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

Archive for the ‘Geeta Dutt solo’ Category


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Blog Day : 4105 Post No. : 15256

“Shole”(1953) was directed by B R Chopra for Hira Films. The movie had had Ashok Kumar, Bina Rai, Purnima, Jeevan, Mohana, Manmohan Krishna, Mirza Musharaf, Romi, Naaz, Uma Dutt etc in it.

The movie had eight songs in it, including two multiple version songs.

Seven songs from the movie have been covered in the past.

Here is the list of the songs of the movie that have been covered in the past:

S N Song Song number in blog Date of posting
1 Mera dil kabhi roye kabhi gaaye re MD-Dhaniram 2216 4-Dec-09
2 Anokhaa jaadoogar Bhagwaan Multiple version song MD-Dhaniram 3519 13-Feb-11
3 Nigaahen mila MD-Dhaniram 9527 5-Mar-14
4 Ghadi ghadi bhar jiya bekaraar ho…aaja gali baalma MD-Dhaniram 14706 20-Oct-18
4 Ae dil tu kahin le chal Multiple version song MD-Nareshwar Bhattcharji 15189 27-Aug-19

Here is the eighth and final song from “Shole”(1953) to appear in the blog. This song is sung by Geeta Dutt. Majrooh Sultanpuri is the lyricist. It is the only song in the movie penned by Majrooh Sultanpuri. Other songs were penned by Kamil Rashid (4), Saraswati Kumar Deepak (2) and Sahir Ludhianvi (1).

Music is composed by Dhaniram.

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

I have not been able to get one (may be more) word right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

With this song, “Shole”(1953) joins the list of movies that have all their songs covered in the blog.


Song-Bala se hasraten mit jaayen (Shole)(1953) Singer-Geeta Dutt, Lyrics-Majrooh Sultanpuri, MD-Dhaniram

Lyrics

bala se hasraten mit jaayen
dil barbaad ho jaaye
hamen manzoor hai sab kuchh
jo tu aabaad ho jaaye

jo chaahe sahenge door se gham
ab yoon hi pyaar nibhaayenge hum
ab yoon hi pyaar nibhaayenge hum
kismat ne dhaaya hai wo sitam
tujhe paa ke bhi chain na aayenge hum
ab yoon hi pyaar nibhaayenge hum
jo chaahe sahenge door se gham

khush hoke hamen karen dil se juda
khush hoke hamen karen dil se juda
ye bhi to hai ik andaaz e wafa
ye bhi to hai ik andaaz e wafa
samjhenge muhabbat ka ??
tujhe kis roz yaad na aayenge hum
ab yoon hi pyaar nibhaayenge hum
jo chaahe sahenge door se gham

ujdi hui is mehfil ki qasam
toote huye saaz e dil ki qasam
jinse ?? dhadkan jaag uthhe
ab aise bhi geet na gaayenge ham
ab yoon hi pyaar nibhaayenge hum
jo chaahe sahenge door se gham

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Blog Day :

4088 Post No. : 15229

“Coffee House”(1957) was produced and directed by Hari Walia for Niti Arts Productions, Bombay. This movie, whose prints are lost had Geeta Bali, Shammi Kapoor, Vijaylaxmi, Jeevan, Bhagwan, Chanchal, Kumud Tripathi, Pal Sharma, Raja Kapoor, Helen etc in it.

Two songs from this movie has been discussed in the past. Here is the tird song from “Coffee House”(1957) to appear in the blog. This song is sung by Geeta Dutt. Prem Dhawan is the lyricist. Music is composed by Roshan, as mentioned earlier.

From the sounds of it, the song appears to be a club dance song/ cabarat dance song.

Only the audio of this song is available. The prints of this movie are lost. It was a fond wish to Shammi Kapoor to be able to watch this movie seeing that it also starred Geeta Bali who would later become his wife.

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


Song-Ye hawa ye fizaa ye samaa (Coffee House)(1957) Singer-Geeta Dutt, Lyrics-Prem Dhawan, MD-Roshan

Lyrics

ye hawa
ye fiza
ye samaa
aaj hai
kis kadar haseen jahaan
shaam hai
jaam hai
saathi hai
sun hi le
dil ki sau daastaan

jhoom jhoom ke
jaam choom ke
aa dil ki mehfil mein aa
jhoom jhoom ke
jaam choom ke
aa dil ki mehfil mein aa

husn ki ye meharbaaniyaan phir kahaan
husn ki ye meharbaaniyaan phir kahaan
ishq ki rangeen kahaaniyan phir kahaan
phir kahaan ye sama
ye sama phir kahaan
aa dil ki mehfil mein
jhoom jhoom ke
jaam choom ke
aa dil ki mehfil mein aa
jhoom jhoom ke
jaam choom ke
aa dil ki mehfil mein aa

ye nigaah
ye dil ki mastiyaan
ye ada
ye nigaah
ye dil ki mastiyaan
ye ada
tez hai kuchh aaj dhadkanon ki sada
ye sada sun zara
sun zara ye sada
aa dil ki mehfil mein
jhoom jhoom ke
jaam choom ke
aa dil ki mehfil mein aa
jhoom jhoom ke
jaam choom ke
aa dil ki mehfil mein aa


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 :

4082 Post No. : 15221

“Captain Kishore”(1957) was directed by J B H Wadia for Wadia Movietone Bombay. This movie had Shashikala, Suresh, Anwar, Naina, Roopmala, Mirza Musharraf, Sheikh, Tuntun, Munshi Munaqqa, Pakku, Shree Bhagwan, Azeem, Mohini, Abdullah, Korega, Yadav, Julin, Bismillah, M K Hasan, Mitthu Miyaan, Kalla, O M Singh, Mohammad Ali, Ghani etc in it.

The movie had seven songs in it. Three of these songs have been covered in the past.

Here is the fourth song from “Captain Kishore”(1957) to appear in the blog. This song is sung by Geeta Dutt. Khumar Barabankwi is the lyricist. Music is composed by Citragupta.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song. What a delightful song it is. Very much a forgotten gem of a song.


Song-Ae bewafa ye to bata (Captain Kishore)(1957) Singer-Geeta Dutt, Lyrics-Khumar Barabankwi, MD-Chitragupta

Lyrics

ae bewafa
ae bewafa
ye to bata
kya hai meri khata aa
ae bewafa

dil ka fasaana toone na jaana
chhoda zamaana tere hi liye
toote hain saare sapne hamaare
yoon besahaare koi kya jiye
kyun kar diya be-aasra
ye to bata
kya hai meri khata aa
ae bewafa

nazren milaa ke
ulfat jataa ke
apna banaa ke
daga kyun diya
nazren milaa ke
ulfat jataa ke
apna banaa ke
daga kyun diya
ban ke paraaya mujhko bhulaaya
dil ko jalaaya
ye kya hai kiya
kis baat ka badla liya
ye to bata
kya hai meri khata aa
ae bewafa

tere liye hum tadpenge har dum
dil mein tera gham rahega sanam
tere liye hum tadpenge har dum
dil mein tera gham rahega sanam
darti nigaahen dekhengi raahen
bhar bhar ke aahen kahenge ye ham
jo kuchh kiya
achha kiya
ye to bata
kya hai meri khata aa
ae bewafa


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Blog Day : 4074 Post No. : 15212

“Nirmal”(1952) was produced by Revachand M Dembla and Biharilal C Pandit and directed by S Upendra for Shankar Theatres, Bombay. This movie had Poornima, Amarnath, Mirza Musharraf, Shanta Kunwar, Shaam Kumar, Habeeb, Leela Kumari, Cuckoo, Urwashi, Khushi Moolwaani, Sayyad ahmad, M Pahlaj, Peetaambar Setpal, Ajeet, Shaamlal etc in it.

The movie had eight songs in it. Three of these songs have been covered in the past.

Here is the fourth song from “Nirmal”(1952) to appear in the blog. This song is sung by Geeta Dutt. Moti B A is the lyricist. Music is composed by Bulo C rani.

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


Song-Bhanwra bada deewaana (Nirmal)(1952) Singer-Geeta Dutt, Lyrics-Moti B A, MD-Bulo C Rani

Lyrics

bhanwra bhanwra
bhanwra bada deewaana
loote kali kali ka rang
wo loote kali kali ka rang
wo loote kali kali ka rang
madhuban mein chhaayi hariyaali
kali khili hai daali daali
dekh kali ko mast ho gayi
bhanwre ki aankhen matwaali
bhanwra bada machalvi bada sayaana
do din ka hai pankh
wo loote kali kali ka rang
wo loote kali kali ka rang

khili huyi kaliyon par jaaye
lachke kha kar gul ko lagaaye
jiska ras pi daala uske
paas na jaaye aankh churaaye
bhanwra
ye hai kaala wo hai gori
komal komal ang
loote kali kali ka rang
wo loote kali kali ka rang

rang bhi kaala dil bhi kaala
ras pee kar udd jaane waala aa aa aa
rang bhi kaala dil bhi kaala
ras pee kar udd jaane waala aa aa aa
is se dil na lagaana o bholi
ye hai saath na dene waala
bhanwra
di leke ye daga karega
iske preet ka dhang
wo loote kali kali ka rang
wo loote kali kali ka rang


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Blog Day : 4053 Post No. : 15182

“Dolti Naiyya”(1950) was directed by Mirza Musharraf for Shaan e Hind pictures, Bombay. This social movie had Nigar Sultana, Sham Dulaari, Amarnath, S Mazhar, Cuckkoo, Veena Kohli, Sabodhani, Pratima Malhotra, Laxmi, Sikandar, Sharief Mirza, Jleel A, Bhudo adwani, Mukri, Ameer Ali, Munshi Munaqqa, Mirza Musharraf etc in it.

“Dolti Naiyya”(1950) had ten songs in it that were penned by eight lyricists.

One song has been covered in the past.

Here is the second song from “Dolti Naiyya”(1950) to appear in the blog. This song is sung by Geeta Dutt (then Roy). Prakash B A is the lyricist. Music is composed by Ram Prasad.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song. It sounds like a club dance song to me.


Song-Zara dil ko lagaana sambhaal ke (Dolti Naiyya)(1950) Singer-Geeta Dutt, Lyrics-Prakash B A, MD-Ramprasad

Lyrics

zara dil ko
haan zara dil ko lagaana sambhaal ke re ae
koi dilbar banaana banaana
ho koi dilbar banaana dekh bhaal ke
ho dekh bhaal ke
dil ki keemat hai dil
de ke dil
dil se mil
rakh le haathon pe dil ko nikaal ke
ho o o
rakh le haathon pe dil ko nikaal ke
koi dilbar banaana dekh bhaal ke
ho dekh bhaal ke

dil hai bhola naadaan nahin
isko pahchaan tu
bikta hai muft bina maal ke
dil hai bhola naadaan nahin
isko pahchaan tu
bikta hai muft bina maal ke
ho o bina maal ke
haan bina maal ke
ho o o
koi dilbar banaana banaana
ho koi dilbar banaana dekh bhaal ke
ho dekh bhaal ke

dil ko
ho dil ka jaadu balam
o bole meethhi sargam
ho bole meethhi sargam
gamapadha
pa ga ma
dha ni sa ri ni sa
ni dha pa ma dha ni pa

rakh de saath mein duniya ko dhaal ke
o o o
rakhde saath mein duniya ko dhaal ke
koi dilbar banaana dekh bhaal ke
ho dekh bhaal ke
zara dil ko lagaana sambhaal ke re ae
koi dilbar banaana banaana
ho koi dilbar banaana dekh bhaal ke
ho dekh bhaal ke
zara dil ko lagaana sambhaal ke re ae
koi dilbar banaana banaana
ho koi dilbar banaana dekh bhaal ke


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 : 4039 Post No. : 15164

“Shaheed”(1948) was directed by Ramesh Saigal for Filmistan. The movie had Chandramohan, Dilip Kumar, Kamini Kaushal, Ram Singh, S L Puri, V. H. Desai, Shashi Kapoor, Raj adeeb, Prabhu Dayal etc in it.

This song, now regarded as a landmark movie, had seven songs in it. Five of these songs have been covered in the past.

Here is the sixth song from “Shaheed”(1948) to aappear in the blog. This song is sung by Geeta Dutt (then Geeta Roy) who was then very young. Her fresh and raw voice sounds so refreshing even today !

