Advertisements

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 : 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

Advertisements

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.
Read more on this topic…


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…


This article is written by Aparna HM, 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.

Atul ji’s 10K Song Milestone Celebrations – 12
———————————————————————-

Atul ji has become a legend now 🙂 . Anybody disagrees? I dont think so. Who else has achieved what he has achieved – a mammoth task of collecting information about 10,000 songs and then writing/sharing the same with like-minded enthusiasts. A monumental work, unselfish to the core. What sacrifices he must have made, how much time he would have spent, what passion he must be having to carry on blogging relentlessly for almost 9 years!! You would get an idea of it when you go through one of his write-ups for the song “Kitne Bhi Tu Kar Le Sitam“. Forget about miserly people running such a blog, it is not a possibility at all. Even a person earning good amount of money would hesitate to do it. You will understand my statement in its full extent only if you read the above-mentioned write-up.
Read more on this topic…


This article is written by Srinivas Ganti, a fellow enthusiast of Hindi movie music and a new 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.

Atul ji’s 10K Song Milestone Celebrations – 2
——————————————————————–

mann panchhi albela
taaron ki nagri mein jaaye

If we replace the word ‘taaron’ with the word ‘gaanon’, it would be apt for this blog. Don’t we all freely wander in this cyber world of songs, lyrics and the stories behind them, as we browse the pages on Atul-Song-A-Day.

Coming to the song itself, this is one of the three Lata gems from ‘Mad Bhare Nain’ (1955). The other two are the romantic numbers “Aa Palkon Mein Aa” and the bhajan “Mo Se Saanchi Kaho Banwaari”.
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.

Fabulous Foot Tappers – 7
– – – – – – – – – – – – – –

When the previous instalment in this series was posted, I had started it with the word ‘Goodness’. It was because that post came in after a gap of 5 months from the one previous to it. Now I am thinking what word to use – this instalment is now coming in almost 17 (seventeen) months from the previous post. Maybe you would say, the less said the better. 😉
Read more on this topic…


This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

Mohammed Rafi : The Incomparable (II) – Song No. 02
———————————————————————-

wo dil jo maine maangaa thaa magar gairon ne paayaa thaa
badi shai hai agar, uski pashemaani mujhe de do

Yesterday I visited the page again on the song ‘Tum Apna Ranj o Gham, Apni Pareshaani Mujhe De Do‘. I know the words are ‘badi shai hai agar‘, on which there is the long thread of comments. ‘Shai’, in common urdu is a thing or an object.  ‘badi shai hai ‘ literally means , its a big thing or a big deal.  As it is said in English that ‘its a big deal for me’ or means a lot to me.
Read more on this topic…


Advertisements

Important Announcement

(© 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 13900 song posts by now.

This blog is active and online for over 3400 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13952

Number of movies covered in the blog

Movies with all their songs covered =1054
Total Number of movies covered =3805

Total visits so far

  • 10,022,093 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,551 other followers

Bookmark

Bookmark and Share

Category of songs

Archives

Current Visitors

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Stumble

Historical dates

Blog Start date: 19 july 2008

Active for more than 3450 days.

%d bloggers like this: