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

Archive for the ‘Geeta Dutt songs’ Category


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

Blog Day : 3831 Post No. : 14838

Today, January 13th 2019 is the 92nd birth anniversary of one of the prominent Hindi film producers-directors who debuted in early 1950s as a director. In the 1960s, he mostly produced and directed romantic and musical films. In the 1970s and thereafter, he produced and directed films with emotional contents. He is Shakti Samanta, a self-made man after struggling for almost a decade to get a firm foothold in Hindi film industry. He had made immense contributions to Hindi film industry.

Shakti Samanta (13/01/1926 – 09/04/2009) was born in Burdwan (now Bardhaman in West Bengal). His father was an engineer who died in an accident while Shakti Samanta was a child. So, he was sent to his uncle’s place in Dehradun where he did the schooling. After completion of his intermediate, he came back to Calcutta (Kolkata) and completed his graduation in 1944.

Shakti Samanta went back to his uncle’s place to help him in his business. During his school days, he had become a fan of films produced by New Theatres and Bombay Talkies for their emotional and romantic contents respectively. So he had a fascination for becoming an singer-actor in Hindi films. Obviously, he spent more time in acting in local drama theatres than in the business work for which he was reprimanded by his uncle. Sometime in early 1947, he decided to leave his uncle’s house for Bombay (Mumbai) to pursue his wish to become a singer-actor. He took a job of a teacher in a Urdu school in Dapoli, about 200 kms from Mumbai to sustain himself while he scouted for acting roles in Mumbai.

Since it was a Muslim-run school, every Friday, Shakti Samanta would visit Mumbai to take a round of studios and return to Dapoli by late evening. There were many Bengalis in the Bombay Talkies which enabled him at least to gain entry into Bombay Talkies studio. Eventually, he got a free-lance job without pay but with free food at the canteen of the Bombay Talkies. Since he was proficient in Hindi and Urdu in addition to Bengali, he got work of translating the scripts written in Bengali into Hindi for director, Phani Majumdar for which he was paid.

One day, he met S D Burman who was composing music for ‘Do Bhai’ (1947), to get a playback singing work. S D Burman told him that though his voice was good, it was not good enough for the playback singing. So he advised Shakti Samanta to look for work in some other departments though he offered to take him for chorus singing. With this, it was the end of his dream of becoming a singer but the acting bug in him remained.

It was Ashok Kumar who told him to forget about becoming an actor and instead concentrate on film direction. In Bombay Talkies, he became the First Assistant to Director, Phani Majumdar. At that time, Guru Dutt was the First Assistant to Director, Gyan Mukherjee. When Phani Majumdar had no assignment, Shakti Samanta used to work as Second Assistant to Gyan Mukherjee. On the other hand, when Gyan Mukherjee had no assignments, Guru Dutt used to work as Second Assistant to Phani Majumdar. So in 1947, Guru Dutt and Shakti Samanta were familiar with each other. While Guru Dutt could get his first directorial assignment for ‘Baazi’ (1951), it was a long wait for Shakti Samanta to make a debut as a director in 1955.

Post-partition, after the initial hiccups due to migration of film artists and technicians, Shakti Samanta got some assignments like assistant to the director Satish Nigam in ‘Sunhere Din’ (1948) and to Phani Majumdar in ‘Tamasha’ (1952) and ‘Dhobi Doctor’ (1954). He wrote script and dialogues for Bombay Talkies ‘Baadbaan’ (1954).

Shakti Samanta’s debut film as a director was ‘Bahu’ (1955) which he got by a sheer luck. The film was produced by Bikram Pahwa which was to be directed by the writer, Vijendra Gaud. However, he had already signed his first directorial venture, ‘Kasturi’ (1954) and Shakti Samanta was his Assistant Director for this film. Vijendra Gurd was under contract not to take up direction in any other film until ‘Kasturi’ 1954) was released. Shakti Samanta got the opportunity to direct his debut film ‘Bahu’ (1955) as director. The film did not do well on the box office.

During the making of the ‘Bahu’ (1955), Shakti Samanta was signed to direct A. A. Nadiadwala’s film ‘Inspector’ (1956) in which his mentor, Ashok Kumar was paired with Geeta Bali. The film became a hit and with this film, Shakti Samanta was tagged as a successful director for the crime thrillers. After directing ‘Hill Station’ 1957 and ‘Sheroo’ (1957), Shakri Samanta floated his own banner, Shakti Films in 1957.

The first film under his banner, Shakti Films was ‘Howrah Bridge’ (1958) in which his mentor, Ashok Kumar was paired with Madhubala. The film was also a crime thriller and became hugely successful in terms of box office. This gave him enough money to produce and direct a film in the genre of social drama, ‘Insaan Jaag Utha’ (1959). The film did the average business despite some excellent song compositions by S D Burman.

Shakti Samanta directed next two successful thrillers, ‘Jalli Notes’ (1960) and ‘Singapore’ 1960) for other producers. His association with Shammi Kapoor and Jaikishan of Shankar-Jaikishan started with the film ‘Singapore’ (1960) and thereafter they became close friends. The trios were known as Shammi, Shakki and Jackie.

With ‘Naughty Boy’ (1962), Shakti Samanta entered into his first romantic comedy genre with Kishore Kumar and Madhubala in the lead roles. When about 10 reels of film were shot, Madhubala fell ill. She was taken to London for treatment. Since there was some uncertainty in her resuming shooting, Shakti Samanta replaced her with Kalpana. All shots of Madhubala were reshot with Kalpana. The film took a long time to complete as Kishore Kumar also got busy with taking care of Madhubala. To make the matter worst, S D Burman, the film’s music director, also fell ill. As a result, except for one song, rest of the songs of the film were recorded by R D Burman and Jaidev.

The delay in the completion of the film put Shakti Samanta in financial difficulties. He approached his good friend, Shammi Kapoor for finance who advised him to produce a new film in which he would act and partly finance the film. So ‘China Town’ (1962) was conceived. The film was released in August 1962 and became a box office hit. With money flowing in from the success of ‘China Town’ (1962), Shakti Samanta completed ‘Naughty Boy’ (1962) and got released in November 1962. The film failed at the box office.

After the debacle of ‘Naughty Boy’ (1962), Shakti Samanta seems to have shifted the focus on producing and directing the genre of romantic and musical films. He had with him now Shammi Kapoor and Jaikishan to support such a genre of films. The film ‘Kashmir Ki Kali’ (1964) was conceptualized with his two friends in mind. He had roped in a new comer, Sharmila Tagore whose parents were the family friend of Shakti Samanta, to act opposite Shammi Kapoor. It was a foregone conclusion that Shankar-Jaikishan would be the music director.

When O P Nayyar came to know about the new film, he requested Shakti Samanta to at least listen to his tunes before deciding on the music director. He also invited Shammi Kapoor for a musical sitting. Both were so much impressed with some 40 odds tunes O P Nayyar churned out, that both Shakti Samanta and Shammi Kapoor decided to take O P Nayyar as music director for ‘Kashmir Ki Kali’ (1964) and selected 12 tunes out of which 9 tunes were used in the film and remaining 3 tunes were used in ‘Saawan KI Ghata’ (1966). The film was a blockbuster on the box office chart.

Shakti Samanta had lined up 3 films with Shammi Kapoor and Jaikishan combination. The first film, ‘Evening In Paris’ (1967) was a high budget film which were partly shot abroad. The film became successful at the box office. The second film ‘Pagla Kahin Ka’ (1970) was directed by Shakti Samanta for Ajit Chakravarty. The film was an average success. The third film, ‘Jaane Anjaane’ (1971) was in the planning stage when Shakti Samanta felt that Shammi Kapoor needed to reduce his weight before he started shooting for the film. He gave Shammi Kapoor six months’ time to reduce his weight. In the interregnum, Shakti Samanta decided to produce and direct a low budget social film ‘Aradhana’ (1969) which was his favourite genre inspired from the films of New Theatre. The saga of making of ‘Aradhana’ (1969) is interesting one.

Sometime in early 1960s, Sachin Bhowmik, the story, screen-play and dialogue writer had read out the story of Aradhana to Shakti Samanta. While he liked the story very much, he did not venture to make a film on the story as he felt that it would be difficult to get the lead actors to the roles envisaged in the story. This was also the views of Hrishikesh Mukherjee when Sachin Bhowmik had read out the story to him also. Since Shakti Samanta had now time to make a low budget film, he recalled the story of Aradhana and decided to make a low budget film.

Sharmila Tagore who was introduced in Hindi films by Shakti Samanta and Rajesh Khanna who was the discovery of United Producers-Filmfare Talent Contest (1965) in which Shakti Samanta was one of the judges, were taken for the lead roles. Sharmila Tagore was apprehensive of doing the mother’s role in her early filmy career. Rajesh Khanna had felt that his role had considerably lesser length than that of Sharmila Tagore whose presence in the film was from first to last frames. Shakti Samanta had to do a hard work to convince both the actors to remove their apprehensions as the roles were challenging from the acting point of view.

Since the story of the film was akin to the Bengali type of stories with emotional contents, Shakti Samanta was keen on S D Burman to take up the music direction of the film. However, here also he had to convince S D Burman to take up the music direction for the film. S D Burman rued that Shakti Samanta had so far engaged him as a music director only for his low budget films.

Just a day before ‘Aradhana’ (1969) was to start shooting, Surinder Kapoor, the producer of ‘Ek Shriman Ek Shrimati’ (1969) starring Shashi Kapoor and Babita invited Shakti Samanta to see rushes of the final climax of his film. He was shocked to see that the climax was the same as that was written for Aradhana. This was possible because both films were written by Sachin Bhowmick. The next day, Shakti Samanta had made up his mind to scrap Aradhana and asked Gulshan Nanda to work on his story, ‘Kati Patang’. But Gulshan Nanda along with another writer, Madhusudan Kalelkar convinced him that instead of scrapping the film, let there be some changes the second half of the story. Both of them reworked the second half of Aradhana in the next few hours and saved the film being scrapped.

When everything was set to start the shooting ‘Aradhana’, film distributors were not happy with casting the lead roles. They were of the view that the audience would not accept Sharmila Tagare in the role of mother who had so far done the glamorous roles. They also felt risky to give a new comer Rajesh Khanna the double role in the film. Again, Shakti Samanta was required to convince them that the lead actors would justify their roles.

‘Aradhana’ (1969) was completed in less than 6 months and was released sometime in October 1969. I had watched this film during the first week of its release as tickets were easily available. However, the box office collections of the film picked up from the second week onward mainly through words of mouth publicity. The film became the top grosser among the Hindi films released in 1969. The box office success of this film and later of ‘Bandhan’ (1969) and ‘Do Raaste’ (1970) made Rajesh Khanna a super star. In a print media interview, Shakti Samanta had acknowledged that from the gramophone record sales of ‘Aradhana’ only, he produced next five films. The records were dubbed and released in 5 languages, and were hits in every language.

With the success of ‘Aradhana’, Shakti Samanta ventured into producing more of social genre of films like ‘Kati Patang’ (1971), ‘Amar Prem’ (1972), ‘Anuraag’ (1972) which were also successful at the box office. However, after mid-1970, except for ‘Great Gambler’ (1979), Shakti Samanta could not get as much success at the box office as he got for his films in early 1970s. Just to balance the box office earnings, Shakti Samanta started producing bilingual films which were made in Hindi as well as in Bengali. He produced and directed the first bilingual film, ‘Amanush’ (1975) followed by ‘Anand Asharam’ (1979), ‘Barsaat Ki Ek Raat’ (1981), ‘Aar Paar’ (1985) etc.

In the 1990s, Shakti Samanta’s films could not match with the changing taste of the film audience. ‘Geetanjali’ (1993) was his last film as a director which failed at he box office. During this period, he had also become busy with his role as Chairman of the Film Censor Board for 7 years (1991-98) and as a Chairman of Satyajit Ray Film and Television Institute, Kolkata for 2 years. Hence, some of the films produced under the banner of Shakti Films were directed by his son, Ashim Samanta.

During his 5 decades of long filmy career, Shakti Samanta directed 37 films and produced 43 films under his banner, Shakti Films. He also co-produced and directed an Indo-Bangla Desh Bengali film in 1984 which became a super hit. He set up Aradhana Sound Service, the digital audio post-production facilities films. He received Filmfare Award for ‘Aradhana’ (1969), ‘Anuraag’ (1972) and ‘Amaanush’ (1975) under ‘Best Films’ category.

Shakti Samanta breathed his last on April 9, 2009 after a brief illness due to stroke.

For the occasion, I have selected a song from one of the films from Shakti Samanta’s struggling years to establish himself in the Hindi film industry. The song is ‘ye maara wo maara koi jeeta koi haara’ from ‘Hill Station’ (1957). The song is sung by Geeta Dutt on the lyrics of S H Bihari which is set to music by Hemant Kumar. From the lyrics and the tone of the song, it appears to be a club song probably picturised on Sheila Vaz.

——————————————————————————————————————-
Note: The information on Shakti Samanta with some associated anecdotes have been sourced from many interviews he gave both to the print media as well as to the electronic media, mostly during the 1990s. Some information has also been sourced from the interview Ashim Samanta gave for a FM Radio Channel in 2016.


Song-Ye maara wo maara (Hill Station)(1957) Singer-Geeta Dutt, Lyrics-S H Bihari, MD-Hemant Kumar

Lyrics

ye maara
wo maara

ye maara
wo maara
koi jeeta aur koi haara
haar jeet kaa khel ye dekho
kitna hai pyaara
ye maara

teri zindagi mein
aise mauke suhaane naa aayenge
teri zindagi mein
aise mauke suhaane naa aayenge
tere yahi patte
tera bigda muqaddar banaayenge
yahi chamkega teri naseeb ka taara
haar jeet ka khel ye dekho
kitna hai pyaara
o maara
ye maara wo maara
koi jeeta aur koi haara
haar jeet ka khel ye dekho
kitna hai pyaara
ye maara

dekh o matwaale
aaj se apna daaman bachaaye jaa
dekh o matwaale
aaj se apna daaman bachaaye jaa
sun ae bhole bhaale
kabhi kismat se dhokha bhi khaaye jaa
rona hansna to jeevan ka khel hai saara
haar jeet ka khel ye dekho
kitna hai pyaara
ho maara
ye maara wo maara
koi jeeta aur koi haara
haar jeet ka khel ye dekho
kitna hai pyaara
ho maara
ye maara
wo maara
koi jeeta aur koi haara
haar jeet ka khel ye dekho
kitna hai pyaara
ye maara

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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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3819 Post No. : 14817

Today’s song is from film ‘Ek Shola’ (1958). It is sung by Asha Bhosle and Geeta Dutt. The lyricist was Majrooh Sultanpuri and the music director was Madan Mohan. The film was produced by Deep and Pradeep Productions –  a joint venture of Deep Khosla and Pradeep Kumar. The film was directed by Chander Sehgal. Not much is known about Chander Sehgal, except that he directed only 2 films – ‘Ek Shola’ and ‘Mitti Mein Sona’ (1960). He died on 29-5-1960. The cast of the film is Pradeep Kumar, Mala Sinha, Jawahar Kaul, Leela Mishra, Nazir Hussain, Shubha Khote etc.

In Hindi films, there have been three actors who were very handsome and very lucky but zero in acting – Karan Dewan, Pradeep Kumar and Bharat Bhushan. They all appeared in leading roles opposite all leading actresses of their times. They had the best films, best songs and best roles. Karan Dewan had about 25 Silver Jubilees to his credit and was considered a lucky star. Bharat Bhushan had the most musical films to his credit like ‘Baiju Bawra’ (1952), ‘Shabaab’ (1954) and ‘Mirza Ghalib’ (1954) etc. Pradeep Kumar had ‘Anarkali’ (1953) and ‘Taj Mahal’ (1963).

All three had their brothers producing films for them. Gemini Dewan made films for Karan Dewan, R. Chandra made films for Bharat Bhushan and Kalidas for Pradeep Kumar. Unfortunately, in later years, all three lost everything and died in poverty and neglectful anonymity. Karan Dewan was a manager with BR Chopra’s production company. When he died no one came for his funeral except for Chandrashekhar and Manmohan Krishan from the Cine Artist’s Association. Bharat Bhushan even worked as a watchman in a film studio, in his last days. He too died unsung and only the men from the Association were present at the cremation.

Pradeep Kumar’s case is the saddest. He lay seriously ill in the ICU of a Calcutta nursing home, abandoned by his relatives. The hospital was not discharging him, unless the bills were paid. Luckily one Mr. Pradeep Kondaliya, an estate agent, recognised him, despite his grown beard. He paid the huge outstanding bill of the hospital and took Pradeep Kumar to his home, where he passed away after a few days. He was cremated by his fan. Such is the film industry – cruel and ruthless, where the recognition lasts only till one is successful, and even close relatives desert you in bad times.

Pradeep Kumar aka Sital Batabyal was born on 4 January 1925. When he was 17 years old, he started as assistant cameraman. Later he decided to take up acting. He started his film career in Bengali films. His notable roles in Bengali films were in ‘Alaknanda‘ (1947), directed by renowned filmmaker Debaki Bose, and in ’42 (1951). It was Debki Bose, who gave him the filmy name Pradeep Kumar.

Pradeep Kumar  then shifted to Bombay and Filmistan studios, and had an important role in the film ‘Anand Math (1952). He played the lead role with Bina Rai in ‘Anarkali’ (1953) and with Vyjayanthimala in ‘Nagin’ (1954). Both films were very popular and had songs that added to the movies’ success. He had a spate of releases in the second half of the 1950s. He did not enjoy as much success in the 1960s, though ‘Ghoonghat’ (1960), ‘Aarti’ (1962) & ‘Taj Mahal’ (1963) were successful. He worked with Meena Kumari in seven films; ‘Adil-E-Jahangir’, ‘Bandhan’ (1956), ‘Chitralekha’, ‘Bahu Begum’, ‘Bheegi Raat’, ‘Aarti’ and ‘Noorjehan’; and with Mala Sinha in eight films; ‘Naya Zamana’, ‘Hamlet’, ‘Baadshah’, ‘Detective’ (1958 movie), ‘Fashion’ (1959 film), ‘Ek Shola’, ‘Duniya Na Maane’, and ‘Mitti Mein Sona’.

He did not get to act in lead roles with the newer heroines of the 1960s such as Sadhana, Saira Banu, Babita or Sharmila Tagore, though he did work with Asha Parekh in ‘Ghoonghat’ and ‘Meri Surat Teri Aankhen and with Waheeda Rehman in ‘Raakhi (1963). In 1969, he moved to character roles with ‘Sambandh’ and ‘Mehboob Ki Mehndi’, but did not have many visible roles till ‘Jaanwar’ and ‘Razia Sultan’ in 1983.

He won the Kalakar Award-Lifetime Achievement Award (1999).

Pradeep Kumar died in Calcutta on 27 October 2001, at the age of 76. He is survived by his daughters Reena, Meena and Beena Banerjee who plays character roles in movies and TV serials including ‘Uttaran’, son Debiprasad and granddaughters Tanisha, Suparna, Riya and Hrishita. Beena Banerjee’s son Siddharth Banerjee worked as assistant director in Sajid Khan’s ‘Housefull 2’ (2012) and ‘Himmatwala’ (2013).

Mala Sinha was an educated, hard working actress. Though she worked with leading banners and was heroine to well known heroes, she was never counted among the class I heroines of her times. She worked with many newcomers, like Dharmendra etc. Her career spanned a long time but she never got a single Filmfare Award, though nominated 4 times.

Mala Sinha was born in a Bengali Nepalese Christian family in Calcutta, on 11-11-1936. Mala Sinha claimed herself a Bengali descent Nepali many years ago in a TV interview Her parents named her Alda. Her friends at school used to tease her by calling her Dalda (a brand of vegetable oil), so she changed her name to Mala. In her childhood she learnt dancing and singing. Although she was an approved singer of All India Radio, she has never done playback singing in films. But as a singer she has done stage shows in many languages from 1947 to 1975.

Mala started her career as child artist in Bengali films ‘Jai Vaishno Devi’ followed by ‘Shri Krishan Leela’, ‘Jog Biyog’ and ‘Dhooli’. Noted Bengali director Ardhendu Bose saw her acting in a school play and took permission from her father to cast her as a heroine in his film ‘Roshanara’ (1952) – Bangla film, her cinematic debut.

After acting in a couple of films in Calcutta, Mala had to go to Bombay for a Bengali film. There she met Geeta Bali, a noted Bollywood actress, who was charmed by her and introduced her to film director Kidar Sharma. It was Sharma who cast her as a heroine in his ‘Rangeen Ratein‘ (1956). Her first Hindi film was ‘Baadshah’ (1954) opposite Pradeep Kumar. Then came ‘Ekadashi’ (1955), a mythological film. Both failed, but her lead role in Kishore Sahu’s ‘Hamlet’ (1954), paired opposite Pradeep Kumar, fetched her rave reviews in spite of it failing at the box office. Films like ‘Lai Batti’ (ac­tor Balraj Sahni’s only directorial venture), ‘Nausherwan-E-Adil’ where she starred as the fair maiden Marcia in Sohrab Modi’s romance about forbidden love and ‘Phir Subah Hogi’, which was direc­tor Ramesh Saigal’s adapta­tion of Dosteovsky’s novel Crime and Punishment, established Mala Sinha’s reputation as a versatile actress who took the maximum career risks by accepting unconventional roles.

Mala was a singer of some repute and used to sing for All India Radio; she was not allowed to sing playback (even for herself) in the movies with the lone exception being 1972’s ‘Lalkar’. In the 1950s, she had string of hits opposite Pradeep Kumar like ‘Fashion’ (1957), ‘Detective’ (1958), ‘Duniya Na Maane’ (1959) though their first two ventures had failed. The films she did with Pradeep Kumar were men-oriented. In 1957, noted Bollywood actor and film director Guru Dutt (the husband of Geeta Dutt) cast Mala in his film ‘Pyaasa‘ (1957) in a role originally intended for Madhubala. Mala gave a memorable performance as the relatively unsympa­thetic part of an ambitious woman who chooses to marry a rich man (played by actor Rehman) and have a loveless marriage rather than a poor, unsuccessful poet and her impoverished lover (played by Guru Dutt) whom she ditches. ‘Pyaasa‘ remains to this day a classic in the history of Indian cinema and a turning point for Mala Sinha.

After ‘Pyaasa’ her major success were ‘Phir Subah Hogi’ (1958) and Yash Chopra’s directorial debut ‘Dhool Ka Phool’ (1959) that elevated her into a major dramatic star. There was no looking back for Sinha then as she was part of many successful movies from 1958 to the early ’60s like ‘Parvarish’ (1958), ‘Ujaala’,’ Main Nashe Main Hoon’, ‘Duniya Na Maane’, ‘Love Marriage’ (1959), ‘Bewaqoof’ (1960), ‘Maya’ (1961), ‘Hariyali Aur Rasta’ and ‘Dil Tera Deewana’ (1962), ‘Anpadh’, ‘Bombay Ka Chor’ (1962). Critics believe her career best performance was in ‘Bahurani’ (1963), ‘Gumrah’, ‘Gehra Daag’, ‘Apne Huye Paraaye’ and ‘Jahan Ara’. Apart from pairing with Pradeep Kumar, her pairing opposite Raaj Kumar, Rajendra Kumar, Biswajit and Manoj Kumar in woman-oriented films were appreciated by audiences, with her films opposite Biswajit being the most popular.  She did 10 films with Biswajit. In 2007, they won the Star Screen Lifetime Achievement Award, calling them on stage together giving due respect to their popularity as a pair who have tasted box office success.

The most remarkable feature of career of Mala Sinha was that most of her 1960s and 1970s hits were fueled by her own star power as much as the heroes and most of the times her role was more powerful than the hero. Though she was pitted opposite her seniors like Raj Kapoor, Dev Anand, Kishore Kumar, Pradeep Kumar and when she acted opposite the emerging stars from late 1950s like Shammi Kapoor, Rajendra Kumar and Raaj Kumar, she made sure her role was as good as theirs.

In 1966, Sinha went to Nepal to act in a Nepali film called ‘Maitighar when the Nepali film industry was still in its infancy. This was the only Nepali film she did in her career. Her hero in the film was an estate owner called Chidambar Prasad Lohani. Soon after, Mala Sinha married CP Lohani with the blessings of her parents. From the beginning theirs was a long-distance marriage with Lohani based in Kathmandu to look after his business and Sinha living in Bombay with their daughter Pratibha. She continued acting after her marriage.

From 1974, she cut down on her assignments as the lead actresses. She accepted strong character roles in films like ’36 Ghante (1974), ‘Zindagi‘ (1976), ‘Karmayogi (1978), ‘Be-Reham’ (1980), ‘Harjaee’ (1981), ‘Yeh Rishta Na Tootay’, ‘Babu’ (film) and ‘Khel’, which were popular.

In the early ’90s Madhuri Dixit was promoted as new Mala Sinha in magazines. But, after 1994, she completely withdrew from industry and has given very few public appearances. In ‘Dhool Ka Phool’ and BR Chopra’s ‘Gumrah’, she played the first unwed mother and adulterous wife respectively in Hindi cinema. As she grew older, she gracefully moved on to doing character roles that befitted her age. She was last seen in ‘Zid’ (1994). Though Mala Sinha evinced as much interest in her daughter Pratibha’s career as her father did in her career, she was unable to achieve the same success for her daughter. (Adapted from wiki).

Mala Sinha came from Calcutta to make a career in Bombay films. In Calcutta she worked in a Bilingual film ‘Chitrangada’ (1954) in Bangla and Hindi. In 1954 again, she did her first film in Bombay, ‘Baadshah’ (1954), then came ‘Hamlet’ (1954), ‘Riyaasat’ (1955) and ‘Ekadashi’ (1955).

In all her interviews, Mala Sinha always quoted ‘Rangeen Raten’ (1956) with Shammi Kapoor as her first film in Bombay. She was ashamed of revealing that in film ‘Riyaasat’ (1955), her Hero was Mahipal and in film ‘Ekadashi’ it was Trilok Kapoor. She always hid this fact. There are many heroines who want to hide their struggling days. For example, in film ‘Professor’ (1962) Shammi Kapoor’s heroine was Kalpana. Though touted as her first film, her first film was ‘Pyar Ki Jeet-62’, opposite Mahipal – a fact which Kalpana always hid from everyone.

Similarly, A grade heroine Meena Kumari also had done several mythological and costume films before ‘Baiju Bawra’ took her high up and above other heroines. Films like ‘Veer Ghatotkach’ (1949), ‘Shri Ganesh Mahima’ (1950), ‘Laxmi Narayan’ (1951), ‘Hanuman Paataal Vijay’ (1951) and ‘Alladin aur Jadui Chirag’ (1953) had Mahipal as her Hero. In her later years, she always hid her earlier film Heroes.

Even comedian Johnny walker, who is supposed to have made a beginning with ‘Baazi’ (1951), had earlier worked in ‘The Last Message’ or ‘Aakhri Paigham’ (1949). However this fact is not told by anyone.

Not only actors, but even singers do this. They hesitate to tell that the first sang for C grade films. Take the case of Sudha Malhotra, who used to declare ‘Arzoo’ (1950) as her first film, under Anil Biswas. But she never told that earlier she had sung 3 songs in film ‘Aakhri Paigham’ (1949), under the baton of Abid Hussein Khan, composer.

It is very unfortunate that once the artiste becomes famous, he tends to forget his humble beginning with less known film or a composer. This is because they are ashamed of it. I feel the blame also goes to people who take their interview, because the interview takers do not do proper homework. Many times they do not know anything and simply note down whatever is told by the artiste.

There were 8 songs in the film ‘Ek Shola’. 3 songs are already discussed. This is the 4th song. It is a long song, recorded on one side each of 78 rpm record nos. N-52832 and 52833). We present here the full song covering both sides.

 


Song – Chanda Se Bhi Pyaara Hai, Akhion Ka Taara Hai  (Ek Shola) (1958) Singer – Asha Bhosle, Geeta Dutt, Lyrics – Majrooh Sultanpuri, Music – Madan Mohan

Lyrics (Provided by Sudhir)

mmmm mmmmm mmmm
mmm mmm mmm mmm mmm mmmmmmm

chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla
chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla

ghata ka saaya hai zindagi
idhar se aai udhar chali
rukey na jeevan ki baansuri
haaye.. apni dhun mein gaa

khushi se saagar jal chhalke
pakad chaley dil sambhal ke
kahen tarangen machal ke
zaraa mauj mein lehra haaye..
khushi se saagar jal chhalke
pakad chaley dil sambhal ke
kahen tarangen machal ke
zaraa mauj mein lehra haaye..
ghata ka saaya hai zindagi
idhar se aai udhar chali
rukey na jeevan ki baansuri
haaye.. apni dhun mein gaa

chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla..aa..aa

jab mera nannha chhaiyan chhaiyan
thummak thummak doley
tuk tuk taakey
jhuk jhuk jhaanke
gudiya ghunghat kholey
jab mera nannha chhaiyan chhaiyan
thummak thummak doley
tuk tuk taakey
jhuk jhuk jhaanke
gudiya ghunghat kholey
ho gudde sa dulaara
akhion ka taara hai
dil ka sahaara mera laadla..aa..aa

ghata ka saaya hai zindagi
idhar se aai udhar chali
rukey na jeevan ki baansuri..ee
apni dhun mein gaa

jo mastion mein jee’e hain
usey na ?? ?? ??
ye raaz tere liye hai magar
tu nahi samjha haaye..
jo mastion mein jee’e hain
usey na ?? ?? ??
ye raaz tere liye hai magar
tu nahi samjha haaye..
ghata ka saaya hai zindagi
idhar se aai udhar chali
rukey na jeevan ki baansuri..ee
apni dhun mein gaa

chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla..aa..aa
A B C D
aleef bay pay
ka kha ga gha..aa..aa
A B C D
aleef bay pay
aur bhai ka kha ga gha
ab padhne askool chala hai
ye mera shehzaada
ab padhne askool chala hai
ye mera shehzaada
ho parion ne sanwaara hai
akhion ka taara hai
dil ka sahaara mera laadla
aa..aa..aa
chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla

mmm mmm mmmmmm mmmm
mmm mmm mmmmmm mmmm
aaa aaa aaaa aaa aaa aaa

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
मम्मम मम्ममम मम्मम
मम्म मम्म मम्म मम्म मम्म मम्म मम्ममममम

चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला
चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला

घटा का साया है ज़िंदगी
इधर से आई उधर चली
रुके ना जीवन की बांसुरी
हाए॰॰ अपनी धुन में गा

खुशी से सागर जल छलके
पकड़ चले दिल संभाल के
कहें तरंगें मचल के
ज़रा मौज में लहरा हाए॰॰
खुशी से सागर जल छलके
पकड़ चले दिल संभाल के
कहें तरंगें मचल के
ज़रा मौज में लहरा हाए॰॰
घटा का साया है ज़िंदगी
इधर से आई उधर चली
रुके ना जीवन की बांसुरी
हाए॰॰ अपनी धुन में गा

चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला॰॰आ॰॰आ

जब मेरा नन्हा छइयाँ छइयाँ
ठुमक ठुमक डोले
टूक टूक ताके
झुक झुक झाँके
गुड़िया घूँघट खोले
जब मेरा नन्हा छइयाँ छइयाँ
ठुमक ठुमक डोले
टूक टूक ताके
झुक झुक झाँके
गुड़िया घूँघट खोले
हो गुड्डे सा दुलारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला॰॰आ॰॰आ

घटा का साया है ज़िंदगी
इधर से आई उधर चली
रुके ना जीवन की बांसुरी
हाए॰॰ अपनी धुन में गा

जो मस्तीओं में जीए हैं
उसे ना ?? ?? ??
ये राज़ तेरे लिए है मगर
तू नहीं समझा हाए॰॰
जो मस्तीओं में जीए हैं
उसे ना ?? ?? ??
ये राज़ तेरे लिए है मगर
तू नहीं समझा हाए॰॰
घटा का साया है ज़िंदगी
इधर से आई उधर चली
रुके ना जीवन की बांसुरी॰॰ई
हाए॰॰ अपनी धुन में गा

चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला॰॰आ॰॰आ

ए बी सी डी
अलीफ बे पे
क ख ग घ॰॰अ॰॰अ
ए बी सी डी
अलीफ बे पे
और भई क ख ग घ
अब पढ़ने अस्कूल चला है
ये मेरा शहज़ादा
अब पढ़ने अस्कूल चला है
ये मेरा शहज़ादा
ओ परियों ने संवारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला
आ॰॰आ॰॰आ
चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला

मम्म मम्म मम्मममम मम्मम
मम्म मम्म मम्मममम मम्मम
आ आ आ आ आ आ॰॰आ

 


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 : 3771 Post No. : 14746

“Anjna”(1948) was directed by Sam Popat for Alka Pictures, Bombay. The movie had Bharat Bhushan, Shalini, Neelam, Baazid,D. C. Dutt, S. K. Prem, Uma Dutt, Ratan Gaurang, Bismilla, Rosie vairale etc in it.
etc in it.

The movie had eight songs in it. One song is covered in the past.

Here is the second song from “Anjna”(1948). This song is sung by Geeta Dutt. Lyrics are penned by Vishwamitra Adil. Music is composed by D C Dutt.

Only the audio of this song is available. I request our knowledgeable readers to throw light on this movie as well as on the picturisation of this song.


Song-Dil ke geet gaayenge (Anjna)(1948) Singer-Geeta Dutt, Lyrics-Vishwamitra Adil, MD-D C Dutt

Lyrics

dil ke geet gaayenge
mil ke geet gaayenge
aaja dil milaayenge
mil ke geet gaayenge
dil ke geet gaayenge

preet lagaai hai jab tune
aaja preet nibhaayen baalma
aaja preet nibhaayen
preet lagai hai jab toone
aaja preet nibhaye balma
aaja preet nibhaayen
tu veena ban geet banu main
dono ghul mil jaye
o bedardi aaja
aaja dil milayenge
mil ke geet gaayenge
dil ke geet gaayenge

tera jeewan mera jeewan main teri tu mera
tera jeewan mera jeewan main teri tu mera
do din ka hai mela phir to uth jaayega dera
bedardi aaja
aaja dil milaayenge
milke geet gaayenge
dil ke geet gaayenge

jhilmil chamke aas ke tare
virah rain daraye
balma virah rain daraaye
jhilmil chamke aas ke taare
virah rain daraaye
baalma virah rain daraaye
yaad teri ek zehree naagin ban kar dasti jaaye
haaye re haaye bedardi aaja
aaja dil milaayenge
milke geet gaayenge
dil ke geet gaayenge

laane par majboor hoon main
tu jaane par majboor
laane par majboor hoon main
tu jaane par majboor
main to tujhse door nahin hoon
tu kyun mujhse door
bedardi aaja aaja dil milaayenge
milke geet gaayenge
dil ke geet gaayenge


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 : 3757 Post No. : 14726

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 28
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘य’ – ये भीगी भीगी रात गगन पर तारों की बारात ॰ ॰ ॰

– – – –

हम बेखुदी में तुमको पुकारे चले गए ॰ ॰ ॰ 

Seems to be like another life time, that we have been waiting, and calling out for you, in the wilderness of nowhere. Alas, but it is not to be. . .

– – – –

Really spoilt for choices with the letter ‘य’. And I settle for this delightful twosome of a song – Geeta Dutt with Rafi Sb. The film is an obscure ‘Doctor Z’ from 1959. Produced and directed by Jaal, the films comes from the banner of Baliwala Films, Bombay. The star cast of this film is listed as Shakeela, Mahipal, Heeralal, Helen, Vinod Diwani, Krishna Kumari, Sundar, Mirza Musharraf, Dalpat, Tuntun, Nasreen, Shetty, Bhudo Advani, Homi, Rusi, Bismillah, Baburao Pehalwan, Radheshyam, Rafiq, Hanuman, Bala Ram, Dhondu, MK Hasan, Karandiker, and Sheetal Kumar.

The film has total of eight songs listed, out which, two songs, as per the Geet Kosh, are probably not released on gramophone records. The songs have been written by Akhtar Romani, and the music is by Manohar. This Manohar is the blind music director Manohar Lal Sonik, who was the senior partner in the team of music director duo – Sonik-Omi.

One song of this film is already present on our blog. It was posted on 9th Nov, 2011. And today, after almost full seven years, the second song of this film finds its place here.

The singing voices are of Rafi Sb, accompanied by Geeta Dutt. A delightful duet presented as a conversation between lovers, it is quite a treat to hear to this song. Listen and enjoy.

Song – Ye Bheegi Bheegi Raat Gagan Par Taaron Ki Baraat  (Doctor Z) (1959) Singer – Geeta Dutt, Mohammed Rafi, Lyrics – Akhtar Romani, MD – Manohar
Geeta Dutt + Mohammed Rafi

Lyrics 

ye bheegi bheegi raat
gagan par taaron ki baraat
chali kis paar hai
zara dil par rakh kar haath
bata de aise mein ye baat
ke kitna pyaar hai
ye bheegi bheegi raat
gagan par taaron ki baraat
chali kis paar hai
zara dil par rakh kar haath
bata de aise mein ye baat
ke kitna pyaar hai

o ho ho ho ho ho
o ho ho ho ho ho
o ho ho ho ho ho
ho ho..oo ho ho..oo

bhatke huye musaafir
manzil ko pa hi gaye
ulfat ke do safeene
saahil pea aa hi gaye
bhatke huye musaafir
manzil ko pa hi gaye
ulfat ke do safeene
saahil pea aa hi gaye
main kaise kahoon ye baat
ke aata sapnon mein har raat
koi dildaar hai
zara dil par rakh kar haath
bata de aise mein ye baat
ke kitna pyaar hai

jitna haseen hai mausam
utna hi tu bhi haseen
jee chaahe aaj ruk jaaye
saara zamaana yahin
jitna haseen hai mausam
utna hi tu bhi haseen
jee chaahe aaj ruk jaaye
saara zamaana yahin
de haat mein mere haath
ke chhoote ab na kabhi ye saath
yahi iqraar hai
ye kitni badi hai baat
ke tujhko pyaar hai mere saath
ke du dildaar hai
zara dil par rakh kar haath
bata de aise mein ye baat
ke kitna pyaar hai

ye bheegi bheegi raat
gagan par taaron ki baraat
chali kis paar hai
aa haa
zara dil par rakh kar haath
bata de aise mein ye baat
ke kitna pyaar hai

o ho ho ho ho ho
o ho ho ho ho ho
o ho ho ho ho ho
ho ho..oo ho ho..oo
ho ho..oo ho ho..oo
ho ho..oo ho ho..oo

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

ये भीगी भीगी रात
गगन पर तारों की बारात
चली किस पार है
ज़रा दिल पर रख कर हाथ
बता दे ऐसे में ये बात
के कितना प्यार है
ये भीगी भीगी रात
गगन पर तारों की बारात
चली किस पार है
ज़रा दिल पर रख कर हाथ
बता दे ऐसे में ये बात
के कितना प्यार है

ओ हो हो हो हो हो
ओ हो हो हो हो हो
ओ हो हो हो हो हो
हो होsss हो होss

भटके हुये मुसाफिर
मंज़िल को पा ही गए
उल्फ़त के दो सफीने
साहिल पे आ ही गए
भटके हुये मुसाफिर
मंज़िल को पा ही गए
उल्फ़त के दो सफीने
साहिल पे आ ही गए
मैं कैसे कहूँ ये बात
के आता सपनों में हर रात
कोई दिलदार है
ज़रा दिल पर रख कर हाथ
बता दे ऐसे में ये बात
के कितना प्यार है

जितना हसीं है मौसम
उतना ही तू भी हसीं
जी चाहे आज रुक जाये
सारा ज़माना यहीं
जितना हसीं है मौसम
उतना ही तू भी हसीं
जी चाहे आज रुक जाये
सारा ज़माना यहीं
दे हाथ में मेरे हाथ
के छूटे अब ना कभी ये साथ
यही इक़रार है
ये कितनी बड़ी है बात
के तुझको प्यार है मेरे साथ
के तू दिलदार है
ज़रा दिल पर रख कर हाथ
बता दे ऐसे में ये बात
के कितना प्यार है

ये भीगी भीगी रात
गगन पर तारों की बारात
चली किस पार है
आ हा
ज़रा दिल पर रख कर हाथ
बता दे ऐसे में ये बात
के कितना प्यार है

ओ हो हो हो हो हो
ओ हो हो हो हो हो
ओ हो हो हो हो हो
हो होsss हो होss
हो होsss हो होss
हो होsss हो होss


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 : 3749 Post No. : 14713

“Jai Hanuman” (1948) was directed by R Thakur for Ranjit Film Company, Bombay. The movie had S. N. Tripathi, Ram Kumar, Pesi Patel, P. Kailash, Nirupa Roy, K. Purohit, Babu Nene, Rajrani, Tarabai, Kamalakant, Inamdar etc in it.

The movie had twelve songs in it. One song has been covered in the past.

Here is the second song from “Jai Hanuman” (1948) to appear in the blog. This song is sung by Geeta Dutt. Pt Indra Chandra is the lyricist. Music is composed by Bulo C Rani.

Only the audio of this Ram bhajan is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Mohe raam naam dhun laagi (Jai Hanuman)(1948) Singer-Geeta Dutt, Lyrics-Pt Indra Chandra, MD-Bulo C Rani

Lyrics

mohe raam naam dhun laagi
mohe raam naam dhun laagi
jug jug ki preet jaagi preet jaagi
jug jug ki preet jaagi preet jaagi
mohe raam naam dhun laagi
mohe raam naam dhun laagi

ae re sheetal pavan thahar ja
ae re sheetal pavan thahar ja
mand mand ?? ram naam ka ka
mand mand ?? raam naam ka
goonj goonj kar sakal jagat ko
goonj goonj kar sakal jagat ko
kar de raam anuraagi
mohe raam naam dhun laagi
mohe raam naam dhun laagi
jug jug ki preet jaagi preet jaagi
jug jug ki preet jaagi preet jaagi
mohe raam naam dhun laagi
mohe raam naam dhun laagi

raam base more man praanan mein
ram base more man praanan mein
raam jyot jagi nainan mein
raam jyot jagi nainan mein
raam raam mein raam rame hain
rom rom mein ram rame hain
raam ki maaya laagi
mohe raam naam dhun laagi
mohe raam naam dhun laagi
jug jug ki preet jaagi preet jaagi
jug jug ki preet jaagi preet jaagi
mohe raam naam dhun laagi
mohe raam naam dhun laagi


Blog Day : 3709 Post No. : 14635

“Sipahsaalaar”(1956) was produced by F C Mehra and directed by Mohammad Hussain for Eagle Films, Bombay. The movie had Shammi Kapoor, Nadira, Shyam Kumar, Randheer, Kamal Mehra, S Nazeer, Samson, Kumkum, Helen, Cuckkoo, Jagdeesh Kamal, Amrit Rana, Rafiq, Ravikant, Kamal Mohan, Rajan Kapoor, Nazeer Kashmiri, Uma Dutt, Balaram, Sattar, Dhondhu, Habeeb etc in it.

The movie had six songs in it according to HFGK. But it seems that the sixth song (whose record number in not known) has the same lyrics and singers as fifth song, so these songs can be considered as one and the same. So effectively the movie had five songs in it. Three of these songs have been covered in the past.

Here is the fourth song from “Sipahsaalaar”(1956) to appear in the blog. This song is sung by Geeta Dutt. Farooque Kaiser is the lyricist. Muusic is composed by Iqbal.

Only the audio of this song is available. The song sounds like a dance song. Going by the sounds of it, this song could have been picturised on Cuckkoo, Kumkum or Helen. I request our kowledgeable readers to throw light on the picturisation of this lilting dance song.


Song-Aji o jee tumhen dekh jiya lahraaye (Sipahsalaar)(1956) Singer-Geeta Dutt, Lyrics-Farooque Kaiser, MD-Iqbal

Lyrics

aji oh ji

aji oh ji
tumhen dekh jiya lahraaye
zara apni nazar kabhi kar lo udhar
mera ang ang sharmaaye
aji oh ji
tumhen dekh jiya lahraaye
zara apni nazar kabhi kar lo udhar
mera ang ang sharmaaye
aji oh ji

tujhe meri kasam zara sun to balam
tujhe meri kasam zara sun to balam
tera pyaar kare mere dil pe sitam
mere dil pe sitam
mujhe roz roz tadpaaye
aji oh ji
tumhe dekh jiya lahraaye
zara apni nazar kabhi kar lo udhar
mera ang ang sharmaaye
aji oh ji

chup chaap rahoon
kuchh bhi na kahoon
chup chaap raoon
kuchh bhi na kahoon
tera dard piya kab tak main sahoon
kab tak mai sahoon
ye bhed aaj khul jaaye

aji oh ji
tumhe dekh jiya lahraaye
zara apni nazar kabhi kar lo udhar
mera ang ang sharmaaye
aji oh ji

main gaaun yahaan
tum jhoomo wahaan
main gaaun yahaan
tum jhoomo wahaan
wo baat karo bekaar jahaan
ki saare jahaan
ki saare jahaan
hamen dekh dekh jal jaaye
aji oh ji
tumhe dekh jiya lahraaye
zara apni najar kabhi kar lo udhar
mera ang ang sharmaaye
aji oh ji
tumhen dekh jiya lahraaye
zara apni nazar kabhi kar lo udhar
mera ang ang sharmaaye
aji oh ji


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 : 3694 Post No. : 14609

“Mamta”(1952) was produced by R B Haldia and J L Sharma and directed by Gunjal for Sishaat Films, Bombay. The movie had Sumitra Devi, Ulhas, Mirza Musharraf, Rajan Haksar, Kamal Mehra, Chitralekha, Bhagwandas, Ramesh, Rajni, Shantabai, Sadiq, Kaabil amritsari, Baby Salma, Master Raja, G P Srivastava, Sheila, paro etc in it.

The movie had eight songs in it that were penned for four lyricists.

Four songs have been covered in the past.

Here is the fifth song from “Mamta”(1952) to appear in the blog. This song is sung by Geeta Dutt. Verma Malik is the lyricist. Music is composed by Sonik.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this rare song.


Teri kaali kaali ankhiyaan kanhaiyya (Mamta)(1952) Singer-Geeta Dutt, Lyrics-Verma Malik, MD-Sonik

Lyrics

teri kaali kaali ankhiyaan kanhaiya
teri kaali kaali ankhiyaan kanhaiya
main dil mein basa loon
main dil mein basa loon
teri gori gori bainya ho kanhaiya
teri gori gori bainya ho kanhaiya
main seene se laga loon
main seene se laga loon

o
o o o
teri nanhi nanhi palkon mein preet hai
ho preet hai
o
o o o
man meet ke sangeet ka tu geet hai
ho geet hai
mere nanhe munne pappu saanwariya
mere nanhe munne pappu saanwariya
main jhulna jhula loon
main jhulna jhula loon
teri kaali kaali ankhiya kanhaiya
teri kaali kaali ankhiya kanhaiya
main dil mein basa loon
main dil mein basa loon

o
o o o
chhidi pyaar mein hai bheeni bheeni raagini
meethi raagini
o
o o o
tu hai chaand aur main hoon rat chaandni
raat chaandni
tujhe laage na kisi ki najariya
tujhe laage na kisi ki najariya
aanchal mein chhupa loon
aanchal mein chhupa loon
teri kali kali ankhiyaan kanhaiya
teri kali kali ankhiyaan kanhaiya
main dil mein basa loon
main dil mein basa loon


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 : 3692 Post No. : 14604

Fabulous Foot Tappers – 9
– – – – – – – – – – – – – –

O boy, after almost one year – well, nine months to be precise, the next episode of this series. I had posted the eighth song – “Dekhne Waale Dekh Karishma Yaaron Ka” on 7th November, last year. In the interim, many other things happened – but that is an old story by now. One thing happened was that inadvertently, a couple of songs that I was saving for this series, got posted otherwise, and so I had to wait for locating a few more to complete the series, i.e. reach a number of 10 at least. 😉

This song is from the 1959 film ‘Mr John’. This was a period when Johnny Walker was still commanding lead roles. In this film he is paired opposite to Shyama. Seems to be a romantic comedy. The rest of the star cast consists of Helen, Lalita Pawar, Iftikhar, Krishna Kumari, Mumtaz, Tuntun, Mohan Choti, Kamal Mohan, Sampson, Uma Dutt, Ravi, Champaklala, Rasheed, Daraaz, Wahid, Genius, Tiwari, Ram Lal, Anil, Singh, Jaani, Gaus, Tarun Kumar, Ajay Kumar, Ajeet, B Fazle Kareem, Mukhtar, and Pandit Baijnath. It seems as if the last dozen or so names are just henchmen in a gang. 🙂

The film is produced by Nigam for the banner of NK Productions, Bombay, and is directed by Inder. When I read the director’s name in the film listing, my mind is now wondering whether he could be IS Johar. The complete name, as you are aware, is Inder Sen Johar. Maybe a question to be investigated; being a comedy, there is a good possibility.

The film has seven songs, three of which are already posted here on our blog. This is the fourth one to come on board. All the songs are written by Jaan Nisaar Akhtar and the music is composed by N Dutta. This song is duet in the voice of Geeta Dutt and Mohammed Rafi.

I request other readers to please add information about this film and the picturization of this song. It appears to be a club dance song, which has a lead pair performing, supported by other dancers. It is possible that the song is performed by Helen and Johnny Walker, but that is just a guess. As I said, request for more information from other knowledgeable readers.

So, introducing another rollicking foot tapping number. Listen and enjoy.

Song – Tip Tip To Mere Dil Hain Do  (Mr John) (1959) Singer – Geeta Dutt, Mohammed Rafi, Lyrics – Jaan Nisaar Akhtar, MD – N Dutta
Chorus

Lyrics

tip tip to
to
mere dil hain do
do
tip tip to
to
mere dil hain do
do

tip tip to
mere dil hain do

oo ho ho
hum bhi sunen to
tip tip to
mere dil hain do
oo ho ho
hum bhi sunen to

ek dil mera
mera
ek dil tera
tera
ek dil mera
to ek dil tera
jo maine tujhse maanga
to phir nahin phera
to yun bolo..oo..oo
tip tip to
mere dil hain do
oo ho ho
hum bhi sunen to
tip tip to
mere dil hain do

ye tan gora gora
ye til kaala kaala
jo ik mera dil tha
tujhe wo de daala
ye tan gora gora
ye til kaala kaala
jo ik mera dil tha
tujhe wo de daala
agar hai pyaar hum se
agar hai matwaala
to ek aur bhi dil
kahin se tu chura la
jo tum bolo..oo
tip tip to
mere dil hain do
oo ho ho
hum bhi sunen to
tip tip to
mere dil hain do

ye do meri zulfen
ye do mere baazu
ada se main to daalun
dilon pe laakh jaadu
ye do meri zulfen
ye do mere baazu
ada se main to daalun
dilon pe laakh jaadu
suney jo aisi baaten
rahe na haaye kaabu
zaraa galey laga le
agar khafaa na ho tu
to yun bolo..oo
tip tip to
mere dil hain do
oo ho ho
hum bhi sunen to
tip tip to
mere dil hain do

ye do teri aankhen
inhen bhi chaar kar le
nazar mila ke zaalim
nazar se pyaar kar le
ye do teri aankhen
inhen bhi chaar kar le
nazar mila ke zaalim
nazar se pyaar kar le
tu chaahta hai jhat se
galey ka haar kar le
thoda sa hi to aaya
kuchh intezaar kar le
to yun bolo..oo

tip tip to
to
mere dil hain do
do
tip tip to
to
mere dil hain do
do

tip tip to
mere dil hain do

oo ho ho
hum bhi sunen to
tip tip to
mere dil hain do
oo ho ho
hum bhi sunen to

ek dil mera
mera
ek dil tera
tera
ek dil mera
to ek dil tera
jo maine tujhse maanga
to phir nahin phera
to yun bolo..oo..oo
tip tip to
mere dil hain do
oo ho ho
hum bhi sunen to
tip tip to
mere dil hain do

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
टिप टिप टो
टो
मेरे दिल हैं दो
दो
टिप टिप टो
टो
मेरे दिल हैं दो
दो

टिप टिप टो
मेरे दिल हैं दो

ओ हो हो
हम भी सुनें तो
टिप टिप टो
मेरे दिल हैं दो
ओ हो हो
हम भी सुनें तो

एक दिल मेरा
मेरा
एक दिल तेरा
तेरा
एक दिल मेरा
तो एक दिल तेरा
जो मैंने तुझसे मांगा
तो फिर नहीं फेरा
तो यूँ बोलो॰॰ओ॰॰ओ
टिप टिप टो
मेरे दिल हैं दो
ओ हो हो
हम भी सुनें तो
टिप टिप टो
मेरे दिल हैं दो

ये तन गोरा गोरा
ये तिल काला काला
जो इक मेरा दिल था
तुझे वो दे डाला
ये तन गोरा गोरा
ये तिल काला काला
जो इक मेरा दिल था
तुझे वो दे डाला
अगर है प्यार हमसे
अगर है मतवाला
तो एक और भी दिल
कहीं से तू चुरा ला
जो तुम बोलो॰॰ओ॰॰ओ
टिप टिप टो
मेरे दिल हैं दो
ओ हो हो
हम भी सुनें तो
टिप टिप टो
मेरे दिल हैं दो

ये दो मेरी ज़ुल्फें
ये दो मेरे बाज़ू
अदा से मैं तो डालूँ
दिलों पे लाख जादू
ये दो मेरी ज़ुल्फें
ये दो मेरे बाज़ू
अदा से मैं तो डालूँ
दिलों पे लाख जादू
सुने जो ऐसी बातें
रहे ना हाए काबू
ज़रा गले लगा ले
अगर खफा ना हो तू
तो यूँ बोलो॰॰ओ॰॰ओ
टिप टिप टो
मेरे दिल हैं दो
ओ हो हो
हम भी सुनें तो
टिप टिप टो
मेरे दिल हैं दो

ये दो तेरी आँखें
इन्हें भी चार कर ले
नज़र मिला के ज़ालिम
नज़र से प्यार कर ले
ये दो तेरी आँखें
इन्हें भी चार कर ले
नज़र मिला के ज़ालिम
नज़र से प्यार कर ले
तू चाहता है झट से
गले का हार कर ले
थोड़ा सा ही तो आया
कुछ इंतज़ार कर ले
तो यूँ बोलो॰॰ओ॰॰ओ

टिप टिप टो
टो
मेरे दिल हैं दो
दो
टिप टिप टो
टो
मेरे दिल हैं दो
दो

टिप टिप टो
मेरे दिल हैं दो

ओ हो हो
हम भी सुनें तो
टिप टिप टो
मेरे दिल हैं दो
ओ हो हो
हम भी सुनें तो

एक दिल मेरा
मेरा
एक दिल तेरा
तेरा
एक दिल मेरा
तो एक दिल तेरा
जो मैंने तुझसे मांगा
तो फिर नहीं फेरा
तो यूँ बोलो॰॰ओ॰॰ओ
टिप टिप टो
मेरे दिल हैं दो
ओ हो हो
हम भी सुनें तो
टिप टिप टो
मेरे दिल हैं दो


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular 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 : 3677 Post No. : 14568

ASAD 10th Anniversary Celebrations – 20
———————————————————————

And now, continuing the saga of the 10th anniversary celebrations. 🙂

First off, thanks to Mahesh ji for announcement that “The last batsman is in”. Quite true, and well, almost. One reason (of the many excuses that I am going to converse about today 🙂 ), is that, quite truly, I was waiting for at least one more contribution to land in, before I announce the closure of celebrations. But as the events transpired, I realized that waiting for that article would probably be like waiting for Mr. Godot.

I refer to Ben Kayti, who has promised me that she will be sending in a write up, but then – well, days have just been following one after the other. In an earlier communication she mentioned that she was little down in health, and that she has a doctor’s appointment. And then – silence. One day, two days – messages on WhatsApp, emails, phone calls, voice mail remained unanswered. When no response came, I had no option but to press the panic button. I tried to contact three other people in the family. And finally, her daughter-in-law responded to my SOS. The family is out to a vacation – Glacier National Park in Montana, where no connectivity is available. The vacationers also include the other two members of the family who I was attempting to get in touch. So it was a relief to know that all was well, and also somewhat vexing that there was a communication gap that created some worries. I will return to this and tie up the loose end left here, and continue with the mainstream of celebration.

‘19’ seems to be a lucky number for me. Quite a few significant things in my life are connected with this number. And thus, not surprisingly, I get connected with this blog that celebrates its birthday on 19th July. And then, more, I was not planning it to be so – my (previous) post comes at 19th in the series. Ah yes, as Atul ji has mentioned often, there is a hand of providence with what goes on with this blog. And let me add one more very interesting ‘19’ phenomena. As per the statistics that the WordPress maintains, the date which has had the highest number of visitors on this blog (10,630) is also a 19 – 19th October, 2011.

On 14th January this year, the visitor’s ticker on our blog home page turned into an 8 digit number for the first time. We clocked in 10 millionth visitor that evening (IST) – and it translates to 1 crore, in domestic terminology. As I write to complete this article, the ticker has already gone past 10 million 6 hundred thousand, clocking in on average ~ 3,000 visitors per day in this year so far. I would like to give it a name today – this presence that ASAD makes on the worldwide web – it is the “ASAD Phenomena“. Nowhere else probably (once again, as far as I am aware) is there any such endeavour that combines the interests and the determination of such a like-minded team with such dedication, to sustain such a significant level of interest in the central theme of this blog. All I can say is – there are music lovers in this world, and then there are ‘music lovers’ in this world.

Looking back at my association, the date was 1st October 2010 when I clicked on the subscribe button for getting the RSS feed and became a regular reader-member of this blog. And guess, what is the first song feed that arrived into my mailbox next day (on 2nd October) – “Ham to tere dil ke bangley mein aanaa maangtaa”. Now that I read this song title, I wonder whether it was a message intended for me from Atul ji, or was it supposed to be from me to Atul ji. 😀 😀  Whichever way, I think it just worked out very famously. 🙂

My first step into lyrics contribution was published on 1st Feb, 2011 and it is the famous Suraiya song from ‘Bilwamangal’ (1954) – “Parwaanon Se Preet Seekh Len”. And then it just went on from there. The first post written by me appeared on 18th Feb, 2011, a song from the film ‘Gul e Bakaavali’ (1963) “Ye Kehdo Tumhe Hamse Kyaa Chaahiye”. Missed the 19th by just a day, although there is a post on the 19th Feb also, my second one. And then it just went on from there.

कुछ लगता नहीं के सात साल गुज़र गए। Seriously, it seems just like last week or last month. In that very year (2011), in the subsequent months, we had a spectacular event on the blog, something of the type that has not yet been repeated. An event that truly marks this blog to be a Phenomena. Starting on 28th June, 2011, the blog saw an unbroken series of articles on the great KL Saigal Sb, that lasted all the way up to 18th Sep, 2011. The last song of this unbroken series, posted on 18th Sep is “Baalam To Pe Sabar Padey” from the film ‘Parwaana’ (1947). I quote a brief paragraph from that write up here,

With this post, I have now published 61 posts on Saigal Saab’s songs. In one of the interim emails, Atul ji wrote to me that every day morning, he eagerly opens his mailbox to look for an email from me. And the eagerness and urgency was no less on my side. Some of the ghazals took anywhere from 3 to 6 hours to complete the write up, with the translations and commentary to my satisfaction. There have been nights when I have sent the write ups to Atul ji at 2 am, 3 am and even past 4 am. There have been occasions that (after having fallen asleep on my laptop) I got to complete the write up later in the morning; you can identify these days by noting the delay in posting the Saigal Saab song for the day.

What a heady time it was. That endeavour was really worth it. We enjoyed it immensely, and it came to a monumental conclusion of documenting and posting each and every one of the available Hindi / Urdu recordings made by the great singer. And truly, nothing comparable to that has again been attempted on the blog so far.

One more reason that I quote this above paragraph from the earlier write up. Something of this relates to the song in this post. I will return to it again, shortly. But yes, I am talking about the relentless tempo with which this blog continues to progress. The support and participative contributions from the entire team are without doubt the bulwark that provides the strength to the arms and shoulders of what this blog is. But then the definitive power of this entire effort is the unflagging dedication and persistence of the leadership from Atul ji, which is truly the backbone of this effort.  It is an accomplishment sans pareil anywhere in the annals of the history of blogging on the internet related to Hindi Film Music.

So, beyond September of 2011, although now done with all the available songs of Saigal Saab, the journey and the saga still continued. Century milestones came with their regularity, then the 5,000th song – “Hamen To Loot Liyaa Mil Ke Husn Waalon Ne” (dated 13th Nov, 2011), more centuries of artists and other interesting statistical achievements. Then on to the 10,000th song – “Phul Rahin Belariyaan Dolen” (dated 20th July,2014), an extraordinary song published first time anywhere on the net, a song of 1931 vintage posted; and the unprecedented organized effort wherein all regular members of the group contributed a post that contains an introduction of another member. And a memorable long afternoon spent by almost the entire group connected on email, as we all waited for the post to appear on the blog.

On and on, tirelessly, doggedly – getting to honky-tonk posts at the nos. 11111, 12345, 12357 . . .

Then we came to the post no. 13182 – “Aag Lagi Shola Uttha Shamma Pe Parwaana Gira”, on 22nd April last year. It was the mostest of the most momentous celebrations, the 10,000th post by dear Atul ji. It was a surprise for Atul ji; he was under the impression that his 10,000th milestone was already past. But that was not the case. The entire group got together and gave him a standing ovation that verily resounded across the internet.

The next big whopper for our blog came on 14th Jan earlier this year, and its celebration was covered in post no. 13921 “Bhalaai Duniya Ki Jo Subh O Shaam Karte Hain” – the visitor ticker on the blog had turned from nine million, nine hundred ninety nine thousand, nine hundred ninety nine to ten million, sometimes in the late evening of 14th Jan (IST). In desi parlance, we would say  निन्यावे लाख, निन्यावे हज़ार, नौ सौ निन्यावे से हम एक करोड़ पर पहुंचे। Once again, this was a major, major occasion for the blog, and the echoes reverberated once again around the globe – literally. 🙂

And now, greetings (balated) for the date of completing 10 years since this blog’s creation by Atul ji. The date is 19th July (and I am late, of course, as usual – I have a reputation to protect and uphold, you know 😀 ). As per the Wikipedia articles, celebrations calendars and other related details available online, the tenth anniversary is represented by tin or aluminum. The color of this anniversary is blue and / or silver. And the gift of this 10th celebration is diamonds. Whooo. . .

Note that 10 is another interesting number on our blog recently – 10,000th post on blog, 10,000th post by Atul ji, 10 millionth visitor on the blog, and now the 10th anniversary of the blog itself; the last three events listed happening within the period of past 16 months. You simply just cannot cease to keep celebrating on this blog. And the wonder of wonders is that we also continue to trace and share absolutely wonderful celebration songs to go along with the event. The patterns that we conjured up for the post nos. 11111, 12345 and 12357 are quite an interesting phenomena in as of themselves, with the ”hand of providence” playing its fair share in making them happen. 🙂 For those who may not be familiar with these stories, I suggest they should view these posts – they are really very interesting tales of happenstance and coincidence. 🙂  Just click on the post numbers in the sentence above.

So, connecting back to where we started off. Finally last night (IST), the much awaited call from Ben Kayti and Jagdish Bhai materialized. It was a great relief to hear their voices, and to be assured that all is well. The planned vacation had gone on very well, and quite “frigidly”, given that the vacation spot chosen was the Glacier National Park in Montana (USA). After returning from there earlier this week, they also had some guests visiting and so Khyati Ben was completely busy with family affairs. She has once again promised that she will write a post this coming week now. I decided not to wait any further and put up the 20th post in this series today. If and when her post comes along, it will be now at an auspicious ‘पायदान’ of 21. 🙂

Amongst others in the list of my ‘reasons’ (excuses) is of course that I was also in travel during some of this intervening period. In fact most of the early posts in the 10th anniversary series were actually posted while I was on the move. Getting back home, I almost immediately got busy with celebrations for Guru Purnima at my Guru ji’s place. There, the celebrations last for 5 / 6 days, starting from the Guru Purnima day and continuing till the ‘पंचमी’ in the month of ‘सावन’. So that occupied me for almost a whole week within which I was not able to accomplish much as far as the blog activities are concerned.

Another thing was the song selection. Till almost the last hours of posting my previous article – “Dil Chaahta Hai” – I had no idea what would be the songs I am going to write about. The first song I finally zeroed in was this one. Going by a set of very good celebration songs posted by other friends in the group, I was thinking – most of these songs are of recent origin. How about searching for a similar celebration cum group dance song from the earlier decades? After sifting through many possibilities, I picked up this song from the film ‘Tarang’ of 1952. First of, this song has four singers – Rafi Sb, Geeta Dutt, Shamshad Begum and Chitragupt himself. Secondly, the song (no video available) gives a feeling of a gypsy camp by the banks of a river, where a group dance cum song is being performed.