Raja Mehdi Ali Khan is the lyricist. Music is composed by Ghulam Haider.

The song is lip synced by Kamini Kaushal. Dilip Kumar is also briefly visible in the picturisation. Another lady (or is it Kamini Kaushal herself ?) is also seen. I request our kowledgeable readers to help identify her.


Song-Aaja bedardi baalma koi ro ro pukaare (Shaheed)(1948) Singer-Geeta Dutt, Lyrics-Raja Mehdi Ali Khan, MD-Ghulam Haider

Lyrics

aaja bedardi baalma
koi ro ro pukaare
aaja bedardi baalma
koi ro ro pukaare
main to bisaaroon zaalma
mera dil na bisaare
aaja bedardi baalma
koi ro ro pukaare

meri duniya bas kar ujad gayi
ujad gayi
meri duniya bas kar ujad gayi
ujad gayi
bulbul thhi
bulbul thhi main
phoolon se bichhad gayi
bichhad gayi
taqdeer ne aaker loot liye armaan hamaare
main to bisaaroon zaalma
mera dil na bisaare

barbaad hoon main
barbaad hai dil
o jaane waale phir aa mil
phir aa mil
o jaane waale phir aa mil
phir aa mil
mere dil ki
mere dil ki bagiya jaaye khil
phir aa mil
haay taras gaye teri ek jhalak ko nain bechaare
main to bisaaroon zaalma
mera dil na bisaare
aaja bedardi baalma
koi ro ro pukaare

main
do din ki mehmaan piya
main
do din ki mehmaan piya
mohe chhod chale hain praan piya
praan piya
mohe chhod chale hain praan piya
praan piya
aaya gham ka
aaya gham ka ik toofaan piya
toofaan piya
haay deepak ban ke
kaanp rahe hain praan hamaare
main to bisaaroon jaalma
mera dil na bisaare
aaja bedardi baalma
koi ro ro pukaare
aaja aaja


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 : 4033 Post No. : 15155

Today’s song is from film Shri Ganesh Mahima aka Shri Krishna Vivah-1950.

Mythological films have been my weakness from the beginning. When I was around 10-12 years of age, I would be a very happy, willing and enthusiastic escort to family elders-especially ladies, going for a Bhakti Pradhan film. What I liked in these films was the trick scenes and fantastic costumes. later on I realised these films also provided lot of religious knowledge in the formative years.

Most mythological films were based on stories from Ramayan and Mahabharat. But many films were also using stories from various Puranas like Shiv Puran, Vishnu Puran etc. There was no dearth of such stories, what with 18 Puranas and 2 Epic books. Stories of Puranas etc have some hidden meanings, which one has to look for. Few years ago,in one of my posts, I had explained how the Dashavatars of Lord Vishnu were actually the story of evaluation of Life on Earth. The first avtar of Matsya( the fish) explains us how life on earth began in water.The second avtar of Koorma (the Tortoise) told us the development of Amphibians who started living on land and water. So on and so forth

In Tretayug, Shri Ram came and in Dwapar Yug, Shri Krishna was incarnated by Lord Vishnu. Shri Ram gave a lesson on how to be an ideal son, husband, friend and a King, but Krishna taught us how to be a street smart person and win over enemies skillfully. I feel in today’s times, Krishna is more relevant than Ram. Krishna also taught us how to be a happy person and enjoy everything.

Like religious stories , there is no shortage of Gods also, in our Religion. This is actually one of the plus points of Hinduism. Each community can and will have its own version of God. Many Gods, but basics are never compromised. Everyone knows there is only ONE GOD, having a different version to suit the worshipper. Examples are, Fishermen have God in the matters related to Sea and Tribals in forests worship Gods made of Wood. We all know that these are all symbols and God lives in our Hearts.

One can find stories of most popular Gods like Ram,Krishna, Ganesh, Hanuman, Shiv ji, Vishnu etc, but somehow the film world has ignored Bramha, Saraswati, Shani deo, Surya dev, Kartikeya etc. These are the Gods for whom even temples are few. Kartikeya (elder son of Shankar-Parvati) is worshipped in south as Kumara swami. These Gods do appear in some films for few minutes, but exclusive films on them are missing. Now that Mythology is present only on TV, such films have become rare these days.

Our Indian film makers will never fall short of subjects for their films. They can combine any stories and make a Hybrid film- like for example, Sindbad,Alibaba and Alladin-1965. They can give families and children to famous characters like Zimbo ka Beta, Alladin ki Beti etc. The worst molestation has been done to the famous character of Tarzan. He is combined with, Capt. Kishore, Delialah, King kong, Circus, Cobra, Gorilla, Hercules, Jadugar, jadui Chirag, Jalpari and a Fairy. Tarzan is provided with a Mehbooba, Beta and Beti. Tarzan has been sent to Delhi, Paristan, Fairyland and even in a wonder car. I feel pity for Edgar Rice Burrows who must tired of turning in his grave !!!

Film Shri Ganesh Mahima aka Shrikrishna Vivah-50 is also a combination of stories from Ganesh Puran and Bhagwat Puran. In Ganesh Puran, there is a story that once The Moon laughed at Ganesh. Ganesh was angry and he gave a curse to the Moon. Moon came on his knees and then the curse was modified that whosoever sees the Moon on only Ganesh Chaturthi night, will be falsely accused of theft. In our childhood there was a rumour that to ward off the false accusation of theft, if you throw stones on somebody’s house and he abuses you, then the curse disappears. Some naughty boys used to do this and get abuses profusely !

In Bhagwat Puran, the story of Shrikrishna’s marriage to Satyabhama is described. In this film,both these stories are interwoven skilfully. The story of this film, as noted by me in my diary, is thus……

Great and Miraculous powers are attributed to Shri Ganesh the benefactor of mortals as well as the immortals. Such a benign being was once laughed at by Chandra only to be cursed by him. Realising his folly, Chandra begged for forgiveness and the curse was modified by the merciful divinity to be effective only on the day of Ganesh Chaturthi. He ordained that anybody looking at the moon on that night will be a victim of false accusations.

It was on such a day that Shri Krishna unwittingly looked at the moon in the night and had to suffer the indignity of being falsely accused of theft of Syamantak Mani. This jewel was acquired by Satrajit, one of the Yadavas as a boon from God Sun. Shri Krishna had sent Narad to Satrajit expressing his desire to possess the Mani. The events took such a turn that there was circumstantial evidence against Shri Krishna who happened to be at the Chambers of Satrajit’s daughter Satyabhama, devotee of Lord Krishna on the night prior to Satrajits losing the Mani. Shri Krishna was shocked at such allegation made by Satrajit and Shatadhanva ( Another Yadava) who had been promised by Satrajit the hand of his daughter Satyabhama.

Shri Krishna took upon himself to find out the jewel and redeem it to its rightful owner only to clear himself of the allegation. A search party was organised which came across the dead body of Prasain, a carcass of lion and also the foot-prints of a bear blazing a new trail which when followed led the party to a cave. Shri Krishna went inside the cave telling the followers to wait at the cave entrance for seven days and if he did no return by then, to go back to Dwarka. Inside the cave Shri Krishna found the Syamantak Mani and also Jambuwanti, the daughter of the powerful bear king Jambuwant. There ensued a fight between Shri Krishna and Jambuwant lasting for twenty one days. The people at the entrance of the cave returned as per instruction after the seventh day. The duration of this fight gave Shatadhanva a real chance for villainy. He puts in an all over effort to win the hand of Satyabhama who would marry none but Shri Krishna. Jambuwant after losing the battle gave away his daughter in marriage and Syamantak Mani as dowry to Shri Krishna.

Coming to Dwarka, Shri Krishna returned the jewel to its rightful owner, Satrajit repented and made amends by giving away his daughter to Shri Krishna in marriage. Shatadhanva came to know of this alliance and made short work of the unsuspecting Satrajit and decamped with the Mani. Shri Krishna brought justice to the evil doer and the villain Shatadhanva fell a victim to his famous Sudershana Chakra.

The cast of the film was Mahipal, Meena Kumari, S N Tripathi, Moolchand, Dalapat, Amarnath etc. The film was made by Basant Pictures and directed by its owner, Homi Wadia. Music was by S N Tripathi. In the arena of Mythological, Historical and Religious films, from the 40s to the 60s, the names of Mahipal, Trilok kapoor, Manhar Desai, Prem Adib and Shahu Modak were taken frequently. Similarly,Jeevan as Narad was also popular. All the Heros were handsome and they had a sort of special glow on their faces. Each of them had a special style of portraying roles. Prem Adib was famous for his roles of Ram, Shahu Modak excelled as Shrikrishna with his mischievous smile. Trilok Kapoor means Bhagwan Shankar. Manhar Desai and Mahipal did a variety of roles of different Gods. While Manhar Desai was more active on Gujarati screen, Mahipal worked mainly in Hindi films. His repertoire of roles included films of Mythology, History, Costume and Folk Tales.

Mahipalchand Mahadevchand Bhandari was born in Jodhpur, Rajsthan on 24-11-1919. By 1941 he got his B.A. degree and he also started participating in Kavi Sammelans,with his poetry. His break in films came with Nazrana-42. The film was a flop, but he was employed for writing lyrics.

He acted in Ranjit’s Shankar Parvati-43, Andhon ki duniya-43, Rajkamal’s Maali-44, Narsinh Avatar-44, Banwasi-48, Daulat-49, and Bhishma pratidnya-50. Meantime,he wrote songs for films Aap ki sewa mein-47 and Adalat-48. He did few more films with Homi Wadia and then he started his fantasy films with Wadia. For this, he was trained in Fencing and Horse riding. He worked with Shakeela in 18 films-mostly costume films of C grade. He worked with Meenakumari (4 films), Nirupa Roy (4), Shyama (6), Anita Guha (11) etc

In the 50’s decade,which was the peak for Mythological films with 124 films, his 70 films were released.In the 60s,he did 33 films-including Navrang and finally he did 19 films from 71 to 83. He did total 143 films. Mahipal spent his retired life with family and friends. He died on 15-5-2005. ( Bio adapted from ‘Inhe na bhulana’ Gujarati book by Harish Raghuwanshi ji, with thanks)

Today’s song is sung by Geeta Roy. At this time, she was still new and trying to get hold in film industry. You will love the song and her fresh voice.


Video

Song-Taaron ke palne mein jhoole chaand hamaara re (Shree Ganesh Mahima)(1950) Singer- Geeta Roy, Lyrics- Anjum Jaipuri, MD- S N Tripathi
Chorus

Lyrics

taaron ke palne mein jhoole chaand hamaara re
chaaand hamaara re
taaron ke palne mein jhoole chaand hamaara re
chaand hamara re

raaja banke raaj karega
raaja ban ke raaj karega
kundan ban ke damkega
kundan ban ke damkega
laalon ka ye laal hamaara
chanda banke chamkega
chanda banke chamkega
sabki aankhon ka ujiyaara
praan sa pyaara re
chaand hamaara re ae
taaron ke palne mein jhoole chaand hamaara re
chaand hamaara re

ghar aangan mein mera munna
ghar aangan mein mera munna
khelega muskaayega
khelega muskaayega
meethhi meethhi baaton se ye sabka man bharmaayega
sabka man bharmaayega
aashaaon ka deepak hai ye
aankhon ka taara re
chaand hamaara re ae
taaron ke palne mein jhoole chaand hamaara re
chaand hamaara re

taaron ke palne mein jhoole chaand hamaara re
chaand hamaara re


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 : 4032 Post No. : 15153

Today’s song is from film Zevarat-49.

” studio system ” as it is called, began as soon as silent films got established and were on fast track. Well established studios made films regularly and systematically. Each and every studio/ production house had a set of its own actors, directors and MDs. They were on a monthly pay roll. From the 1920 onwards, all major studios like Imperial, Kohinoor, Sharda, krishna, Saraswati, Paramount, Aurora, Barua, Aryan,British Dominion, Great Eastern, Laxmi pictures, Madan Theatres, Maharashtra film company, Prabhat, Ranjit, Saroj etc had their actors on pay roll. Studios were jealous about their stars and always ensured that they don’t leave them.

