma Hai“. But I had no material at hand to write about Sudhir. For example, I didn’t know where he was from etc. He played characters that were always behind the scenes in many of his movies like ‘Shareef Badmash’ (1973) etc. I checked online and found that his real name was Bhagwandas Mulchand Luthria. I also learnt that he is uncle to Milan Luthria who has made a few movies in recent times. Then on further googling I also saw that he had produced a movie or two (according to IMDB.com). It seems he was also an assistant director.  But nothing more that would stand out so I am leaving it to our experts in Atuldom to fill about this character artiste.

[Ed Note: Please see the post for the song “Na Maano To Koi Shikaayat Nahin” from film ‘Ustad 420’ (1969), as well as the comments therein. The comments plus the post provide a fairly detailed bio sketch of the character actor Sudhir.]

Today’s song is from the film ‘Poonam’ (1981), directed by Harmesh Malhotra, starring Raj Babbar & Poonam Dhillon with Shakti Kapoor, Madan Puri, Pinchoo Kapoor, Kalpana Iyer and all the required mother, friends and grey characters that family drama movies need to stop the lovers from getting married the minute they fall in love. The song is in the divine voice of Mohd. Rafi. It is written by Anjaan and Anu Malik was the music director. (This was one of Anu Malik’s first movies.)

[Full Song]

[Short Reprise]

Song – Laagi Lag Jaaye Logo, Lagaai Nahin Jaaye (Poonam) (1981) Singer – Mohammed Rafi, Lyrics – Anjaan, MD – Anu Malik
Chorus

Lyrics

laagi lag jaaye..e..e logo
lagaayee..ee nahin jaaye re
ye agan lag jaaye to
bujhaai nahin jaaye re

laagi lag jaye logo
lagaayee..ee nahin jaaye re
ye agan lag jaaye to
bujhaai nahin jaaye re

beliya beliya
beliya beliya
ho o dil tera
kisi ne le liya

jab ye bachpan kahin door jaane lagey
rut jawaani ki ye paas aane lagey
dil ki dhadkan naye geet gaane lagey
saans nagme naye gungunaane lagey
bin piye ye kadam dagmagane lagey
bin piyeyeh kadam dagmagane lagey
phir kisi din kahin aankh aise ladey
aankh aise ladey
saath dil le udey
jab mile dil jawaan
to shuru dastaan
do diwaane baney jism do ek jaan
yun mile dil to mil ke juda ho kahaan
yun mile dil to mil ke juda ho kahaan
ye mohabbat dilon se
mitaai nahin jaaye re
ye agan lag jaaye to
bujhaai nahin jaaye re

beliya beliya
beliya beliya
ho o dil tera
kisi ne le liya

pyaar ke rang se phir haseen ho jahaan
phoolon ki ho zameen
taron ka ho aasman
ho sharabi hawa
ho gulabi ghata
muskuraye nazar dagmagaye adaa
har kadam pe khushi har kadam pe nasha
har kadam pe khushi har kadam pe nasha
aate aate kabhi aaye phir ye ghadi
zindagi se jude
zindagi ki kadi
preet dulhan bane
lal joda saje
pyar dulha bane sar pe sehra bandhe
hath mehandi rache aur piya thaam le
hath mehandi rache aur piya thaam le
jodi ban jaaye..e..e logo
banaai nahin jaaye re
ye agan lag jaaye to
bujhaai nahin jaaye re

aa aaaa aaaaa
aa aaa aaaaaa
aa aaaa aaaaa
aa aaaa aaaaa aaaa

beliya beliya
beliya beliya
beliya beliya
beliya beliya
beliya beliya
beliya beliya

par hamesha yahaan aisa hota nahin
sunte aaye hain jo waisa hota nahin
ishq ki raah mein baarhaa ye hua
ishq ki ye dua ban gayi bad-dua
pyaar bichada kahin yaar maara gaya
pyaar bichada kahin yaar maara gaya
yaar bichade jahaan
leke tanhaaiyaan
dil se lipti hui
jalti parchhaaiyaan
phir sulagne lagey
jism ke sang jaan
aag aisi lagey
chhaaye aisa dhuaan
khaak ho jaayen jal jal ke dono jahaan
khaak ho jaayen jal jal ke dono jahaan
dil ki basti lutey to

basaayi nahin jaaye re
ye agan lag jaaye to
bujhaai nahin jaaye re
beliya beliya
beliya beliya
ho o dil tera
kisi ne le liya

laagi lag jaaye..e..e logo
lagaayi nahin jaye re
ye agan lag jaayea to
bujhaai nahin jaaye re

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
लागि लग जाये॰॰ए॰॰ए लोगो
लगाई॰॰ई नहीं जाये रे
ये अगन लग जाये तो
बुझाई नहीं जाये रे