So actually, this song was originally planned to be the earlier post. But then, in random process, I bumped into the “Dil Chaahta Hai” song, and with some contemplative considerations, my planned post got converted into two posts. And good that it did. If I would have combined both these posts with one song – well. . . 🙂

So here is a fabulous celebration song which promises that the proceedings are going to last all night, and that all are invited. And the best part, this song starts with mentioning the word ‘सावन’.

So let me now take just a couple of more minutes to link in ‘सावन’ (saawan) with this celebration. You are going to love this. After having posted all the posts received from the group, and with Atul ji’s post also in place, I started to get individual messages from members of this group, asking me about the delay as to why my post was not coming in. And me, I was without an answer; what to tell – that I have not yet identified the song even? Well, as part of this set of messages, I get this fond message from Atul ji himself on 26th or maybe 27th July, wherein he prodded me to publish my post on the 28th. Reason, he explained, was that 28th July this year is the start of the month of ‘सावन’. And back, in 2008, when this blog got initiated, the date 19th July was also the start of of the month of ‘सावन’. I was really wonderstruck. I had never made this wonderful connect before. Wow, this blog is born in the month of ‘सावन’ – ‘सावन – मन भावन’, and not just the month, on the first of the month. Now this is really auspicious. I can go on now connecting many more things, along with this connect. . .  but maybe not. Goodness, there are hundreds of songs in Hindi films that have the word ‘सावन’ in the mukhda. So I will move on by saying that this blog is blessed – for it is born in this auspicious month, showering sprinkles of delightful music in drizzles of melodious songs, one after the other. Oh sure, yes, this blog is a ‘सावन’ born. 🙂 Without any doubts. I am glad Atul ji highlighted this point to me, and that now we know what songs to post in the future, when the blog’s birthday comes along. 🙂

Coming back to this film and this song. I got the set of songs of this film from my collector friend. This film has some very wondrous songs, ten in all, eight of which are penned by IC Kapoor, and one each by DN Madhok and Ram Murti. This song is written by Ram Murti. The music composition is by Chitragupt, who has also lent his voice to two of the songs in this film, including this one. The blog already carries 5 songs from this film, and I promise you, the best of the songs are still to come. Just like this song today. It is such a joie de vivre expression of gaiety and celebration. The tempo is so sweet and so infective, that you will be swaying with the beat. When I heard this song for the first time, well, quite a while back now, I was simply bowled over by it. And even now, having heard it so often, whenever I play it again, I simply am not able to get over it.

नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ॰ ॰ ॰

Just listen to this song, and I assure you that at the end of the play, you will feel so un-satiated that you will be playing it again and again.

In some ways, this song also expresses my connect with the blog. Earlier in this article, I had mentioned a quote from the earlier posted last article in the KL Saigal series. So that is the connect here. Practically all my work for this blog happens in the dead of the night and in the wee hours of the morning. This is also mentioned in the quoted paragraph above. Even beyond the Saigal Sb series, my mode of working on the tasks related to this blog has not changed. All the posts that you see getting on to the blog at 7 am and 9 am – all these posts have been worked on and completed the previous night at times like 2 am and 3 am. 🙂

A very happy 10th birthday to ASAD; a ton of congratulations to Atul ji, and all the dear friends and co-passengers on this musical bandwagon. The saga continues. . .

नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ॰ ॰ ॰

 

Song – Nadiya Kinaare Mora Dera, Mashaal Jaley Saari Ratiyaan (Tarang) (1952) Singer – Mohammed Rafi, Geeta Dutt, Shamshad Begum, Chitragupt, Lyrics – Ram Murti, MD – Chitragupt
Chorus

Lyrics

saawan barse
kaari re badariya
phaagun rang ki phuhaar
ho oo
nainan mein mora
baanka re saanwariya

mann mein saanwariya ka pyaar. . .

. . . mashaal jaley saari ratiyaan
hoye nadiya kinaare mora dera
ho oo
nadiya kinaare mora dera
mashaal jaley saari ratiyaan
saari ratiyaan ho saari ratiyaan
saari ratiyaan
hoye nadiya kinaare mora dera
nadiya kinaare mora dera
mashaal jaley saari ratiyaan
ho oo main bhi karunga kabhi phera
main bhi karunga kabhi phera
mashaal jaley saari ratiyaan
hoye
nadiya kinaare mora dera
haa. . .
nadiya kinaare mora dera
mashaal jaley saari ratiyaan

jaise ganga mein lehre lehariya
waise lehre gori tori chunariya
ae ji dekho kahin neha lagaa ke
bhool jaiyo na mori dagariya
oo oo dil mein hai tera basera
dil mein hai tera basera
mashaal jaley saari ratiyaan
hoye
nadiya kinaare mora dera
haa hhaaa
nadiya kinaare mora dera
mashaal jaley saari ratiyaan

chanda se mil mil ke
khele ratiyaan
ho khele ratiyaan
chanda se mil mil ke
khele ratiyaan
bagiya mein khele bahaar
daar galey bainyaan
sajan sang khelun
balam sang khelun
daar galey bainyaan
sajan sang khelun
main albeli naar
ho oo kabhun na hovey savera
kabhun na hovey savera
mashaal jaley saari ratiyaan
hoye
nadiya kinaare mora dera
arre waah waah
nadiya kinaare mora dera
mashaal jaley saari ratiyaan
oye
nadiya kinaare mora dera
ha..an
nadiya kinaare mora dera
mashaal jaley saari ratiyaan

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

सावन बरसे
कारी रे बदरिया
फागुन रस की फुहार
हो ओ
नैनन में मोरा
बांका रे साँवरिया
मन में साँवरिया का प्यार॰ ॰ ॰

॰ ॰ ॰ मशाल जले सारी रतियाँ
होय नदिया किनारे मोरा डेरा
हो ओ
नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ
सारी रतियाँ हो सारी रतियाँ
सारी रतियाँ
होय नदिया किनारे मोरा डेरा
नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ
हो ओ मैं भी करूंगा कभी फेरा
मैं भी करूंगा कभी फेरा
मशाल जले सारी रतियाँ
होय
नदिया किनारे मोरा डेरा
हा॰ ॰ ॰
नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ

जैसे गंगा में लहरे लहरिया
वैसे लहरे गोरी तोरी चुनरिया
ए जी देखो कहीं नेहा लगा के
भूल जइयो ना मोरी डगरिया
ओ ओ दिल में है तेरा बसेरा
दिल में है तेरा बसेरा
मशाल जले सारी रतियाँ
नदिया किनारे मोरा डेरा
हा ह्हा
नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ

चंदा से मिलके
खेले रतियाँ
हो खेले रतियाँ
चंदा से मिलके
खेले रतियाँ
बगिया में खेले बहार
डा गले बइन्या
सजन संग खेलूँ
बलम संग खेलूँ
डा गले बइन्या
सजन संग खेलूँ
मैं अलबेली नार
हो ओ कबहूँ ना होवे सवेरा
कबहूँ ना होवे सवेरा
मशाल जले सारी रतियाँ
होय
नदिया किनारे मोरा डेरा
अरे वाह वाह
नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ
ओय
नदिया किनारे मोरा डेरा
हाँ॰ ॰ ॰
नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ


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 : 3677 Post No. : 14567

“Raaj Mukut” (1950) was directed by N Vakil for Mohan Pictures. The movie had Nimmi, Jairaj, Veena, Ramsingh, Sapru, Tabassum, R. Sinha etc in it.

The movie had eleven songs in it. Three of these songs have been covered in the blog.

Here is the fourth song from “Raaj Mukut” (1950) to appear in the blog. The song is sung by Geeta Dutt (then Geeta Roy). Bharat Vyas is the lyricist. Music is composed by Pt Govindram.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Meri lagi kisi se preet duniya kya jaane (Raj Mukut)(1950) Singer-Geeta Dutt, Lyrics-Bharat Vyas, MD-Pt Govind Ram

Lyrics

meri lagi kisi se preet
duniya kya jaane
ho kya jaane
ho meri lagi kisi se preet
duniya kya jaane
ho kya jaane
mujhe mil gaya man ka meet
mujhe mil gaya man ka meet
duniya kya jaane
ho kya jaane
ho kya jaane
meri lagi kisi se preet
duniya kya jaane
ho kya jaane

nainon ki baazi lagi
chale teer talwaar haan
nainon ki baazi lagi
chale teer talwaar
jeet gaya koi mujhe
aur gayi main haar
jeet gaya koi mujhe
aur gayi main haar
hai ajab preet ki reet
duniya kya jaane
ho kya jaane
meri lagi kisi se preet
duniya kya jaane
ho kya jaane

mere dil pe ho gaya
sainya ji ka raaj
mere dil pe ho gaya
sainya ji ka raaj
main unki raani banoon
wo mere sartaaj
main unki raani banoon
wo mere sartaaj
dil liya kisi ne jeet
duniya kya jaane
ho kya jaane
ho meri lagi kisi se preet
duniya kya jaane
ho kya jaane

aaj hai bagiya mein khile rang barange phool
aaj hai bagiya mein khile rang barange phool
daal ke jhoola prem ka
koi raha hai jhool
dal ke jhoola prem ka
koi raha hai jhool
man gaaye madhur sangeet
duniya kya jaane
ho kya jaane
man gaaye madhur sangeet
duniya kya jaane
ho kya jaane
mujhe mil gaya man ka meet
mujhe mil gaya man ka meet
duniya kya jaane
ho kya jaane
ho kya jaane
meri lagi kisi se preet
duniya kya jaane
ho kya jaane


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14800 song posts by now.

This blog is active and online for over 3800 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14889

Number of movies covered in the blog

Movies with all their songs covered =1162
Total Number of movies covered =4071

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