The contract system came into being legally. Each studio had a contract individually with actors and there was a legal binding on them to follow the contract in its period. Generally the contracts were highly partial to the owners. From the 30’s, with the dawn of Talkie films, most silent film makers wound up business and the real players with sound financial base and name remained. Some of the major filmmakers were, Wadia, Bombay Talkies, New Theatres, Prabhat, Imperial, Ranjit, Sagar, Shalimar, Pancholi, Prakash, Minerva, Gemini, Vauhini etc etc. They tightened their contract clauses to ensure that their stars don’t leave them unilaterally.

The 40’s saw some splinter groups setting up their own studios like Filmistan, Kardar, Navketan, Mehboob, Rajkamal, Basant etc, in addition to the existing ones. The competition to hold on to their flock became acute and in this attempt, some studio owners crossed limits of decency and took undue advantage of the contract clauses or the ignorance / carelessness of the stars, while signing the contracts.

First case of such unfair action of the studios occurred, when the First Talkie of India was to be made by Imperial Film co. Ardeshir Irani was keen to take Master Vithal as a Hero for ‘ Alam Ara ‘.However Vithal was on contract with Sharda film co. Irani made a very lucrative offer to Vithal. When only 2 days were remaining of the contract period,Master Vithal joined Imperial. Nanabhai Desai of Sharda Films was furious. He kidnapped Vithal and kept him in a locked room, forcing him to renew the contract. When Irani came to know this, he sought help from the court. The case was fought and Master Vithal was auctioned in the court. Sharda and Imperial bid sums for him.Finally Imperial offered 1200 Rupees per month to Vithal and Vithal joined them, as Sharda backed out.

Some big banners like Minerva, V.Shantaram’s Prabhat and Shalimar Pictures of Poona had instances of trying to take undue advantage of the contracts with stars. Sitara Kanpuri, an illiterate singer was on contract with Shalimar Pictures of W.Z.Ahmed.She was however, not told then that the contract was for 5 years.Her singing career in films was ruined as in 5 years, Shalimar made only 3-4 films, in which she sang. Luckily, after Partition,Ahmed and his wife Neena migrated to Pakistan and Sitara Kanpuri was free to sing openly. But by that time she did not get much opportunity and soon she disappeared from the industry.

Similarly Shantaram also tried to play with Shanta Apte. Shanta Apte was under contract with the Prabhat studios with which she had made several memorable films. But as her fame spread far and wide and more and more producers wanted her to act in their films, Shanta Apte realized that the contract with the Prabhat company was acting as a hurdle to her free lancing. She requested the film company to free her from the bondage of the contract, But the company would just not agree, Finally she offered Satyagraha outside the film company. Prabhat were thus forced to relieve her of her contractual obligations. Shanta Apte thereafter became a free bird.

The worst such case was of Meena Shorey ( she was not Shorey in that period), Heroine of today’s film Zevarat-49. Meena Shorey ( real name Khursheed Jahan) was from a very poor family.Originally from Multan,her family shifted to Lahore. She was one of the 5 children. She was the third. Her father was short tempered and used to beat her mother often. At the age of 11 yrs. she saw film Achut Kanya and few other films,which developed a desire to join films. Her mother left her husband and shifted to Bombay with 3 children. In Bombay the eldest daughter lived after her marriage. Meena was around 14-15 year old then. One day,her brother in law took her to the Muhurat of film Sikander in Minerva studios.

For going to this function, Meena had borrowed good clothes from her friend, who also did her make up. Meena was looking very beautiful and ravishing. During the function,Sohrab modi was impressed with her looks and offered her a role in film Sikandar. Initially her mother was not ready, but due to need and convincing by Meena, she agreed.Next day Meena and mother went to the studio. Both were illiterate. A contract for 3 years was made for working only in Minerva films and her mother put her thumb on the contract, as Meena was a minor. After consulting ” Zend Awastha” the Parsee religious book, Modi changed her name to Meena. She was to get Rs. 600 pm as a salary.

With regular income,her financial position improved. She did films after films in Minerva. Sikandar-41, Phir milenge-42, Prithvi Vallabh-43 and Patharon ke saudagar-44, all films were hit. Her name and fame spread wide. Many producers wanted to sign her in their films. After Patharon ke saudagar, her contract period of 3 years was to be over. Mehboob wanted her for film Humayun and K B Lall wanted her for film Lal Haveli. When she went to Modi and asked her to release her from the contract, he informed her that as she failed to give a notice 3 months in advance, the contract got automatically renewed for next 3 years, as per a clause in original contract. She was never informed about this earlier.Being illiterate, she could not read it also. Even after the visit of Mehboob to Modi, Modi was adamant not to release her.

The matter went to court. In the court she made a deal with him that she will work for Minerva for one more year on the same salary as 600 pm, will not work in any other studio and he will release her after that. The case was withdrawn. By that time Meena had married Al Nasir. She left for Lahore with Nasir to avoid working in Minerva, and also did not take any salary. After one year in Lahore, she did films for Pancholi, like ‘ Shehar se door’ and ‘ Arsi’. Her fame was already bringing many new films to her. When the film ‘ Shehar se door’ was about to be released, Pancholi got a legal notice from Modi for a compensation of Rs. 3 Lakhs for breaching his contract with Meena. Everyone was panicky. Meena went to Bombay with Pancholi’s Manager and met Modi. She begged him not to give her troubles, but as a compensation,Modi asked for Rs.60 thousand cash. Meena was stunned.Finally Mehtab, Modi’s wife intervened on her behalf and Modi came down to Rs. 30 thousand. Meena paid him the money and got rid of him finally.

Later on, Meena said,” This was the true character of Modi, who is revered as Deity of Indian Cinema. Actually his popular perception was an illusion. The reality was that he took every opportunity to cheat and take advantage of situation to make money.” C. Ramchandra has also narrated an incident about Modi, how he took advantage of his helpless situation, when in 1936 to 1938, CR worked in Minerva. Like any other industry, Film industry too had such people.

Today’s song is from film Zevarat-49.The film was made by Habeeb productions. The director and Lyricist was Habeeb Sarhadi. The MD was the Melody Master Hansraj Behl. The cast of the film is given as Meena, Masood, Yaqub, Jayant, and Shanta Kunwar. There were 10 songs sung by a variety of singers like Lata, Rafi, Geeta, Hameeda, and Shanta Kunwar. Today’s song is sung by Geeta Roy. Her voice sounds so fresh and slightly different than what it became later. In this song, I feel she tried to copy the Shamshad style. It is a very good song. I am sure you will like it.

(Adapted information from book Cinerang by Isak Mujawar and interview of Meena Shorey in Yeh un dinon ki baat hai by Yasir Abbasi has been used, with thanks, in this post along with my own notes.)


Song- Ye kaun mere ghar aaye (Zevraat)(1949) Singer- Geeta Dutt, Lyrics- Habib Sarhadi, MD- Hansraj Behl

Lyrics

yeh kaun mere ghar aaye
mere ghar aaye
yeh kaun mere ghar aaye
yeh kaun mere ghar aaye
mere ghar aaye
yeh kaun
yeh kaun mere ghar aaye

yeh roop nagar ka taara
yeh sundar mohan pyaara
yeh sundar mohan pyaara
aasha ke
aasha ke deep jalaaye
ho deep jalaaye
yeh kaun
yeh kaun mere ghar aaye

aakash mein jin ko naa paayen
dharti pe wo mil jaayen
dharti pe wo mil jaayen
dil aisa
dil aisa muqaddar paaye
muqaddar paaye
yeh kaun
yeh kaun mere ghar aaye

dil raha ??
khushiyon ke taraane gaale
khushiyon ke taraane gaale
taqdeer ne
taqdeer ne din yeh dikhaaye
ho din yeh dikhaaye
yeh kaun
yeh kaun mere ghar aaye

dil unki balaayen lena
aankhon aankhon mein kehna
aankhon aankhon mein kehna
mohe tujh bin
mohe tujh bin chain naa aaye
ho chain naa aaye
yeh kaun
yeh kaun mere ghar aaye
yeh kaun mere ghar aaye
mere ghar aaye
yeh kaun mere ghar aaye


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 : 3951 Post No. : 15027

Today’s song is from film Captain Kishore-1957. It is sung by Geeta Dutt under the baton of the magician of melody-Chitragupt.

Today I am deviating from my usual style of writing, because I am writing on my favourite singer- Geeta Dutt. So, no biography of any artiste and no other details. Only Geeta Dutt !

Long back, in our management class, our Professor conducted a survey in the class. He asked us to write the name of the Toothpaste we were using. Those days too, Colgate was the Brand leader. We were 30 students in the class. I was using Macleans’ (a brand that was available in India in those days), so I wrote Macleans’. Then he collected all 30 chits,added his own and started reading. The result was Macleans’-8, Kolynos-7, Colgate-7, Forhans-6 and 3 were using tooth powder. He explained to us that even the Brand leader, not necessary always, will lead in all consumer groups. It is a collective total which gives the leader its position.

The same is the case in any other field. Take the case of female playback Singers. From 1950s to 1970s, Lata was the Brand Leader, but personally I always liked Geeta Dutt. I simply loved Geeta’s voice which had so much flexibility and was also so soulful.

When you hear her sing Meera Bhajan, you get lost in Bhakti Ras, listen to her sad songs and gloom descends on you and hear her club/cabaret song,you feel like tapping or dancing. It seems like as if Geeta never bothered to be the No.1,she only wanted to be honest to her singing. She was a pure soul bearing no envy towards anyone. There is always a discussion whether she gave her best to S.D.Burman or O.P.Nayyar songs. Not many know that Geeta worked with more than 150 composers. I personally dont believe she ever compromised in her performance. Whether she sang for a well known composer,or an unknown one like M.A.Rouf, S.L.Pardeshi, Manohar, D.V.Gadekar, Kumar, M.Masurekar, T.K.Das, Ali Husain,Pt.Harbanslal or Rajhuns,she put all her soul and skill in rendering the song.

There is, however, always a personal liking. I always liked Geeta’s songs with O P Nayyar. Their association started with the film Aasman (1952). Though her songs like “dekho jaadu bhare more nain’ were very melodious and became quite popular,the film had flopped. The subsequent film Baaz (1953) was also the same story. Good songs-film flopped. But then Aarpar (1954), Mr. and Mrs.55, Musafirkhana (1955) and Miss Cocacola and C.I.D.-in 1956 brought commercial success. After C.I.D. in the year 1957, Geeta suffered on 2 counts. One,O.P.Nayyar started grooming Asha Bhosale and secondly Geeta was facing a lot of personal problems. The singing assignments coming her way were getting lesser and even she was cutting down on the same. In fact, she had expressed desire to completely stop singing in the year 1957.

In the year 1958 she got only 10 songs from O.P.Nayyar. But then she sang the iconic song in Howrah Bridge which made her name Amar in the history of Golden Age of HFM for ever. This incident has been narrated by the famous film/music writer Issac Mujaawar in the Marathi magazine Rasrang. When Howrah Bridge was being made,it was evident that all the songs will go to Asha. By that time ASHA had mastered the art of singing club/cabaret songs. It is said that rehersals were done for”Mera naam chin chin chu”. Shakti Samanta was the Director of the film. O.P.Nayyar never tolerated any interference fro the Producers or the Directors. Shakti da wanted that song to go to Geeta,as he genuinely felt that she is better suited to sing it. He called Nayyar one day and coolly explained to him the situation. Miraculously,Nayyar accepted the suggestion without a word of protest. May be his conscience was biting him,or may be he too thought on those lines. Whatever be the reason,Geeta was summoned next day and the song was given to her. The rest is History…….as they say !

The Dance Director was A Satyanarayana,who participated in almost every club dance he choreographed. He did an excellent job for this song and the song became the highlight of the film,along with Asha’s ‘Aayiye meherban’. This is my most favourite song for 3 reasons.One-the tune is very catchy, two-Geeta ji’s voice is very seductive here and three-the choreography of the song is just superb !

Now, cut to….

City- Bombay

Date- 20th July 1972
Place- Harkissondas Hospital,Bombay

Few people were standing in the corridor . Anxiety,sorrow,helplessness and a little hope was clearly writ on their faces.They were all quiet.No one was talking to anyone.Their body language gave away their agony and restlessness.

Suddenly,a Doctor came out of a patient’s room.All ran to him and then stopped.The Doctor’s face and the tears in his eyes told them what they were afraid of !
No one said anything.No one asked anything. The Doctor said, ” I am sorry.She is no more.” He left, dragging his heavy feet.

The end of an Angel had come !
Geeta Dutt was gone for ever !!
Only her memories and the inimitable voice was left behind !!!

Born on 23-11-1930 at Idlapur in Fareedkot District of East Bengal,to a big Zamindar,Devendranath Roy Chaudhury and Amiya Roy Chaudhury,Geeta inherited her mother’s love for music.She learnt Classical Music from Pt.Hirendranath Chaudhury,while studying in an Anglo-Bangla school.

When she was just 12 year old,the family had to run away from East Bengal,to save their lives-leaving all property behind- to Bombay. In Bombay,we all know how Pt. Hanuman Prasad,MD(ex husband of Lalita Pawar) discovered her for playback in Hindi films. Later when S D Burman heard her singing,he knew instinctively that this was the voice which will make him successful and establish in Bombay.Till then Burman had not succeeded much to his satisfaction. To give her songs in ‘ Do Bhai ‘-47, he had to convince Chunilal of Filmistan,with great difficulty.

Geeta did not disappoint.’ Mera sunder sapna beet gaya” and ” Yaad karoge” made history and put both Geeta and Burman in Top league overnight.

Do Bhai made other famous composers to sit up and take notice of this new voice. They lined up to give Geeta ‘ Gaaon’-47(Khemchand Prakash), Leela, Shehnai and Saajan-47 ( C.Ramchandra), Geet Govind-47 (Gyan Dutt), Actress-48 (Shyamsunder), Chunariya-48 (Hansraj Behl), Padmini-48 (Ghulam Hyder) and Ek thi Larki-49(Vinod).

1950 was Geeta’s year.Many hits came – Banwre nain, Har Har Mahadev and Jogan solidified her position on Top.Composers felt she was inevitable,for their success.

Before recording, Geeta used to sit with Lyricist,understand the words and the implied meanings, then hear the tune from the composer and then sing in her own style. Basically, Geeta was very Gifted and hence with just one rehearsal, she could record the song to the entire satisfaction of all concerned. This made her the darling of the Composers.

Now,the newer MDs like,Hemant kumar, Vasant Desai, Madan Mohan and O P Nayyar also vied with each others to take Geeta. While doing Baazi -51, she met Guru Dutt and they got married on 26-5-1953. She was earning thousands of rupees in singing,but that time Guru Dutt was not that successful.Some magazines and Papers,said that he married Geeta for her money. Guru Dutt was furious and asked Geeta NOT to sing for others,restricting her to only his films.This suffocated her and she rebelled against it,which spoiled their relationship further.

Geeta had a liking and flair for acting. In Calcutta,she had acted as a Heroine in Bangla film-‘ Badhu Baran”. She got many offers but once she decided to settle in Bombay she refused all offers. Few people know that in Bombay a Hindi film- ‘ Tera saath hai Pyaara ‘,with Geeta as a Heroine had started,but unfortunately,after few reels,the film got shelved. To give a chance to her and to mend their relationship, Guru Dutt started filming ‘ Gauri” with Geeta as a heroine. However due to reasons well known to all, Geeta gave up this Bangla film, half way. This made the couple more distanced from each others. We all know the story’s end…..

Somewhere in 1971,there was a programme ” Yaaden Shakeel ki” in Bhaidas Hall, Parle. I had gone to that programme and I saw Geeta Dutt there.Many singers had come there-Rafi, Mukesh, Mahendra kapoor, Chandru Atma and Lata. When Lata was to come for singing there was a flurry of activity on the stage with everybody trying to please Lata. Lata came,sang and left like a Queen. When Geeta came on the stage, hardly anyone did anything for her. This is how this world is ! Geeta came, drew Harmonium near her and sang a Gazal of Shakeel Badayuni. When she finished,there was a clapping louder than what Lata had received,from the Audience-people knew her value !!

Geeta was optimistic even in 1971. She used to say, ‘ If 2 hit songs in Aradhana can take Kishore Kumar to the Top, even 2 Hit songs for me will do the same.” But it was not to be. Even the regular composers like O P Nayyar turned their backs on her. The Destiny decided to call her back !!!

One of my regrets was that if only Naushad had supported Geeta, she would have gained eminence for his songs for ever, like Saigal, Surendra, Parul Ghosh, Zohrabai, Amirbai, Naseem Akhtar, Shamshad, Noorjehan, Suraiya, UmaDevi, Talat, Mukesh, Rafi and Lata….but Geeta’s name was not in this list. I am not a statistician,so I can not say how many songs she sang for Naushad, but I am sure it was almost nothing !

Geeta’s voice was typical Bengali.She sang sad songs most wonderfully. Burman da who gave her emotional songs in Do Bhai, also gave her peppy club songs in Baazi, to make use of the sexy tinge in her voice. Further O P Nayyar fully exploited this special feature in Geeta’s voice. Her voice was sometimes sweet sometimes Namkeen. It had a depth. In this case, Geeta was one step ahead of Lata. Geeta’s voice was different for every situation. When she sang,’ Baat chalat nayee chunari’, you felt she would have been a better singer- classical singer than Laxmishankar. When she sang,’ Main to Giridhar ke ghar jaoon ‘, you felt Oneness with God,hearing her Bhaktiras dripping voice.

Juthika Roy was famous for Meera Bhajans, but I always felt that her voice was same in any Bhajan, while Geeta’s Bhajans exuded different emotions in every Bhajan.

While singing Club songs, Geeta was a different person. Just recall that ‘Hey hey hey hey before Tadbeer se bigdi hui taqdeer bana le song or listen to O Babu O Lala or Mera naam chin chin chu, then you will realise what I am saying !

One very important point in Geeta’s singing is not highlighted by many. In Hindi films there are many Male and female versions of songs and many singers have sung them.While singing such female version songs, Geeta never lost to the male singers ! All Geeta versions were more popular than the Male versions.

Both Asha and Lata lost on this count.

You will remember Kishore’s ” Jeevan ke safar me raahi” but not Lata’s version. You will remember Talat’s ” Aye gham-e-dil kya karoon’ but not Asha’s version. Kishore was better than Asha in ” Zindagi ek safar hai Suhana” versions and also Kishore was better than Lata’s version of ” Khilte hai gul yahan’.

When it comes to Geeta, she never lost to male versions. C H Atma’s ” Preetam aan milo” is remembered by less people than Geeta’s ” Preetam aan milo” from Mr. and Mrs.55 (same song. Written by Saroj Mohini Nayyar, O.P.’s wife). Geeta’s “Kaise koi jiye (Baadbaan)” is much better than Hemant Kumar’s version. Similarly,” Hai ye duniya kaun si'(Sailaab) and ‘ Na ye chand hoga”(Shart). In both songs, Geeta is superior and more popular than Hemant kumar. (There is a story behind the song-Na ye chaand Hoga. Once a jilted young lover committed suicide under train at Patna. In his pocket these lines were written on a paper-Tumhare liye hain, tumhare rahenge, Na ye chand hoga, na tare rahenge, magar hum hamesha tumhare rahenge. Lyricist S.H.Bihari used these lines in his song).

On 22nd July 1972,just 2 days after Geeta’s death, there was a preplanned programme of Juthika Roy in Birla Matoshri Sabhagriha,Bombay. I had booked my tickets well in advance, so I went there. In the beginning everyone paid respects to Geeta Dutt, by standing for 2 Minutes. Talat, Jagmohan and Surendra were also there. Then Juthika Roy came on stage, drew Harmonium near her and started singing ‘ Pag ghungaroo bandh…” .

I was lost in Geeta’s memory and saw Geeta with a Harmonium singing ” Main to Giridhar ke ghar jaoon”………………….

( My thanks to Geet yatri by Madhav Moholkar, Smaranyatra-by Subhash chandra Jadhav, and Hamari yaad aayegi by Arun Puranik, and geetadutt.com ,from which I have used some information for this article.)


Song- Dekho ji dil na todo nahin to main ro doongi (Captain Kishore)(1957) Singer- Geeta Dutt, Lyrics- Raja Mehdi Ali Khan, MD-Chitragupta

Lyrics

Dekho ji dil na todo
nahin to main
ro doongi
chhodo jee zidd ye chhodo
nahin to main
ro doongi

dekho jee dekho
naye fashion ka zamaana hai
main to nayi hoon
mera sab zewar puraana hai
dekho jee dekho
naye fashion ka zamaana hai
main to nayi hoon
mera sab zewar puraana hai
necklace mangaa do jee
locket dilwa do jee
tik tik kare jo ghadi
chhoti si wo laa do jee
gahnon se mujhko saja do
nahin to main
ro doongi
dekho ji dil na todo
nahin to main
ro doongi

duniya dikha do
saare hawaai jahaaz se
haathhon mein chhatri le ke
utroongi main naaz se
duniya dikha do
saare hawaai jahaaz se
haathhon mein chhatri le ke
utroongi main naaz se
London mein ghoomoongi
Paris mein jhoomoongi
Roos ke laal laal phoolon ko main choomoongi
jaldi se ticket mangwa do
nahin to main
ro doongi
dekho ji dil na todo
nahin to main
ro doongi

baag ho bangla ho
American motor car ho
oonchi society mein
mera intzaar ho
baag ho bangla ho
American motor car ho
oonchi society mein
mera intzaar ho
naghme sunaaoongi
jaadoo jagaaoongi
apne ishaaron pe
main sab ko nachaaungi
yes keh ke mujh ko hansa do
nahin to main
ro doongi
Dekho ji dil na todo
nahin to main
ro doongi


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 : 3940 Post No. : 15016

“Ek Jhalak”(1957) was produced by Deep Khosla and Pradeep Kumar and directed by Kalidas for Deep and Pradeep Productions, Bombay. The movie had Vyjyantimala, Pradeep Kumar, Anita Guha, Rajendra Kumar, Pran, Mubarak, Lalita Pawar, Bipin Gupta, Randhir, Om Prakash, Hira Sawant, Rashid Khan, Tuntun, CV Rao, Patanjali, Gajendra, Amin, Fazal Khan, Saar, Deep Khosla etc in it.

The movie had nine songs in it. Six songs have been covered in the past.

Here is the seventh song from “Ek Jhalak”(1957) to appear in the blog. This song, perhaps the least heard song from the movie, is sung by Geeta Dutt. S H Bihari is the lyricist. Music is composed by Hemant Kumar.

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


Song-Kis liye maathe pe bal hai (Ek Jhalak)(1957) Singer-Geeta Dutt, Lyrics-S H Bihari, MD-Hemant Kumar

Lyrics

kis liye maathe pe bal hai
ranj ka izhaar kyun
kis liye maathe pe bal hai
ranj ka izhaar kyun
dil se jab iqraar hai to
munh se phir inkaar kyun
dil se jab iqraar hai to
munh se phir inkaar kyun
kis liye maathe pe bal hai
ranj ka izhaar kyun

aap ki khaamoshiyaan
achchi nahin lagti hamen
aap ki khaamoshiyaan
achchi nahin lagti hamen
aji kuchh to kahiye
kya hua
naaraaz hain sarkaar kyun
kuchh to kahiye
kya hua
naaraaz hain sarkaar kyun
kis liye maathe pe bal hai
ranj ka izhaar kyun

dil ne chaahaa aap ko
ismein hamaara kya qusoor
dil ne chaahaa aap ko
ismein hamaara kya qusoor
baat hai chhoti si phir bhi
is qadar taqraar kyun
baat hai chhoti si phir bhi
is qadar taqraar kyun
kis liye maathe pe bal hai
ranj ka izhaar kyun

aap ke hote huye bhi
kyun na ho
dil ka ilaaj kahiye
kyun na ho
dil ka ilaaj
siskiyaan le le ke mar jaayen
bhala beemaar kyun
siskiyaan le le ke mar jaayen
bhala beemaar kyun
kis liye maathe pe bal hai
ranj ka izhaar kyun

baat meri maan lo
ik baar to keh do jee
dil se haan
baat meri maan lo
ik baar to keh do jee
dil se haan
hmm
naa naa naa


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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 ELEVEN years. This blog has over 15200 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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