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

Archive for the ‘Free Spirit Song’ 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.

Blog Day : 3565 Post No. : 14291

kuchh yaad rahe to sun kar jaa. . .

The nectar tinged fragrance of this voice suffuses through the strings of the heart through so many wonderful renderings. The mind is left amazed by the effortless expressions of the emotions covering the full spectrum of human experience. “Loot Liyo Mann Dheer. . .” is probably the only exclamation that the mind responds with, as it passed through the shower of her musical portrayals.

Kanan Devi – the doyen, the first lady of cinema in Bengal. We remember and honour her today (22nd April), on the anniversary of her birth. During her heydays in the 1930s and 40s, her popularity was so celebrated, that in those years, security had to be arranged when she moved about in public.

She was born this day in 1916, at Howrah. As per her own account, it was a very un-remarkable beginning to a tiny life, in the hands of a couple whom she knew only as her adoptive parents. Her foster father passed away quite early. She and her mother went through some difficult years, and the young Kanan Bala was not able to complete any form of formal school education.

In 1926, a family well wisher, introduced her to the management at Madon Theatres, Calcutta. Kanan was a child of 10 years. She worked in silent films and even did the male lead roles in ‘Vishnu Maya’ and ‘Prahlad’ (both in 1932). Transition from silent films to talkie films was very smooth for her. She had a good command over the spoken word and a remarkable singing talent – it only needed guidance and direction from teachers like Allah Rakha, Anaadi Dastidar, Bhishmdev Chatterjee, and yes, RC Boral.

From Madon, she moved to Radha Films in 1933. She was growing up into a beautiful and sophisticated young woman. In 1937 she transitioned to New Theatres. A regret she carried always – in 1934-35 she was offered a role in New Theatre’s ‘Devdas’ (1935), but could not accept as she was bound by her contract with Radha Films. She worked with New Theatres till 1941, and then moved to MP Productions in 1942.

After her formative years at Madon and Radha Films, her years at New Theatres and MP Productions are the most dazzling years of her career. In both organizations, her films became hugely popular hits, film after film, year after year. The music and the songs of these films made her the first lady singing superstar of Indian cinema. Her last Hindi film was ‘Chandrashekhar’ in 1948, opposite to Ashok Kumar. After this, she turned a producer in 1949, and set up her own company – Shrimati Pictures.

The song being presented today is a such lovely gem from the 1947 film ‘Faisla’. It is a duet sung in accompaniment with Aparesh Lahiri. Music is by Anupam Ghatak; the lyricist’s name is not available. Listening to this wonderful melody, brings to mind another similar song from a decade and a half later. I refer to the Talat-Lata duet from ‘Chhaaya’ (1961) – “Itna Na Mujh Se Tu Pyaar Badha, Ke Main Ik Baadal Awaara”. Although quite different songs, the mind is taken by the similarity in the theme of the song, as the gentleman professes a spirit of freedom, unencumbered by the matters of the heart, and whereas the lady expresses her desire to be together.

As the song begins, the voice of Kanan Devi flows in, giving an expression to the free spirit of the heart – a spirit like a bird that is unaware of the amorous emotions of love. Such a pleasure to listen to this voice.

Song – Khuli Hawa Mein Udne Waala Panchhi Preet Na Jaane  (Faisla) (1947) Singer – Kanan Devi, Aparesh Lahiri, Lyrics – Pran, MD – Anupam Ghatak
Both

Lyrics

khuli hawa mein udne waala
panchhi preet na jaane
haan haan
panchhi preet na jaane
khuli hawa mein udne waala
panchhi preet na jaane
haan haan
panchhi preet na jaane

kyun
wo bhanwara..aa..aa
wo bhanwara..aa ye bhi na jaane
kaliyan
kaliyan kyun muskaati
dard bhare
harne ko ye jhoom
daalon par hai gaati
koyal
daalon par hai gaati

aaa aaa aaa aaa aaa
duniya
is duniya se nyaari
khud hi chala basaane
duniya
is duniya se nyaari
khud hi chala basaane
apni dhun ka raahi kaise ho
prem dagar pehchaane
ho oo oo oo
prem dagar pehchaane
khuli hawa mein udne waala
panchhi preet na jaane
haan haan
panchhi preet na jaane

kyun udne ki aadat koi
panchhi se chhudwaaye
kyun udne ki aadat koi
panchhi se chhudwaaye
baithi hai duniya
unke raste mein jaal bichhaaye
bhola panchhi
ye na jaane
bhola panchhi
ye na jaane
aaj mujhe bandhan mein apne
kyun deti ghutaane
aaj mujhe bandhan mein apne
kyun deti ghutaane
bhola panchhi
ye na jaane
bhola panchhi
ye na jaane

khuli hawa mein udne waala
panchhi preet na jaane
haan haan
panchhi preet na jaane

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

खुली हवा में उड़ने वाला
पंछी प्रीत ना जाने
हाँ हाँ
पंछी प्रीत ना जाने
खुली हवा में उड़ने वाला
पंछी प्रीत ना जाने
हाँ हाँ
पंछी प्रीत ना जाने

क्यों
वो भँवरा॰॰आ॰॰आ
वो भँवरा॰॰आ ये भी ना जाने
कलियाँ
कलियाँ क्यों मुसकाती
दर्द भरे
हरने को ये झूम
डालों पर है गाती
कोयल
डालों पर है गाती

आ आ आ आ आ
दुनिया
इस दुनिया से न्यारी
खुद ही चला बसाने
दुनिया
इस दुनिया से न्यारी
खुद ही चला बसाने
अपनी धुन का राही कैसे हो
प्रेम डगर पहचाने
हो ओ ओ ओ
प्रेम डगर पहचाने
खुली हवा में उड़ने वाला
पंछी प्रीत ना जाने
हाँ हाँ
पंछी प्रीत ना जाने

क्यों उड़ने की आदत कोई
पंछी से छुड़वाये
क्यों उड़ने की आदत कोई
पंछी से छुड़वाये
बैठी है दुनिया
उनके रस्ते में जाल बिछाए
भोला पंछी
ये ना जाने
भोला पंछी
ये ना जाने
आज मुझे बंधन में अपने
क्यों देती घुटाने
आज मुझे बंधन में अपने
क्यों देती घुटाने
भोला पंछी
ये ना जाने
भोला पंछी
ये ना जाने

खुली हवा में उड़ने वाला
पंछी प्रीत ना जाने
हाँ हाँ
पंछी प्रीत ना जाने

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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.

Blog Day : 3554 Post No. : 14258

Ah yes – ‘Hunterwaali’. Seems that just like Tarzan, ‘Hunterwaali’ has been quite a favorite title and theme for film producers in India. The original ‘Hunterwaali’ was released in 1935 – with Fearless Nadia assaying the title role. This was followed in 1943 with a title variation of ‘Hunterwaali Ki Beti’. Then in 1959 came another ‘Hunterwaali’, this time the title role being played by Mehru. In 1972, came a production from the south. The female lead role was played by Jyotilakshmi. In 1978, yes, one more ‘Hunterwaali’ film was released. And guess, the lady playing the title role – it is Bindu.
[Ed Note: Atul ji points out that there is another ‘Hunterwaali’ film right there from the year 1959; the title is ‘Miss Hunterwaali’.]

After 1978, for lack of recorded data, it cannot be certainly said what other ‘Hunterwaali’ films came. There is a Bhojpuri film by this name in 2014-15. YouTube also informs us that there was a film by this title, produced in Pakistan also, in 1988.

As per the details recorded in HFGK, the film is produced by Madhav Rao and Rustom Irani under the banner of Golden Movies Corporation, Bombay and is directed by BJ Patel. The cast of actors is listed as Mehru, Samar Roy, Habeeb, Ram Raseela, Mirajkar, Jeet Bala, Kailash, Shri Bhagwan, Sattar, and Mohammad amongst others. Five songs are listed for this film. All the songs are written by Shaad. As I checked for this lyricists name in the Geet Kosh, I find that his name appears in just one more film viz., ‘Rifle Girl’ in 1958, which is also already represented here on our blog. Interestingly, the music director for ‘Rifle Girl’ (1958) and ‘Hunterwaali’ (1959) is the same – Harbans. In the Geet Kosh, we see his name appear in eight films over a period of 1958 to 1966.

Coming to the song itself. This wonderful melodious song is sung by Suman Kalyanpur. The beginning of the song is so stirring. The chorus sound of “Lallal Laara, Lallaara” immediately speaks of a promise of a wonderful song to follow. And the promise is verily kept by the music director. One may listen to this tune and may comment that this tune is familiar, and that it is adapted from such and such and such other songs. But that analysis is not important. The lilt and the joy in this melody speaks for itself. Yet once again, the observations pan out – an obscure film (1960s and earlier), unknown or really very less known artists, nothing much available as information – all these characteristics combine to ensure some very lovely and mostly unheard, unfamiliar songs. This instance is no less.

So with this lilting song, the 1958 version of ‘Hunterwaali’ makes its debut on our blog today.

Song – Ye Behta Behta Paani, Ye Rut Ye Jawaani  (Hunterwaali) (1959) Singer – Suman Kalyanpur, Lyrics – Shaad, MD – Harbans
Chorus

Lyrics

lallal laara
lallaara
ho oo oo oo
lallal laara
lallaara
aa aa aa aa

ye behta behta paani
ye rut ye jawaani
ye behta behta paani
ye rut ye jawaani
nazaare panghat ke
chhalakte hain matke
chori chori aa ja re
o chori chori aa ja
ho chori chori aa ja re
o chori chori aa ja
kahaan pe laage nainwa
kahaan hai tora raja
kahaan hai tora raja re
kahaan hai tora raja

oo oo oo oo oo
baar baar naina kajraare
jhuk jhuk jaayen laaj ke maare
kaahe torey naina kajraare
jhuk jhuk jaayen laaj ke maare
ho oo oo oo oo
sakhi ri chaloon kaise
dagar anjaani
ye behta behta paani
ye rut ye jawaani
nazaare panghat ke
chhalakte hain matke
chori chori aa ja re
o chori chori aa ja
ho chori chori aa ja re
o chori chori aa ja
kahaan pe laage nainwa
kahaan hai tora raja
kahaan hai tora raja re
kahaan hai tora raja

oo oo oo oo oo
aaj sakhi re mora mann lehraaye
sar se chunariya udti jaaye
kaahe sakhi ri mora mann lehraaye
sar se chunariya udti jaaye
oo oo oo oo
kaho ji kaise keh doon
main dil ki kahaani
ye behta behta paani
ye rut ye jawaani
nazaare panghat ke
chhalakte hain matke
chori chori aa ja re
o chori chori aa ja
ho chori chori aa ja re
o chori chori aa ja
kahaan pe laage nainwa
kahaan hai tora raja
kahaan hai tora raja re
kahaan hai tora raja

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

लल्ल’ल लारा
लल्लारा
हो ओ ओ ओ
लल्ल’ल लारा
लल्लारा
आ आ आ आ

ये बहता बहता पानी
ये रुत ये जवानी
ये बहता बहता पानी
ये रुत ये जवानी
नज़ारे पनघट के
छलकते हैं मटके
चोरी चोरी आ जा रे
ओ चोरी चोरी आ जा
हो चोरी चोरी आ जा रे
ओ चोरी चोरी आ जा
कहाँ पे लागे नैनवा
कहाँ है तोरा राजा
कहाँ है तोरा राजा रे
कहाँ है तोरा राजा

ओ ओ ओ ओ ओ
बार बार नैना कजरारे
झुक झुक जाएँ लाज के मारे
काहे तोरे नैना कजरारे
झुक झुक जाएँ लाज के मारे
हो ओ ओ ओ ओ
सखी री चलूँ कैसे
डगर अनजानी
ये बहता बहता पानी
ये रुत ये जवानी
नज़ारे पनघट के
छलकते हैं मटके
चोरी चोरी आ जा रे
ओ चोरी चोरी आ जा
हो चोरी चोरी आ जा रे
ओ चोरी चोरी आ जा
कहाँ पे लागे नैनवा
कहाँ है तोरा राजा
कहाँ है तोरा राजा रे
कहाँ है तोरा राजा

ओ ओ ओ ओ ओ
आज सखी रे मोरा मन लहराए
सर से चुनरिया उड़ती जाये
काहे सखी री तोरा मन लहराए
सर से चुनरिया उड़ती जाये
ओ ओ ओ ओ’
कहो जी कैसे कह दूँ
मैं दिल की कहानी
ये बहता बहता पानी
ये रुत ये जवानी
नज़ारे पनघट के
छलकते हैं मटके
चोरी चोरी आ जा रे
ओ चोरी चोरी आ जा
हो चोरी चोरी आ जा रे
ओ चोरी चोरी आ जा
कहाँ पे लागे नैनवा
कहाँ है तोरा राजा
कहाँ है तोरा राजा रे
कहाँ है तोरा राजा


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 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.

Blog Day : 3520 Post No. : 14137

Today, March 8th is the 97th birth anniversary of Sahir Ludhianvi, one of my favourite poet-lyricists. Before him, there were other eminent Urdu poets such as Arzoo Lucknowi, Safdar Aah Sitapuri, Behzad Lucknowi, Josh Malihabadi etc who had been associated with the Hindi film industry sometime or the other. But it was Sahir Ludhianvi who clicked with the Hindi film industry as a poet and raised the status of the lyricists.  Eventually, he created such a status for himself in the Hindi film industry that some of the established producers/directors first took him on board before finalising the music directors for their films.

The traumatic childhood and the failed love affairs coupled with his leftist ideological leanings, are reflected in his ghazals and nazms published in the book ‘Talkhiyaan‘ (‘Bitternesses’) in 1945. However, it was his association with the Hindi film industry which gave him the opportunity to write film songs in the poetic form covering almost all the facets of human life. Some samples below:

Romantic songs

Kashti Ka Khamosh Safar Hai
isi Patthar Ki Moorat Se Muhabbat Ka Iraada Hai

‘Togetherness in Love’ songs

Tum Apna Ranj o Gham Apni Pareshaani Mujhe De Do
Dukh Aur Sukh Ke Raaste Baney Hain Sab Ke Waaste

Songs on Women’s plights

Aurat Ne Janam Diya Mardon Ko
Aurat Ko Faqat Jism Samajh Lete Hain

Songs of Hypocrisy

Ye Duniya Agar Mil Bhi Jaaye To Kya Hai
Kyaa Miliye Aise Logon Se Jinki Fitrat Chhupi Rahe

Satirical songs

Cheen o Arab Hamaara Hindustaan Hamaara
Aasmaan Pe Hai Khuda Aur Zameen Pe Hum

Fun songs

Dil Ye Kya Cheez Hai
Chaahe Koi Khush Ho Chaahe Gaaliyaan Hazaar De

Teasing Love songs

Hum Aapki Aankhon Mein Is Dil Ko Basaa Den To
Uden Jab Jab Zulfen Teri

Khushnuma (feel good) songs

Thandi Hawaayen Lehraa Ke Aayen
Phaili Huyi Hain Sapnon Ki Baahen

Motivational/Inspirational Songs

Raat Ke Raahi Thhak Mat Jaana
Main Zindagi Ka Saath Nibhaata Chala Gaya

Mother-Child songs

Tu Mere Pyaar Ka Phool Hai
Tere Bachpan Ko Jawaani Ki Dua Deti Hoon

In addition, Sahir Sahab also wrote other genres such as qawwali,  patriotic songs, devotional songs etc. A question is raised as to what is so unique about  Sahir Sahab’s songs? His contemporary Urdu poets like Shakeel Badayuni, Majrooh Sultanpuri and Kaifi Azmi also wrote many genres of songs for the films. In my view, the main difference was that Sahir Sahab’s songs were  an extension of his literary poetry (adabi shaayari) while the others wrote mostly lyrics for the songs. While Majrooh Sultanpuri and Kaifi Azmi rarely mixed the PWA ideology in their film songs, Sahir Sahab’s songs covered such thoughts even in some fun songs in films like  ‘Taxi Driver’ (1954), ‘Funtoosh’ (1956) and  ‘Pyaasa’ (1957).

We  should be thankful to Sahir Sahab for joining the Hindi film industry. Had he remained away from Hindi film industry and concentrated only on the literary Urdu poetry, we would have certainly missed the range of his poetry in the Hindi film songs. Surely, he would have joined the list of the Urdu poets of pains, bitterness and sorrows like Mir Taqi Mir,  Faani Badayuni, Majaaz Lucknowi,  Sudarshan Faakir etc. But in this process, he would have missed ‘the poet of mass appeal’ tag.

Again, I would say that Sahir Sahab’s  association with Hindi film industry perforce made him to look for the brighter side of the life. Note how he starts one of the songs in ‘Shagoon’ (1964) in a pessimistic note and ends with optimism:

zindagi zulm sahi zabr sahi gham hi sahi
dil ki fariyaad sahi rooh kaa maatam hi sahi

going on to

ham hain maayoos magar itne bhi maayoos nahin. . .
ek na ek din to yah ashkon ki ladi tootegi
ek na ek din to chhatenge ye ghamon ke baadal
ek na ek din to ujaale ki kiran phootegi

Sahir Sahab first came to Bombay (now Mumbai) in January 1946. He began his filmy career in the same year with an assignment to write songs for the film ‘Aazaadi Ki Raah Par’ under the baton of music director GD Kapoor. He wrote 3 songs for this film. (The film’s release was delayed and it got released only in 1948). After this assignment, there is a gap of about 3 years in his filmy career. When partition happened he returned to Lahore in September 1947 to search for and bring back his mother. Sometime in the middle of 1948, he had to hurriedly leave Lahore. After returning, he first came to Delhi, where he occupied himself editing an Urdu periodical for about a year. In May 1949, he came to Bombay with a resolve to become a song writer for the films.

The greatest handicap for Sahir Sahab in pursuing his career in film industry was that he was already a popular Urdu poet with his published work ‘Talkhiyaan’ (1945). The film industry is generally wary of poets’ capabilities of writing lyrics for the songs for given situations in the films. After struggling for about 2 years, he got the opportunity to write songs for the film ‘Naujawaan’ (1951) under SD Burman. The box office success of ‘Baazi’ (1951) in the same year with its hit songs gave a boost to his career in the film industry. During 1951-57, Sahir Sahab majorly worked with SD Burman (138 songs out of 218).

Sahir Ludhianvi’s ‘obsession’ to place his song writings above the contributions of  singers and music directors seems to have come into open sometime in mid 1950s when he had arguments with Lata Mangeshkar on this issue. It is a moot point whether it was Lata Mangeshkar who refused to sing his songs or other way round. But the end result was that Sahir lost 9 out of 11 films because producers/directors will have Lata Mangeshkar rather than Sahir Ludhianvi [Source: Javed Akhtar on TV programme ‘Classic Legends’]. Two films which remained with him were ‘Pyaasa’ (1957) and ‘Naya Daur’ (1957) in which Lata Mangeshkar had no songs. But it was these two films which gave him the status as a song writer par excellence. Here Sahir Sahab proved his point that his songs could still become popular without Lata Mangeshkar.

However, the success of these two films also resulted in the termination of Sahir Sahab’s  association with two top music directors at that time – SD Burman and OP Nayyar due to clash of egos. Again, the issue raised was that it was his songs more than the music that these two films became hits. In support of his claims, he started quoting his fees for song writings in a film one rupee above the amount agreed to be paid to the music director of that film. With his tiffs with the top playback singer and two top music directors of that time, many in the Hindi film industry must have felt at that time that Sahir Sahab committed a hara-kiri and his filmy career was doomed.

While Sahir Sahab eventually made up with Lata Mangeshkar, now it was the time for him to prove that his songs can still become popular in the films without the services of the commercially top rated music directors of that time. He roped in music director Khayyam for ‘Phir Subah Hogi’ (1958),  N Dutta for  ‘Dhool Ka Phool’ (1959) and Roshan for ‘Barsaat Ki Raat’ (1960). While the first film did not fare well at the box office, its songs became very popular. The other two films were super hits on the box office.  In this process, Sahir Sahab not only retained his eminent position in the film industry as a song writer, he became instrumental in giving boost the sagging careers of music directors, Khayyam, Roshan and later  Ravi (‘Gumraah’, 1963).

In the 1960s, he worked mainly with the second line music directors but had super hit films like ‘Hum Dono’ (1961), ‘Dil Hi To Hai’ (1963), ‘Gumraah’ (1963), ‘Mujhe Jeene Do’ (1963), ‘Taj Mahal’ (1963), ‘Kaajal’ (1965), ‘Waqt’ (1965), ‘Hamraaz’ (1967), ‘Aankhen’ (1968). Some of the films which  did not fare well at the box office but their songs are remembered even today were ‘Aaj Aur Kal’ (1963), ‘Chitralekha’ (1964), ‘Ghazal’ (1964), ‘Shagoon’ (1964) and ‘Bahu Begum’ (1967).

There is no denying the fact that there is something magical in Sahir Sahab’s song writings. Most of his songs struck a chord with the audience and the listeners. My own experiences in listening to some of his songs are that his lyrics are the characteristic that first registered in my mind, for most of his songs.

There is a quote in the fashion world – the dress must follow the body and not the body following the shape of the dress. If this quote is extended to film songs, one can say that a beautiful body (lyrics) brings out the best in the dress (music). Sahir Sahab believed that it is the beautiful poetry which brings best of the music composition. He became more forthcoming in keeping his song writings ahead of the music director after the success of ‘Pyaasa’ (1957). In  my view, he was not off the mark, particularly for his popular songs.

In my younger days, when I had listened to “Ye Duniya Agar Mil Bhi Jaaye To Kya Hai” and “Jinhen Naaz Hai Hind Par Wo Kahaan Hain”, the lyrics came to my attention first because they were soulful, momentarily forgetting the contributions of playback singer and the music director. The reason was that the first verse itself created interest in me to listen to the full lyrics. That SD Burman composed the orchestration with bare minimum musical instruments and Rafi sang in a soft voice are the recognition of the importance of the lyrics of these two songs. Probably, this was also the intention of Guru Dutt as a director.

“Jaane Kya Tu Ne Kahi Jaane Kya Maine Suni”  brought the singer  (Geeta Dutt) to the fore in my mind because of her seductive rendition. Yet, he is successful in bringing the words also in the forefront despite the fact that he had written the song on a pre-set tune. The reason is that this song has been written in short verses – mostly within 4 words. In the context of today’s world, one can say the song has been written in Whatsapp language – short yet effective to convey the message.

Even the dream sequence song, “Hum Aapki Aankhon Mein Is Dil Ko Basaa Den To” which was said to be added in the film on the insistence of film distributor/financier, the imageries used  in the song for teasing are unique and remain in the mind of the listeners. This was basically a ‘relief’ song for the audience in the midst of sad and depressing theme of the film. Generally, such type of ‘addition’ of the song goes out of mind quickly but this song became unforgettable.

I will stop analysing the remaining songs of ‘Pyaasa’ at this stage. Sahir Sahab’s list of beautiful film songs is endless. In fact, one can attempt to write a separate article on each of Sahir Sahab’s  films about his songs especially of his films like ‘Phir Subah Hogi’ (1958), ‘Dhool Kaa Phool’ (1959), ‘Barsaat Ki Raat’ (1960), ‘Taj Mahal’ (1963), ‘Dil Hi To Hai’ (1963), ‘Ghazal’ (1964), ‘Chitralekha’ (1964), ‘Waqt’ (1965) etc

In the 70s, Sahir Sahab continued to be in demand but his charisma in his song writings seems to have somewhat waned. This could be because of two main reasons. First, he was basically a romantic poet and the romantic theme in the films had given way for action-oriented themes with angry man image.  It appears he had a premonition about this when he first wrote the nazm “Main Pal Do Pal Ka Shaayar Hoon“.

Secondly, after the death of his mother in 1976,  he seems to have lost interest in song writing. Also,  his PWA friends were advising him to concentrate more on writing literary poetry. It is said that he had almost decided to reduce his commitments for song writing and concentrate more on literary poetry. However, before he could complete his films’ commitments, a massive heart attack took him away from us on October 25, 1980 at the age of 59.

Sahir Sahab’s life can be summed up in one verse of his  nazm Faraar published in ‘Talkhiyaan’ (1945):

ishq naakaam sahi zindagi naakaam nahin 

Sahir Sahab’s love affairs failed but he lived his life at his own terms and immensely contributed to the making of the golden era of Hindi film music. During the three decades of his association with Hindi film industry, he wrote 732 songs in 114 films worked with 30 music directors. Details are given in the table below:

Music Director No. of films Total songs
S D Burman 18 138
Ravi 19 131
N Dutta 17 109
Roshan 07 59
Khayyam 06 42
Laxmikant-Pyarelal 07 36
R D Burman 04 24
O P Nayyar 05 23
Madan Mohan 03 20
Jaidev 03 16*
Chitragupt 02 13
Sapan Chakravarty 02 11
Ravindra Jain 02 10
Kalyanji-Anandji 02 09
Anil Biswas 02 07
Usha Khanna 02 03
Other Music Directors (14) 14 81
TOTAL (30) 114 732

*Note: Includes 3 songs of ‘Laila Majnu’ (1976).

[Source: List of film songs of Sahir Ludhianvi as appendix to ‘Sahir Ludhianvi – People’s Poet’ – Akshay Manwani (2013).]

It can be observed that out of 732 songs Sahir Ludhianvi wrote during his filmy career, as many as 479 songs (65%) were written for just 5 music director – S D Burman (138), Ravi (131), N Dutta (109), Roshan (59) and  Khayyam (42). He had no occasion to write songs for big names like Naushad and Shankar-Jaikishan and the second line music directors like Salil Chaudhury, SN Tripathi etc.

On the occasion of 97th birth anniversary of Sahir Ludhianvi, I have chosen the song “Hum Jab Chalen To Ye Jahaan Jhoome”, the only song he wrote for the film ‘Hum Hindustani’ (1960). This is a motivational song for the youngsters and is aptly sung by Mohammed Rafi under the baton of Usha Khanna.

Video

Audio

Song – Hum Jab Chalen To Ye Jahaan Jhoome (Hum Hindustani) (1960) Singer – Mohammed Rafi, Lyrics – Sahir Ludhinavi , MD – Usha Khanna

Lyrics

hum jab chalen to
ye jahaan jhoome
aarzoo hamaari
aasmaan ko choome
o ho ho ho
hum jab chalen to
ye jahaan jhoome
aarzoo hamaari
aasmaan ko choome
o ho ho ho
hum jab chalen to. . .
 
hum naye jahaan ke .. paasbaan
hum nayi bahaar ke .. raazdaan
hum hanse to hans pade .. har kali
hum chalen to chal pade .. zindagi
saare nazaaron mein
phoolon mein taaron mein
hamne hi jaadu bhara
hum jab chalen to
ye jahaan jhoome
aarzoo hamaari
aasmaan ko choome
o ho ho ho
hum jab chalen to. . .
 
hamse hai fizaaon mein .. rang-o-boo
hum hai is zameen ki .. aabroo
nadiyon ki raagini .. hamse hai
har taraf ye taazgi .. hamse hai
saare nazaaron mein
phoolon mein taaron mein
hamne hai jaadu bhara. . .
hum jab chalen to. . .
 
door ho gayin sabhi .. mushkilen
khinch ke paas aa gayin .. manzilen
dekh ke shabaab ke .. hausle
khud-ba-khud simat gaye .. faasle
saare nazaaron mein
phoolon mein taaron mein
hamne hi jaadu bhara. . .
hum jab chale to
ye jahaan jhoome
aarzoo hamaari
aasmaan ko choome
o ho ho ho
hum jab chalen to. . .

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हम जब चलें तो
ये जहान् झूमे
आरज़ू हमारी
आसमान को चूमे
ओ हो हो हो
हम जब चलें तो
ये जहान् झूमे
आरज़ू हमारी
आसमान को चूमे
ओ हो हो हो
हम जब चलें तो॰॰॰

हम नए जहान् के ॰॰ पासबाँ
हम नई बहार के ॰॰ राज़दाँ
हम हँसें तो हंस पड़े ॰॰ हर कली
हम चलें तो चल पड़े ॰॰ ज़िंदगी
सारे नज़ारों में
फूलों में तारों में
हमने है जादू भरा
हम जब चलें तो
ये जहान् झूमे
आरज़ू हमारी
आसमान को चूमे
ओ हो हो हो
हम जब चलें तो॰॰॰

हमसे है फिज़ाओं में ॰॰ रंग ओ बू
हम हैं इस ज़मीन की ॰॰ आबरू
नदियों की रागिनी ॰॰ हमसे है
हर तरफ ये ताजगी ॰॰ हमसे है
सारे नज़ारों में
फूलों में तारों में
हमने है जादू भरा
हम जब चलें तो॰॰॰

दूर हो गईं सभी ॰॰ मुश्किलें
खिंच के पास आ गईं ॰॰ मंज़िलें
देख के शबाब के ॰॰ हौसले
खुद ब खुद सिमट गए ॰॰ फासले
सारे नज़ारों में
फूलों में तारों में
हमने है जादू भरा
हम जब चलें तो
ये जहान् झूमे
आरज़ू हमारी
आसमान को चूमे
ओ हो हो हो
हम जब चलें तो॰॰॰


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.

Blog Day : 3476 Post No. : 13962

Missing Films of 1960s – 50
– – – – – – – – – – – – – – –

Films get made, they are processed and censored, they get released – and quite a number of them simply fade away without a trace. The fate is shared by many a films. Unless the film was a success, or was produced by a big production house, or had a cast of actors or music director associated with it, who were well known.

I do not mean to say that all films were disasters, and were financial debacles. No. Rather many of the B/C grade adventures and stunt type films, would actually do very good business in the 2nd and 3rd tiered circuits, catering to a class of audience, who were avowed loyalists to this genre. So they may not have been failures as such. But then, not being associated with big names in the industry, there generally was no one to look after them, once the first and second runs in the theatres were done with. What with the celluloid originals requiring large storage spaces, and also the controlled environment to maintain, most producer simply turned their backs on these films, and moved on with their pockets filled as much as the film’s run could give them. After that, it was the trash heap, or the fire of silver extractors, that simply destroyed so many of these films. ‘Heritage’ is probably a word that our film industry simply does not comprehend.

‘Baaghi Haseena’ is one such film from the year 1965. Categorized as a fantasy cum stunt film, it comes from the banner of Award Films, Bombay and its director’s name is given simply as Ram. An abbreviated list of actors includes Jairaj, Chitra, Sherry, Sheikh and Helen. The first two are the lead pair, Sherry most likely is the villain of the piece, Sheikh is the comic relief, and Helen, of course, is the entertainment attraction for the audiences. And voila, the film is made.

Ok, sorry – songs are needed. So there is a music director – the name is PD Sharma. As I scanned some part of the Geet Kosh, I find no other reference to this name, anywhere else. So this most likely, is the only film done by this music director. I do find a name that might be close – Pandit Damodar Sharma. But that is way back in 1948. In all likelihood, these two are not the same person. I request other knowledgeable readers and friends to add more information here, if available.

The songwriter’s name is lost. The Geet Kosh lists 5 songs for this film, also gives indication that there might be more. The singer names are available and so are the 78 rpm record nos. One possibility is that this detail is probably from the HMV catalogs.

The film has two wonderful solo songs by Asha Bhosle. I present today, one of them, for your listening pleasure. Listening to the words and rendition, it seems very likely that these two Asha Bhosle songs could be performed by Helen. The reason I say so is this – the list of songs contains a Sumam Kalyanpur solo and a Suman-Rafi duet. Likelihood is that the Suman Kalyanpur songs are lip synced by the leading lady, especially that the duet would be picturized on the lead pair. That would leave the Asha Bhosle songs to be picturized on Helen. It is a conjecture that I am making, and not a claim. Once again, I request other knowledgeable readers to please comment on this.

Listen to this wonderfully paced song, whose words are sounding so much like a dance song by Helen. And PD Sharma sir ji – wow and thanks for this music piece. It is kind of sad that we do not find another film listed with your name as music director.

With this song, the 1965 film ‘Baaghi Haseena’ makes its debut on the blog today. Listen and enjoy.

 

Song – Bholi Surat Pe Na Jaana  (Baaghi Haseena) (1965) Singer – Asha Bhosle, Lyrics – [Unatributed], MD – PD Sharma

Lyrics

bholi
surat pe na jaana
kahin
dhokhe mein na aana
aage
aage hai jawaani
peechhe peechhe hai zamaana
bholi surat pe na jaana
kahin dhokhe mein na aana
aage aage hai jawaani
peechhe peechhe hai zamaana
bholi surat pe na jaa..na
hey hey

har ada mein dilkashi hai
mere hothon pe hansi hai
ik shoal zindagi hai
mere dum se roshni hai
mere dum se roshni hai
bholi surat pe na jaana
kahin dhokhe mein na aana
aage aage hai jawaani
peechhe peechhe hai zamaana
bholi surat pe na jaa..na
aa haa

mere din..n..n
hain meri raaten
kaun jaane..ey..ey
dil ki baaten
meri din hain meri raaten
kaun jaane dil ki baaten
kaun jaane dil ki baaten
bholi surat pe na jaana
kahin dhokhe mein na aana
aage aage hai jawaani
peechhe peechhe hai zamaana
bholi surat pe na jaa..na
haa haa

main jahaan bhi
muskuraa doon
gham e zindagi bhula doon
naghma e dil suna doon
soye fitne jaga doo..oon
soye fitne jaga doon
bholi surat pe na jaana
kahin dhokhe mein na aana
aage aage hai jawaani
peechhe peechhe hai zamaana
bholi surat pe na jaa..na

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

भोली
सूरत पे ना जाना
कहीं
धोखे में ना आना
आगे
आगे है जवानी
पीछे पीछे है ज़माना
भोली सूरत पे ना जाना
कहीं धोखे  ना आना
आगे आगे है जवानी
पीछे पीछे है ज़माना
भोली सूरत पे ना जा॰॰ना
हे हे

हर अदा में दिलकशी है
मेरे होठों पे हंसी है
इक शोला ज़िंदगी है
मेरे दम से रोशनी है
मेरे दम से रोशनी है
भोली सूरत पे ना जाना
कहीं धोखे  ना आना
आगे आगे है जवानी
पीछे पीछे है ज़माना
भोली सूरत पे ना जा॰॰ना
आ हा

मेरे दिन॰॰न॰॰न
हैं मेरी रातें
कौन जाने॰॰ए॰॰ए॰॰ए
मेरे दिन हैं मेरी रातें
कौन जाने दिल की बा॰॰तें
कौन जाने दिल की बातें
भोली सूरत पे ना जाना
कहीं धोखे  ना आना
आगे आगे है जवानी
पीछे पीछे है ज़माना
भोली सूरत पे ना जा॰॰ना
हा हा

मैं जहां भी
मुस्कुरा दूँ
ग़म ए ज़िंदगी भुला दूँ
नग़मा ए दिल सुना दूँ
सोये फितने जागा दूँ॰॰॰
सोये फितने जागा दूँ
भोली सूरत पे ना जाना
कहीं धोखे  ना आना
आगे आगे है जवानी
पीछे पीछे है ज़माना
भोली सूरत पे ना जा॰॰ना


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.

Blog Day : 3458 Post No. : 13872

Missing Films of 1960s – 38
– – – – – – – – – – – – – – –

Just take a quick look at the still visual of the video panel below. I am so sure you will recognize this enchanting young face. Yes, it is Tabassum, way back from 1966. And that is not the only captivating thing about this song.

The debut film of today is ‘Zimbo Finds A Son’. In the long tradition of ‘Zambo / Zimbo’ films, this is the 1966 version. This film comes from the house of Basant Pictures. Regulars will be familiar that Basant Pictures is part of Wadia group. The famous Nadia and the erstwhile he-man John Cawas were the regular stars of the stunt films produced by Basant Pictures.

The film is directed by John Cawas. The star cast is led by Azaad and Tabassum, and it includes Sherry, Sundar, Dalpat, Raj Malik, Yunus, Pedro, Bismillah, Korega, Yadav, Samson, Ismail, Muhammad, Indira, Prince Arjun, Master Sachin, Mitthu Mian, Babu, Rani etc.

HFGK lists 5 songs for this film. All the songs are penned by Naqsh Lyallpuri. The music is composed by the duo of Sapan Jagmohan. The availability of songs of this film is not an issue. All the five songs are quite available in audio, as well as in video format, as the original print of the filmi is very much available. Yes, Basant Pictures is a production house that has taken good care of their films.

When I heard the songs of this film in preparation for this post, I am hard put to select. All songs are quite wonderful and deserve better popularity. Today’s song is one such lilting loveable song – the singer is Asha Bhosle. The rendering is so zestful and so full of life. The words, the pace of the composition, the cheerful rendering – all come together so well. And they make the listener feel inside, the happiness that is being expressed by this song.

On screen, the song is performed by a very young, perky, sprightly and playful Tabassum. Her performance has so neatly captured the intent and the essence of the song. We also see Azaad in the clip, and we see a young boy, whose full face does not come in view of the camera. The list of actors includes the name of Master Sachin. It is possible this child actor can be Master Sachin, but I need confirmation help from other knowledgeable readers.

To mention – the list of Zimbo / Zambo films reads as follows

  1. Zambo, The Ape Man from 1937
  2. Zambo Ka Beta from 1939
  3. Zimbo from 1958
  4. Zimbo Ki Beti from 1959
  5. Zimbo Shehar Mein from 1960
  6. And this one – Zimbo Finds A Son, from 1966

Listen to this playful and energetic song that simply is oozing with happiness. And wonder, where have all these songs been, for so long a time.

Song – Gun Gun Gaaun Hawaa Mein Lehraaun  (Zimbo Finds A Son) (1966) Singer – Asha Bhosle, Lyrics – Naqsh Lyallpuri, MD – Sapan Jagmohan

Lyrics

gun gun gaaun
hawaa mein lehraaun
main udi udi jaaun na jaane kahaan
kaare kaare badra
baney hain mora kajra
hain jaagi jaagi aankhon mein sapne jawaan
gun gun gaaun
hawaa mein lehraaun
main udi udi jaaun na jaane kahaan

hansta hua chaand mujhko mila
daaman mein ek phool aisa khila
hansta hua chaand mujhko mila
daaman mein ak phool aisa khila
hai jis mein bahaaron ki jaa..aa..aan
gun gun gaaun
hawaa mein lehraaun
main udi udi jaaun na jaane kahaan
kaare kaare badra
baney hain mora kajra
hain jaagi jaagi aankhon mein sapne jawaan

rangon mein doobe nazaare hanse
kaliyon ke chanchal ishaare hanse
rangon mein doobe nazaare hanse
kaliyon ke chanchal ishaare hanse
mehakne laga hai samaa..aa..aan
gun gun gaaun
hawaa mein lehraaun
main udi udi jaaun na jaane kahaan
kaare kaare badra
baney hain mora kajra
hain jaagi jaagi aankhon mein sapne jawaan

sapnon ki rimjhim mein naache hai mann
khiushiyon ki lehron pe thirke badan
sapnon ki rimjhim mein naache hai mann
khiushiyon ki lehron pe thirke badan
mili dhadkanon ko zubaa..aa..aan
gun gun gaaun
hawaa mein lehraaun
main udi udi jaaun na jaane kahaan
kaare kaare badra
baney hain mora kajra
hain jaagi jaagi aankhon mein sapne jawaan
gun gun gaaun
hawaa mein lehraaun
main udi udi jaaun na jaane kahaan

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

गुन गुन गाउँ
हवा में लहराऊँ
मैं उड़ी उड़ी जाऊँ ना जाने कहाँ
कारे कारे बदरा
बने हैं मोरा कजरा
हैं जागी जागी आँखों में सपने जवां
गुन गुन गाउँ
हवा में लहराऊँ
मैं उड़ी उड़ी जाऊँ ना जाने कहाँ

हँसता हुआ चाँद मुझको मिला
दामन में एक फूल ऐसा खिला
हँसता हुआ चाँद मुझको मिला
दामन में एक फूल ऐसा खिला
है जिसमें बहारों की जा॰॰आ॰॰आं
गुन गुन गाउँ
हवा में लहराऊँ
मैं उड़ी उड़ी जाऊँ ना जाने कहाँ
कारे कारे बदरा
बने हैं मोरा कजरा
हैं जागी जागी आँखों में सपने जवां

रंगों में डूबे नज़ारे हँसे
कलियों के चंचल इशारे हँसे
रंगों में डूबे नज़ारे हँसे
कलियों के चंचल इशारे हँसे
महकने लगा है समा॰॰आ॰॰आं
गुन गुन गाउँ
हवा में लहराऊँ
मैं उड़ी उड़ी जाऊँ ना जाने कहाँ
कारे कारे बदरा
बने हैं मोरा कजरा
हैं जागी जागी आँखों में सपने जवां

सपनों की रिमझिम में नाचे है मन
खुशियों की रहरों पे थिरके बदन
सपनों की रिमझिम में नाचे है मन
खुशियों की रहरों पे थिरके बदन
मिली धड़कनों को ज़ुबा॰॰आ॰॰आं
गुन गुन गाउँ
हवा में लहराऊँ
मैं उड़ी उड़ी जाऊँ ना जाने कहाँ
कारे कारे बदरा
बने हैं मोरा कजरा
हैं जागी जागी आँखों में सपने जवां
गुन गुन गाउँ
हवा में लहराऊँ
मैं उड़ी उड़ी जाऊँ ना जाने कहाँ


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.

Blog Day : 3457 Post No. : 13870

 

phoolon ke rang se
dil ki kalam se
tujh ko likhi roz paati

Nirantar Neeraj’ – the name of a stage program that has been created by the Ibaadat group, on the life and works of this distinguished poet of this sub continent. [Ed Note: Ibaadat Foundation (www.ibaadatindia.org) is a non-profit group of lovers of poetry and film music, who conduct regular stage shows in various cities. Each of their programs is focused on an eminent poet. ‘Nirantar Neeraj’ was first staged in Delhi, in September 2014.] When I read the title of the, it enamoured me so much. A feeling of profundity follows the sound of this title.

Gopaldas Saxena ‘Neeraj’, turns 92 today. We all wish for him continued – ‘nirantar’ – time of good health, comfort and above all, creative passions.

Neeraj has had a patchy relationship with the Hindi film industry. But despite that, the gems that have come from this partnership are simply too great to be overlooked. He made his debut in the film world with the film ‘Nai Umar Ki Nai Fasal’ (1965). The director of this film, R Chandra, an earlier acquaintance of Neeraj, was highly influenced by his famous poem “Kaarwan Guzar Gaya Gubaar Dekhte Rahe”. His vision for the film was to present the essence of this poem as the theme of the film. How successful he was in translating this theme into the film is a matter of judgment. The film did not do well at the box office. However, its songs went on to become very famous and popular – “Dekhti Hi Raho Aaj Darpan Na Tum”, “Aaj Ki Raat Badi Shokh Badi Natkhat Hai”, “Mero Saiyyaan Gulabia Ko Phool”, and of course the theme song.

In terms of timeline, his first songs appeared in the film ‘Cha Cha Cha’ which was released in 1964. The two songs in the voice of Rafi Sb, and composed by Iqbal Qureshi, have stood the test of time – “Subah Na Aayi, Shaam Na Aayi” and “Wo Hum Na The Wo Tum Na The”. Till this day, when these song are heard, one is struck by the sheer poetic content.

In 1965, came another film which, by industry standards, also did not do too well on the box office. However, its song – well that is another story. The film is “Tu Hi Meri Zindagi” – a film about Goa’s struggle for independence from Portuguese rule. The film has not stayed in the collective memory of the filmgoers. Maybe, the songs even were not very popular. But the songs, created in partnership with the music director Rono Deb Mukherjee, themselves are a shining gems, each one of them. Listen to “Ye Kaun Thak Ke So Raha Hai Gulmohar Ki Chhaon Mein”; or “Mere Watan Ka Hai Tu Wo Ratan” (happy version); or “Aadam Ka Lahu”; or “Mere Himaalay Ke Paasbaanon”.

Coming to work with Shankar Jaikishan for the film ‘Kanyadaan’ (1968), the initial working relationship was quite ‘explosive’, especially with Shankar. S-J requested for a love song, and Neeraj returned to them with a poem that spanned three handwritten pages. Shankar was ‘snappy’, but then decided to work with the poet. A very hard give and take had to happen to convert this poem into a film song of three minutes. But the end result of this was the fabulous love song that broke all broadcasting records in that year – “Likhe Jo Khat Tujhe. . .”.

Neeraj used to teach at the Dharam Samaj College in Aligarh. In 1970, he got an invitation from Dev Anand to come to Bombay and stay for a week at his expenses. Dev Anand was preparing for ‘Prem Pujari’ (1970). SD Burman was very cautious, and not confident that Neeraj would assimilate well into his music, with predefined situations and pre-prepared tunes. When Neeraj arrived in Bombay, Dev Sb immediately took him to meet Burmam Da. Dada already had a tune in mind, and wanted lyrics set to the tune and the situation. He explained that a girl sees her beau at a party in the company of another lady, and the circumstances are such that the beau is not recognizing her. The song should be of a complaint, frustration, depression, sarcasm – all this Burman Da piled on to Neeraj. So much that even Neeraj himself became hesitant and unsure. To top it, Burman Da also informed that the song has to start with the words “Rangeela Re”. Neeraj returned from the meeting, not sure about his own nerve. He mentioned this to Dev, and Dev said, you have a week to make it happen. If it does not happen, then no problem, you are still my guest for a week in Bombay.

In his hotel room, Neeraj worked the night, and next morning met again with Dev Anand to tell him he has something he would like to show to Burman Da. They immediately drove down to the latter’s residence. Neeraj handed him the paper with the lyrics he had written for the tune and for the situation. One look at the lyrics, and Burman Da said to Dev Anand – you may leave now, the two of us have work to do.

This started a partnership that Neeraj says he really enjoyed in the industry. After ‘Prem Pujari’ they went on to work together on such memorable films as ‘Gambler’ (1971), ‘Sharmeeli’ (1971), ‘Tere Mere Sapne’ (1971) and ‘Chhupa Rustom’ (1973). A scan through the song lists of these films is enough to send a shiver down the spine.

The other close partnership that he enjoyed working with was Shankar Jaikishan. After ‘Kanyadaan’, their partnership continued with ‘Duniya’ (1968) – “Ye Dharti Hindustan Ki”; ‘Chanda Aur Bijli’ (1969) – “Kaal Ka Pahiya Ghoome Bhaiya”; ‘Mera Naam Joker’ (1970) – “Ae Bhai Zara Dekh Ke Chalo” (1970); ‘Pehchaan’ (1970) – “Bas Yahi Apradh Main Har Baar Karta Hoon”; ‘Umang’ (1970); ‘Ek Naari Ek Brahmchari” (1971); ‘Kal Aaj Aur Kal’ (1971) – “Tik Tik. . . Chalti Jaaye Ghadi”; ‘Laal Pathar’ (1971) – “Sooni Sooni Saans Ki Sitar Par”; ‘Patanga’ (1971) – “Jhoom Ke Ga Yun Aaj Mere Dil”; and some more.
There is an interesting note that Neeraj shares about the song “Ae Bhai. . .”. When this song was presented to S-J, Shankar’s mood was sitched off – such bland and blank verses, he could not get himself to compose a tune for this song. The song finally turned out after Neeraj and Shankar both worked together for the composition.

Working closely with some of the best and the most successful music directors in the industry, turned out to be both a blessing and a curse. Blessing that we see a heady proliferation of magical songs created by Neeraj together with these music directors, in the period from 1965 to about 1972. And then there is a tapering down of this creative streak. In Neeraj’s own words, he got caught in a cycle of near depression, when in quick succession his music director partners departed – first Roshan in 1967, then Jaikishan in 1971 and finally SD Burman in 1973. These departures created a vacuum in his life that was depressing enough for him to pack his bags and move back to Aligarh and to academics.

He continued to work sporadically, but not many people from Bombay called upon him any more. Dev Anand and Vijay Anand were the only film persona who continued to call upon Neeraj to pen songs for them. Neeraj was associated with Dev and Navketan right till the film ‘Chargesheet’ which released in 2011, and Dev Anand playing the lead at 82. 🙂

At 92, Neeraj currently is the chancellor of the Mangalayatan University in Aligarh. At 92, he has health limitations. But the poet in him is still very active. A recent couplet from him

ab to mazhab bhi koi chalaaya jaaye
ke insaan ko insaan banaaya jaaye
aag behti hai ganga mein jehlum mein bhi
tum bataao kahaan jaa ke nahaaya jaaye

For today’s song I turn to the film ‘Tere Mere Sapne’ from 1971. This song is a light hearted dance song which is performed by Hema Malini on the screen, inside the screen that we watch. Meaning that the situation is the Dev Anand and Mumtaz are on a ‘date’ at a village ‘mela’ (i.e. before they are married in the film), and they get into a tent cinema to watch a film. And this song is playing in the film that they are watching. So this maybe a unique situation wherein a complete song is performed on the screen that is being watched by the actors we are watching on our screen.

From the looks of it, Dev Anand is hugely enamoured by the actress on the screen, much to the chagrin of Mumtaz, whose pleasure of the evening suddenly evaporates, as she looks at Dev Anand watching Hema Malini with fascination. 🙂

Interesting to hear such light hearted verses coming from Neeraj. But you know, that is not an isolated incident. Sample some of his other songs – “Sunday Ko Pyaar Hua, Monday Iqraar Hua” from ‘Kanyadaan’, “Darr Lage To Gaana Ga” from ‘Yaar Mera’ (1971) and “Dheere Se Jaana Khatiyan Mein” from ‘Chhupa Rustom’ (1973).

But this song, is still so very special. Note the huge variation in the metre of different parts of lyrics. And kudos to Burman Da to have seamlessly knitted together the song with such a variety of lengths of singing lines. Quite a masterpiece it is.

And then once again, heartful wishes to Neeraj ji – continue ‘nirantar‘.

[Ed Note: Part of the material for this write up is adapted from an interview with Neeraj published in the Hindu of May 21, 2015.]

[Ed Note: Although the video clip is quite adequate in itself, the audio link is also presented, not for the sound of the song, but for the image that is accompanying it. The image shows Asha Bhosle standing next to a seated Kersi Lord – musician and instrumentalist par excellence. Kersi had a very close working relationship with SD Burman. At first I wondered why someone has created this audio post this way. But then when I listened to this song again, it was clear. I suggest the readers also to listen to this song closely, and more than once if possible. There are many little special sound effects and variations in the instrumentation, that make this song really so magical. That is all Kersi Lord’s handiwork. 🙂 ]

Video

Audio

Song – Phurr Ud Chala Hawaaon Ke Sang Sang Dil Jaane Kidhar  (Tere Mere Sapne) (1971) Singer – Asha Bhosle, Lyrics – Neeraj, MD – SD Burman

Lyrics

phurrrrr
ud chala..aa..aa..aa

phurr ud chal hawaaon ke sang sang dil jaane kidhar
aa ha ud chaloon haule haule dheere dheere main kyon na udhar

phurr ud chal hawaaon ke sang sang dil jaane kidhar
aa ha ud chaloon haule haule dheere dheere main kyon na udhar..rr..rr

main hi nahin
dil hi nahin
udi jaaye saari fizaa
thaamo koi
aa ke hamen
hum ko na apna pataa
main hi nahin. . .
main hi nahin
dil hi nahin
udi jaaye saari fizaa
thaamo koi
aa ke hamen
hum ko na apna pataa
kabhi yahaan
kabhi wahaan
kabhi wahaan
kabhi yahaan
jaane nahin kahaan kahaan
ud chalaa. . .
ud chala
phurr ud chal hawaaon ke sang sang dil jaane kidhar
aa ha ud chaloon haule haule dheere dheere main kyon na udhar aa aa

sooni sooni
bheeni bheeni
rangeen kya shaam hai
meetha meetha
hsssss pyaara pyaara
hothon pe ik naam hai
sooni sooni. . .
sooni sooni
ha bheeni bheeni
ha rangeen kya shaam hai
meetha meetha
hsssss pyaara pyaara
hothon pe ik naam hai
roko isey toko isey
thaamo isey baandho isey
dekho dekho ye to ud chala. . .
ha ha ha
phurr ud chal hawaaon ke sang sang dil jaane kidhar
aa ha ud chaloon haule haule dheere dheere main kyon na udhar
phurr ud chal hawaaon ke sang sang dil jaane kidhar
aa ha ud chaloon haule haule dheere dheere main kyon na udhar..rr..rr

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

फुर्रर्रर्र
उड़ चला॰॰आ॰॰आ॰॰आ

फुर्र उड़ चला हवाओं के संग संग दिल जाने किधर
आ हा उड़ चलूँ हौले हौले धीरे धीरे मैं क्यों ना उधर

फुर्र उड़ चला हवाओं के संग संग दिल जाने किधर
आ हा उड़ चलूँ हौले हौले धीरे धीरे मैं क्यों ना उधर॰॰र्र॰॰र्र

मैं ही नहीं
दिल ही नहीं
उड़ी जाये सारी फिज़ा
थामो कोई
आ के हमें
हमको ना अपना पता
मैं ही नहीं॰ ॰ ॰
मैं ही नहीं
दिल ही नहीं
उड़ी जाये सारी फिज़ा
थामो कोई
आ के हमें
हमको ना अपना पता
कभी यहाँ
कभी वहाँ
कभी वहाँ
कभी यहाँ
जाने नहीं कहाँ कहाँ
उड़ चला॰ ॰ ॰
उड़ चला
फुर्र उड़ चला हवाओं के संग संग दिल जाने किधर
आ हा उड़ चलूँ हौले हौले धीरे धीरे मैं क्यों ना उधर आ आ

सूनी सूनी
भीनी भीनी
रंगीन क्या शाम है
मीठा मीठा
हस्ससस प्यारा प्यारा
होठों पे इक नाम है
सूनी सूनी॰ ॰ ॰
सूनी सूनी
भीनी भीनी
रंगीन क्या शाम है
मीठा मीठा
हस्ससस प्यारा प्यारा
होठों पे इक नाम है
रोको इसे टोको इसे
थामो इसे बांधो इसे
देखो देखो ये तो उड़ चला॰ ॰ ॰
हा हा हा
फुर्र उड़ चला हवाओं के संग संग दिल जाने किधर
आ हा उड़ चलूँ हौले हौले धीरे धीरे मैं क्यों ना उधर
फुर्र उड़ चला हवाओं के संग संग दिल जाने किधर
आ हा उड़ चलूँ हौले हौले धीरे धीरे मैं क्यों ना उधर॰॰र्र॰॰र्र


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.

ना जाने क्यों॰ ॰ ॰ होता है ये ज़िंदगी के साथ
अचानक ये मन
किसी के जाने के बाद
करे फिर उसकी याद॰ ॰ ॰

Aah, Shyama. . . the vivacious, bubbly, chirpy, charming Shyama. That is the image that the mind always carries, of this spirited young lady, so full of life on the screen. Some memories and some reflections are so firmly engraved in the mind that it simply does not register or acknowledge the passage of time and the passing of eras. That is the beauty of these memories – that their beauty simply never fades away.

My very first encounter with her was the song “Mujhe Mil Gaya Bahaana Teri Deed Ka” (film ‘Barsaat Ki Raat’, 1960). I saw this song on Delhi TV, most probably in some edition of the Chitrahaar program. Shama (Shyama) is on screen with Shabaab (Ratna), her younger sister in the film. There is an exchange that leads to certain wrong impressions. Being secretly in love with Amaan (Bharat Bhushan), Shama interprets that conversation to be in her favour. And this happy song of an assumed fulfilment of love is the outcome. The expressions and the rendering of this love song trickled right into the mind and heart of a very young heart, and the lady on the screen became a favorite crush of mine.

A few years later, I would get a chance to see this complete film. And my heart was both joyous and asunder. I got to see more of her scintillating performance, especially the qawwaali “Ji Chaahta Hai Choom Loon Apni Nazar Ko Main”, in which she is brimming with excitement and delight. She makes you feel the thrill that she is experiencing, going in for the kill of the opposite party in the qawwaali competition. Her performance simply takes you along that joyous path of the victory of her singing group over that of Chand Khan’s (Khurshid Bawra’s) group. But then, I was also sad that in the final outcome, she is not the choice of the person she adores and worships. The film ends with her being the loser in the game of love. My heart wept for her, for her love was true and silent, and it made the sacrifice in face of knowing that her beau’s heart is smitten elsewhere. This film remains an all time favorite in my heart.

Then came other films, viewed some years later during college days. Films from the previous three decades were mostly showing as reruns in morning shows (9am to 12 am). We used to skip the morning classes in the college to go visit these unknown unseen films, for the love of that golden era. In that time, I would get to see ‘Aar Paar’ (1954), ‘Shart’ (1954), ‘Chhoo Mantar’ (1956), ‘Makkheechoos’ (1956), ‘Bhai Bhai’ (1956), ‘Sharda’ (1957), ‘Bhaabhi’ (1957), ‘Lala Rukh’ (1958), ‘Zabak’ (1961) and many more. The ‘puppy’ crush was long over and done with, but Shyama was a favorite actress – always would be ready to go see an unseen film, especially if Shyama was part of the cast of actors.

She was born as Khursheed Akhtar, in Lahore. Her date of birth is stated differently in different online sources. The anniversaries table on our blog gives the date as 12th June of 1935. Cineplot gives the date as 7th June, 1935. In his book ‘Beete Kal Ke Sitaare’, Shri Sriram Tamrakar quotes her birth date as 12th July 1933. There are other sources which are at variance with these dates too.

When she was two years old, her family moved to Bombay. Her father was a fruit merchant and had set up a shop in Byculla. With seven siblings, Shyama was part of a large family. School and studies never did interest her. Right from childhood, being a star on the silver screen was her dream. As a child, she had seen a film starring Ishwarlal and Khursheed (the famous singer-actress). She was very impressed by Khursheed’s singing and her acting. On seeing this role, a resolve started to form in her to become an actor. [Ed Note: This picture possibly could be ‘Shaadi’ (1941) or ‘Chandni’ (1942).]

As a young girl, she was quite mischievous and full of pranks. Her elder sisters would admonish her for being such a tomboy. In her own words (from an interview on Cineplot) she says that she always wanted a hungama, indulge in a little romance. But she was very disciplined and cultured too. She never smoked, or drank all her life. And she never appeared in a swimsuit throughout her career. She was very true to her Muslim upbringing and family traditions.

In 1944/45 she and her sisters and friends, one day went to see the shooting of a film at a studio in Dadar (Bombay). The shooting of the film ‘Zeenat’ (1945) was in progress. The specific sequence being filmed was the now iconic all female qawwaali “Aahen Na Bharin, Shiqwe Na Kiye”. As luck would have it, Shaukat Hussain Rizvi, the director of the film, wanted to have more girls to join the singing group. He asked this group of onlooker young ladies whether they would like to join the filming of this song. Without hesitation, Khursheed raised her hand. Rizvi Sb picked her to join the group and play the dholak. In the video of this song, one can see her sitting in the second row behind the main singers, wearing a traditional cap, with a dholak in her lap. The young lady got a billing in the star credits as Baby Khursheed. She was just about 10 years old.

Her father was very upset that his daughter had made this impromptu decision, and was set against her joining films. However, her mother and her sisters prevailed upon him and calmed him to get his consent to permit her to work in films. So out went the school and studies, and the little Khurshid started her career doing child roles and extras. By her own estimates, she probably has appeared 80 films in which she was just an extra or a chorus girl.

‘Nai Maa’ is a 1946 film, which Shyama herself indicates as being her first formal role as a child star. The film is from the banner of Prakash Pictures – the production house of the Bhatt brothers – Vijay and Shankar Bhai. With the consideration that there already were two actresses named Khursheed in the industry, Vijay Bhatt suggested for her to change her name to avoid same-name-confusions. He thought of the name ‘Shyama’. The young Khursheed happily took it on, and this name turned to be her career and her destiny.

Getting seriously into small roles as a child and a teenage artist, she did two very important things. One, she refused to be disheartened by the long succession of bit-roles and being a supporting cast member. Two, she took on to get trained in music and dance, and spent a good slice of her developmental years under the tutelage of the famous Badri Prasad, the multi-talented artist active in the industry at that time. Her perseverance paid off. Her roles started to get more prominent, and her co-stars the more famous ones. She appeared as the younger sister to KL Saigal in ‘Parwaana’ (1947). The same year, she also appeared as the younger sister of Motilal in ‘Beete Din’. On to 1949, and she was now the younger sibling of actor Shyam in the film ‘Kaneez’.

In 1950, she got a very prominent role as the wayward younger sister of Shyam and Karan Dewan in the film ‘Chhoti Bhaabhi’. The title role was played by Nargis (paired with Karan Dewan), but the role played by Shyama was pivotal as the rebellious daughter in the family, who is on the verge of eloping with Yakub, a self serving con-man. Then came 1951 – she was paired as the love interest of Balraj Sahni in ‘Hum Log’; and the same year, she got to play a prominent role in ‘Taraana’ as the third part of the love triangle completed by Dilip Kumar and Madhubala.

It was in 1952 that she was able to belie the popular adage in the industry – ‘once an extra, always and extra’. But this graduation was not without its moments of anxiety and a heart stopping near miss. IS Johar was looking for an effervescent and a lively young new face as the lead for his maiden directorial venture – ‘Shrimati Ji’. Familiar with Shyama and her capabilities from their earlier films together viz., ‘Chhoti Bhaabhi’ (1950) and ‘Ek Teri Nishaani’ (1949), Johar chose Shyama from a list of over 100 candidates for the role. Shyama was excited and happy with this groundbreaking development in her career.

But a scare was still in store, and the career that we see, was almost never. A couple of reels had been shot. One day on the studio floor, one of the financiers was present. On seeing Shyama, he made a curt remark that this girl is too thin to impress in a leading role, and walked away. One can imagine the turmoil that followed, with doubts appearing in the minds of the entire team. Shyama herself notes that she went home and cried all night – here was a once in a lifetime break that suddenly became so close to slip out of her fingers. After the crying session was over, she pulled herself together and made a resolve to address even this issue. Next day, she went out to seek medical help. Whoever would think of a thing like a diet to ‘gain’ weight? She went on a crash diet to do exactly this – gain weight. In a short period of time, she gained a reasonable amount of weight, and went right back in to complete the film.