लागि लग जाये॰॰ए॰॰ए लोगो
लगाई॰॰ई नहीं जाये रे
ये अगन लग जाये तो
बुझाई नहीं जाये रे

बेलिया बेलिया
बेलिया बेलिया
हो ओ दिल तेरा
किसी ने ले लिया

जब बचपन कहीं दूर जाने लगे
रुत जवानी की ये पास आने लगे
दिल की धड़कन नए गीत गाने लगे
सांस नगमे नए गुनगुनाने लगे
बिन पिये ये कदम डगमगाने लगे
बिन पिये ये कदम डगमगाने लगे
फिर किसी दिन कहीं आँख ऐसे लड़े
आँख ऐसे लड़े
साथ दिल ले उड़े
जब मिले दिल जवान
तो शुरू दास्तान
दी दीवाने बने
जिस्म दो एक जां
यूं मिले दिल तो मिल के जुदा हो कहाँ
यूं मिले दिल तो मिल के जुदा हो कहाँ
ये मोहब्बत दिलों से
मिटाई नहीं जाये रे
ये अगन लग जाये तो
बुझाई नहीं जाये रे

बेलिया बेलिया
बेलिया बेलिया
हो ओ दिल तेरा
किसी ने ले लिया

प्यार के रंग से फिर हसीं हो जहां
फूलों की हो ज़मीन
तारों का आसमां
हो शराबी हवा
हो गुलाबी घटा
मुस्कुराए नज़र डगमगाये अदा
हर कदम पे खुशी
हर कदम पे नशा
हर कदम पे खुशी
हर कदम पे नशा
आते आते कभी आए फिर ये घड़ी
ज़िंदगी से जुड़े
ज़िंदगी की कड़ी
प्रीत दुल्हन बने
लाल जोड़ा सजे
प्यार दूल्हा बने सर पे सेहरा बंधे
हाथ मेहंदी रचे और पिया थाम ले
हाथ मेहंदी रचे और पिया थाम ले
जोड़ी बन जाये॰॰ए॰॰ए लोगो
बनाई नहीं जाये रे
ये अगन लग जाये तो
बुझाई नहीं जाये रे

आ आss आsss
आ आs आssss
आ आss आsss
आ आss आss आss

बेलिया बेलिया
बेलिया बेलिया
बेलिया बेलिया
बेलिया बेलिया
बेलिया बेलिया
बेलिया बेलिया

पर हमेशा यहाँ ऐसा होता नहीं
सुनते आए हैं जो
वैसा होता नहीं
इश्क़ की राह में बारहा ये हुआ
इश्क़ की ये दुआ बन गई बददुआ
प्यार बिछड़ा कहीं यार मारा गया
प्यार बिछड़ा कहीं यार मारा गया
यार बिछड़े जहां
लेके तनहाइयाँ
दिल से लिपटी हुई
जलती परछाइयाँ
फिर सुलगने लगे
जिस्म के संग जां
आग ऐसी लगे
छाए ऐसा धुआँ
खाक हो जाये जल जल के दोनों जहां
खाक हो जाये जल जल के दोनों जहां
दिल की बस्ती लुटे तो
बसाई नहीं जाये रे
ये अगन लग जाये तो
बुझाई नहीं जाये रे
बेलिया बेलिया
बेलिया बेलिया
हो ओ दिल तेरा
किसी ने ले लिया

लागि लग जाये॰॰ए॰॰ए लोगो
लगाई॰॰ई नहीं जाये रे
ये अगन लग जाये तो
बुझाई नहीं जाये रे


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

Report on Gangout in Mumbai on 29-4-2017, Part 1
—————————————————–

It so happened that Bakshish Singh ji had informed me that he would be in Mumbai, for a week, in February. Later on he informed that author Javed Hamid ji will also accompany him and so he suggested that we meet on 25th February 2017. Accordingly, all arrangements were made and plans were drawn by me and Sadanand ji. However, around 20th February or so, Bakshish ji informed me that due to a death in the family, he had cancelled his visit. So, the meeting was postponed to April end when, as per him, he would come to Mumbai with Sudhir ji and Javed ji.

In the meantime, Bharatbhai had left for a long trip to USA. These things were not new to me. even in the past,such planned meetings had been cancelled in Mumbai. Maximum number of Gangouts were planned, cancelled and also held in Mumbai, in last few years. Sigh ! Anyway, come April and once again Mails started flying between me, Sudhir ji and Sadanand ji. Now of course only two of us, me and Sadanand ji remained in Mumbai as active participants.( Nitin ji in Indore and no response from Nahm ji ). To further precipitate the matters, even Sadanand ji had expressed his doubts due to a proposed US visit. Luckily that was postponed and he was available.