One more significant episode occurred in the year 1951. Shyama was filming for ‘Sazaa’; she was the second lead to Nimmi and again, the third vertex of the love triangle that includes Dev Anand and Nimmi. The director and cinematographer of this film was Fali Mistry. Affections developed between the two, and two got married. Her family would have preferred a Muslim son-in-law. Fali Mistry being a Parsi, her father did not accept her new venture in life. She did get support from her mother, who was present at the small and quiet ceremony for the wedding. Her father  did not communicate with her for years. Shyama mentions in her interview that the ice between them was eventually broken when she gave birth to her first son, and went to him to get his blessings.

One of the understandings between Shyama and Fali was that she would continue to work in films. Apparently there were other suitors also, but as per herself, the proposals did not go further because the gentlemen did not agree to allow her to continue her work.

Through the 1950s, as well as early sixties, Shyama was in the top bracket of leading ladies in Hindi cinema. A golden period in her career, her popularity can be gauged by the fact that 82 of her films were released in the period from 1952 to 1960. In 1954 alone, 14 of her films came on the silver screen, and 13 in the year 1955. In all 27 films in a period of two consecutive years is a record in itself. An interesting aspect of her career has been that while she was in demand as the leading lady, she continued to do all kinds of roles, including second lead and even as a vamp. By her own admission, she was never too much hung up on being the leading lady, but was always more interested in the content of the role. In fact her only Filmfare award is for her performance in ‘Sharda’ in 1957 – as the best female actor in a supporting role. In the later part of 1960s, she transitioned into character roles and continued to work till the end of 1980s. Her last film as a character artist is ‘Hathyaar’ released in 1989.

Fali Mistry passed away unexpectedly in 1979, leaving behind a family of two sons and one daughter.

In the past 3, 4 days I was in travel myself, and was disconnected from the net for part of that time. Settling back after returning, as I processed through the email backlog, I got to see this message from Harish Raghuvanshi ji, informing about the sad demise of Shyama. She was 82, and as per her latest interviews some years back, she was quite satisfied with the full life she had led, and with her accomplishments on the silver screen.

As I sorted through the list of her songs as yet unpublished on our blog, searching for an appropriate song for this tribute, I came across this chirpy and playful song from the film ‘Ghar Basaa Ke Dekho’ from 1963. I had not heard it before. As I played this song, it struck me as so much Shyama herself, and I knew this is the song so suitable to go along with the write up about her. On screen, she leads the singing and dancing within a group of friends. Some of the faces are familiar, but I am unable to place any names. I request our knowledgeable readers and friends to help identify other actresses supporting Shyama in this song.

The words are from the pen of Rajendra Krishan and the lilting music comes from the mind of Chitragupt. The singing voices are of Suman Kalyanpur, Usha Mangeshkar and chorus. Shyama gets to lip sync most of the lines of Suman Kalyanpur, and the lines sung by Usha Mangeshkar are shared between more than one of the supporting ladies on screen.

A wonderful expression of a philosophy of life, that one can surmise from her interviews, was very dear to Shyama herself. The thought behind the bubbly vivacity in this song is just the same thought that first made her raise her hand unhesitatingly to Rizvi Sb’s query on who would like to join the filming of the group song (qawwaali song in ‘Zeenat’). That is Shyama.

Or to put it more correctly now – that was Shyama. Only the memories remain now.

bichhad kar chale jaao hum se kahin
magar ye na kehna mohabbat nahin

magar ye na kehna mohabbat nahin . . .

Dear Shyama, RIP – Rest In Playfulness, Always 🙂

[Acknowledgements: source material for the above article is referred from articles and interviews published on the blogs Cineplot, Beete Huye Din (by Shishir Krishna Sharma), Wikipedia, and a profile article in the book ‘Beete Kal Ke Sitaare’ by Shri Sriram Tamrakar.]

[Ed Note: This song also is a remembrance of Chitragupt; reviving memories of this prolific music director on the anniversary of his birth – 16th November.]

 

Song – Jidhar Jee Mein Aaya Udhar Hum Chale (Ghar Basaa Ke Dekho) (1963) Singer – Suman Kalyanpur, Usha Mangeshkar, Lyrics – Rajendra Krishan, MD – Chitragupt
Suman Kalyanpur + Usha Mangeshkar
Chorus

Lyrics

jidhar jee mein aaya
udhar hum chale
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

jinki kismet mein aish likha hai
aish karte hain aur jeete hain
jinki kismet mein aish likha hai
aish karte hain aur jeete hain
aah bharna hai jinki kismet mein
aah bharte hain ashq peete hain
zindagi kya hai ek hungaama
ek hungaama roz ho jaaye
kehkahon ke bagair kya jeena
zindagi kehkahon mein kho jaaye
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

aadmi ko mili hain kyon aankhen
dekh le jis qadar nazaare hain
aadmi ko mili hain kyon aankhen
dekh le jis qadar nazaare hain
baag tera hai phool tere hain
aur tere hi chaand taare hain
zindagi naam hain bahaaron ka
hum bahaaron ka ras nichodenge
zindagi ek baar milti hai
ek armaan bhi na chhodenge
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

zindagi teri ek hulchul hai
raqs hai saaz hain taraana hai
zindagi teri ek hulchul hai
raqs hai saaz hain taraana hai
ik jagah par qayaam kya karna
har chaman tera aashiaana hai
ek pal bhi na fikr mein beete
muskuraata ja geet gaata ja
aur duniya jo raah mein aaye
ek thokar usey lagaata ja
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

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

जिधर जी में आया
उधर हम चले
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

जिनकी क़िस्मत में ऐश लिखी है
ऐश करते हैं और जीते हैं
जिनकी क़िस्मत में ऐश लिखी है
ऐश करते हैं और जीते हैं
आह भरना है जिनकी क़िस्मत में
आह भरते हैं अशक पीते हैं
ज़िंदगी क्या है एक हंगामा
एक हंगामा रोज़ हो जाये
कहकहों के बगैर क्या जीना
ज़िंदगी कहकहों में खो जाये
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

आदमी को मिली हैं क्यों आँखें
देख ले जिस कदर नज़ारे हैं
आदमी को मिली हैं क्यों आँखें
देख ले जिस कदर नज़ारे हैं
बाग तेरा हैं फूल तेरे हैं
और तेरे ही चाँद तारे हैं
ज़िंदगी नाम हैं बहारों का
हम बहारों का रस निचोड़ेंगे
ज़िंदगी एक बार मिलती है
एक अरमान भी ना छोड़ेंगे
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

ज़िंदगी तेरी एक हलचल है
रक़्स है साज है तराना है
ज़िंदगी तेरी एक हलचल है
रक़्स है साज है तराना है
इक जगह पर क़याम क्या करना
हर चमन तेरा आशियाना है
एक पल भी ना फिक्र में बीते
मुसकुराता जा गीत गाता जा
और दुनिया जो राह में आए
एक ठोकर उसे लगाता जा
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले


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

Today’s song is from the landmark film ‘Amar Jyoti’ (1936), made by the Prabhat Film company, Poona. It was directed by V Shantaram. It was photographed by his elder brother V Avadhoot and the music was by Master Krishnarao Phulambrikar. All the songs were written by Pandit Narottam Vyas. Today’s song is sung by Vasanti and chorus. The song is also used as a background song few times in the movie since it conveys the essence of the film’s theme- fight against injustice.
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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.

First order of the day – a thousand congratulations to Atul ji, on the completion of 9 years of this blog. And congratulations to all us members of the bandwagon, together making this such a pleasurable journey.
Read more on this topic…


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.

This song is the 100th duet of Rafi Sb and Geeta Dutt to be posted here on our blog.

As I was browsing the net earlier in the day, checking for articles and source material on Guru Dutt, I came across this she’er (couplet) which was written by the poet Kaifi Azmi in 1964, on hearing the news of Guru Dutt’s demise.

रहने को सदा दहर में आता नहीं कोई,
तुम जैसे गए ऐसे भी जाता नहीं कोई
माना की उजालों ने तुम्हें दाग़ दिये थे,
बे रात ढले शमा बुझाता नहीं कोई

rehne ko sadaa dehar mein aata nahin koi
tum jaise gaye aise bhi jaata nahin koi
maana ki ujaalon ne tumhen daagh diye the
be-raat dhale shama bujhaata nahin koi

It is true, no one comes in this world
To reside for ever
But the way you departed
No one even leaves that way
Granted that the brightness of flame
May have inflicted painful burns
But still, no one douses the lamp
Before the night comes to an end

Remembering Guru Dutt, the vital genius of Hindi cinema, on his anniversary today (9 july 2017). Had he been alive, he would have been 92 today.
Read more on this topic…


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(© 2008 - 2018) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

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 nine years. This blog has over 14300 song posts by now.

This blog is active and online for over 3500 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14344

Number of movies covered in the blog

Movies with all their songs covered =1146
Total Number of movies covered =3914

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Blog Start date: 19 july 2008

Active for more than 3500 days.

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