Lo and behold ! As if it was mandatory, there was a death in the family of Bakshish Singh ji this time also and he cancelled his programme again. Sudhir ji too informed that even his programme was doubtful. I was following advise from Shrikrishna to Arjuna in Geeta- be a Sthitapradnya- स्थितप्रज्ञ – in adverse conditions. Means do not get affected by happenings surrounding you. I was mentally prepared for yet another cancellation of the Gangout. ( Anyway, I have decided to suggest to Bakshish Sngh ji that he should announce that he is going to Kolkata and coolly come to Mumbai !).

Sudhir ji, Bakshish Singh ji and Javed ji had plans to visit Pune also, after their seminar ( on 30th April and 1st May) was over. Because of the changed plans, even Javed ji wanted to cancel his Mumbai visit. In addition to all this, some health problem in Sudhir ji’s family put the whole plan in jeopardy !

All this uncertainty was causing hurdles in planning anything concrete for the Gangout. We were not even sure if it will take place. In all the earlier Gangouts at my place, we had lunch and Tea arrangements made by my daughters at home ( in Sudhir ji’s words “Anju-Manju event management company”). This time however, both daughters were not available, so we decided to make it a hybrid programme. My cook will make Chapati and Rice, other food will be ordered from outside and Sadanand ji would take care of the Sweets, while coming. From our side everything was planned and we sat with crossed fingers.

Finally,just one day prior to the Gangout, i.e. on Friday the 28th April, Sudhir ji confirmed that he and Javed ji have boarded the train for Mumbai and would arrive on 29th morning, as scheduled. He also confirmed that Bakshish singh ji, with all the difficulties, would reach Mumbai next day,i.e. on 30th….he would miss the Gangout but we could meet later. We heaved a sigh of relief and I gave all the finishing touches to the meeting.

As scheduled, Sudhir ji and Javed ji arrived in Mumbai on the morning of 29th April. Their train was one hour late. They alighted at Borivali and took a taxi to my place in Andheri. Normally the taxi fare would be around 250 to 300 rupees,depending on the traffic on the road. I was surprised that the Taxi driver charged them Rs. 600. They said even the meter showed this amount. This is an old trick used for outsiders, by the drivers. What they do is, they do not close the earlier trip meter to zero. Thus when the new passenger sits in the taxi, the meter starts from last reading.

I was very happy to see both of them. They were offered a welcome drink of Nimbu-Pani and over the drinks, they got the good news that they were cheated by the Taxi driver. With a sad heart, they freshened up and then had a breakfast of hot Upma and Idli sambar and Tea. By this time it was 11 am. At about 11.30 am Sadanand ji arrived with a box of sweets and Namkeen ( Kothimbir-vadi, a local delicacy) and finally….the meeting started. ( End of Part – 1 ).

Today’s song is from the film “Awara Shehzadi”-1956. The film makes its debut on the Blog with its first song.

Awara seems to be a favourite prefix of film titles. There are a total of 14 film titles having Awara in it. Funnily, the original “Awara Shehzada”was a film of 1933. It took 23 years to bring about a female version of the Title with Awara Shehzadi in 1956 ! Incidentally, film ‘Awara Shehzada’-33 was the First Talkie film, having a Double Role. Shahu Modak had done the roles of the Prince ( Rajkumar) and the Pauper ( Bholaram) in this film. It was directed by Master Vithal, the First Hero of First Talike of India, “Aalam Ara “-1931.

Film Awara Shehzadi-56 was produced by Hind Pictures and the Producer/Director was one Pyarelal. I do not know anything about this Pyarelal, but Hind pictures was originally established and owned by the successful Actor and Director Nazir Ahmed Khan. During the Partition riots, Hind pictures studio was burnt by the mob. Nazir Ahmed stood there,smoking a cigarette,watching his property turn into ashes. He must be glad, nobody recognised him. He knew that in Lahore, same type of frenzied mob had burnt Dalsukh Pancholi’s studio to ashes and he had expected its repercussions in India too. After this, shortly,he left everything he had earned in India here only and with only worn clothes left for Pakistan. There he started fro scratch again and became Pakistan’s successful produce/Director. This time he had his third wife, actress Swarnalata with him. His second wife Sitara Devi had eloped with his nephew K.Asif ( he ran a Tailoring shop then) to Delhi. Under the “Enemy Property law”-48, Hind picture studios must have been allotted to some person who had lost everything in Pakistan. May be this was that Pyarelal. I do not know. He produced and directed 4 films under the same banner-Hind pictures.

Film ‘Awara Shehzadi ‘ -56 had two MDs. Jimmy and Nashad. Composer Jimmy is one of those little known composers who never got fame or name in spite of their Talents. His real name was JAMES SINGH. he was a Christian sikh from Ludhiana. He was educated in Delhi. He started his career in Hindi films as a singer in Chorus. he could play many western instruments, especially all types of Guitars. When he failed as a singer, he became assistant to many composers. Finally, he got his chance to compose few songs for film ‘Muqaddar-50’,though with Khemchand Prakash and Bhola Shreshtha. He composed 2 duets of Asha and Kishore. The credit of teaching ” Yodelling ” to Kishore Kumar goes to Jimmy. Kishore ‘yodelled ‘ for the first time in this film.

Jimmy then gave music in 14 more films like, Shrimati ji, Smuggler, Awara Shehzadi, Sher e Baghdad, Nek khatoon, Pathan, Miss Chaalbaaz, Tarzan and Gorilla, Duniya hai dilwalon ki, Tarzan in fairy land, Khoon aur sazaa, Pyar ki baazi ,Aakhir and his last film, Sachhi Ibadat-1987. Inspite of giving sweet and melodious songs of a variety, Jimmy never came up to A class. He always remained a composer for C grade films. Anyway, as long as Kishore’s yodelling is heard, Jimmy’s name will be remembered.

In spite of my efforts, I could find only one song of this film on You Tube, so that way, it is a rare song. There were 7 songs in the film. 4 were composed by Jimmy and 3 by Nashad. Today’s song has a very good tune. Somewhere I felt that the same tune is used by another song in some film,but I could not remember that song. If any reader finds that song with similar tune, kindly put a comment here. The song is sung by Geeta Dutt and chorus. The Lyricist was Khawar Jama ( what a name ! ), who wrote 75 songs in 28 films- mostly B and C grade films. He had acted also in film Chandu-58.

The story of Awara Shehzadi was a typical one. The lead pair was Meena Shorey and Daljit. Daljit ( real name Jogender Puri) was born on 17-9-1931. He acted in 43 films and directed 2 films. All Stunt and action films. He had done 11 films with Chitra.

Meena is an unfortunate princess, who was abandoned by her father, because she was declared as a girl with lot of misfortune. A loyal maid took her and brought her up for 20 years. When she comes to know the truth, she decides to regain her position and heads to the Capital of the kingdom.

On her way, she meets a dancer. She takes her costume and proceeds. She meets the hero, who is like a Robin Hood. They fall in love. After completing the mandatory songs around trees etc, they proceed to the city. There are a series of funny and daring incidents. They are arrested as thieves, jailed, put in mental asylum and also sentenced to death. However with the help of good luck, friends and the team of Director and script writers they finally reach the king and reveal their identity.
Everything is fine after that and the lovers sing a song before the film closes.

Now let us enjoy this song.

Editor’s note- As many as 120 movies were released in the year 1956. This movie is the 100th movie of 1956 to find representation in the blog.


Song-Naach rahi naach rahi champakali (Aawaara Shahzaadi)(1956) Singer- Geeta Dutt, Lyrics- Khawar Zamaan, MD- Jimmy
Chorus

Lyrics

naach rahi naach rahi champaakali
kismat kahaan se kahaan le chali
haay kismat kahaan se kahaan le chali
champaakali champaakali champaakali
ho naach rahi naach rahi champaakali
ho naach rahi naach rahi champaakali

o o
gham ka fasana kisko sunaaun
dil ki lagi koi na jaane
gham ka fasaana kisko sunaaun
dil ki lagi koi na jaane
aankhon mein aansoo honthon pe aahen
sun le o zaalim zamaane
champaakali champaakali champaakali
ho naach rahi naach rahi champaakali
ho naach rahi naach rahi champaakali

naach naach naach rahi champaakali
kismat kahaan se kahaan le chali
haay kismat kahaan se kahaan le chali

o o o
aaho se khele taraane khushi ke
aankho mein ashkon ke mele
aahon se khele taraane khushi ke
aankhon mein ashkon ke mele
kismat ke teeron ka ban kar nishaana
rah gaye ham to akele
o o o
champaakali champaakali champaakali
ho naach rahi naach rahi champaakali
ho naach rahi naach rahi champaakali

naach naach naach rahi champakali
kismat kahaan se kahaan le chali
hay kismat kahaan se kahaan le chali

o o o
chhaai khizaayen dil ke chaman mein
roothi hain hamse bahaaren
chhaai khizaayen dil ke chaman mein
roothi hain hamse bahaaren
ujdi huyi hai khushiyon ki duniya
aise mein kisko pukaaren
champaakali champaakali champaakali
ho naach rahi naach rahi champaakali
ho naach rahi naach rahi champaakali


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What is this blog all about

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

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has over 13200 song posts by now.

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

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Movies with all their songs covered =1000 Total Number of movies covered =3703

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